The article describes a system-structural analysis of 311 German pseudo-borrowings. The research objective was to classify pseudo-borrowed onyms in the German literary language as pseudo-borrowings or proper names. Pseudo-borrowed onyms are different from assimilates, erratives, pseudomotives, homeonims, memorative fictionyms, and pseudo-Latin cognomens. The sampling was based on six criteria: 1) the onyms developed from a morpheme of the donor language; 2) they violate the principle of reversibility; 3) they belong to the category of  nomina propria ; 4) they are capitalized; 5) they belong to the German language; 6) they imitate a foreign language. German pseudo-borrowed onyms are represented by fourteen segments, the largest of which are the Maccaronian (Common Romanian) segments of pseudo-Latinisms (88 units, 28.3 %) and pseudo-Italianisms (80 units, 25.7 %). The largest onymic subclasses are represented by anthroponyms in the subset of realonyms (36 units, 11.6 %) and fictionyms (149 units, 47.9 %), as well as pragmonyms in the pseudo-Italian segment (70 units, 22.5 %). Fictionyms (166 units, 53 %) dominate over realonyms and come from translated fiction. Pseudo-borrowed onyms differ from appellants in their word formation because they are not tied to prestigious donor languages. The hybrid specificity of pseudo-borrowed onyms make it impossible to localize them as onymic or appellative.

This article describes the lexicography of psychic vocabulary in a diachronic aspect. For a long time, synonymic chains were the most common way of its interpretation, examples being a more recent lexicographic invention. However, both methods are concept-oriented. Unfortunately, neither of them solved the problems of a dictionary aimed at intercultural relations. The current globalization and informatization triggered non-traditional interpretations that describe not the concept, but a prototypical situation, which is associated with it. This study introduces several principles of interpreting the psychic vocabulary. These principles relate to the language, semantics, parameters, and structure of the semanteme. The approach is based on the connection between language and perception. For instance, the psychic vocabulary encodes the reaction of the heart as an organ ( love, rage, serenity, peace, disgust ). Therefore, the psychic vocabulary is different from the abstract vocabulary (good, evil, justice, democracy ), which does not encode bodily reactions. The author believes that the seme ‘heart’ is implicitly present in the semantic structure of the psychic vocabulary. Scientific literature features the lexeme of  heart in comparative, conceptual, and metaphorical aspects, but not as an implicit component. Thus, the denotative space of the psychic vocabulary is a complex cognitive construct structured as ‘assessment / reaction of the heart / desire’, represented by the archisemes of feelings, emotions, and states. Words united by these archisemes demonstrate different valency, word-building, and pragmatic properties. In terms of the structure of the psychic polysemy, feelings and traits have the potential to develop the meaning of states, and words that denote physiological states generate figurative meanings of mental states.

The article described the early history of the linguistic term Umlaut in the terminological system of the German language. The study relied on the methods of historical, linguistic, definitional, and semantic analyses. The research covered German grammars, grammatical treatises, and dictionaries published in Germany between the early XVI century and the mid XIX century. The author traced the early evolution of the phonetic status of umlaut from a diphthong to a semi-diphthong: it was often believed to be a combination of two mutually pronounced sounds. In the first half of the XVII century, the status of umlaut began to change. T. Olearius (1630) referred umlauts to simple sounds. However, T. Olearius was not supported by his contemporaries. J. Schottel (1641) ascertained the ability of umlaut to realise a distinctive function. In spite of this, umlaut remained a diphthong up to the last quarter of the XVIII century. The term Umlaut was introduced into linguistic usage only in 1774 by F. Klopstock, who understood it as any change of the root vowels, regardless of the reasons for this alternation. The final status of the umlaut was determined when linguists came to the unequivocal conclusion that umlauts were simple vowels that required a single articulatory effort to be realized in speech. The author also analysed the five ways of umlaut graphics, as well as the names that denoted the diacritical marks. Umlaut received its final terminological status from J. Grimm in 1819.

As any social movement, feminism finds its reflection in the media. Media are a full-fledged institution capable of shaping public consciousness, targeting particular social groups, setting standards of mass behavior, and determining the main directions of social development. This research featured Russian news about feminism in terms of event structure.  It covered news headlines published in Russian media in 2014-2021 and retrieved via the Smi2.ru media aggregator. Feminism-related headlines were automatically extracted from a dataset of 8,954 headlines. The subcorpus was analyzed in the Semograph Information System, which made it possible to classify texts, obtain frequency data on certain classes, and establish connections between them. The frequency data analysis was represented as a graphical model of the news space in the field of feminism using the SciVi visualizer. The event and thematic analyses revealed a three-level classification. The media usually informed about events where participants belonged to various social groups that protested against something, e.g., people or performances. The news informed about the actions and reactions of media people and about art sphere. The article introduces a graphical model that shows the links between event components in the headlines. It demonstrated three main areas of action in the field of feminism: art, media, and feminist movements. Each of these fields has its own core and structure. The media sphere appeared to be closed on itself; the art-related news agenda focused mostly on social matters; the field of feminist movements was associated with counteracting and involved descriptions of radical actions. When informing about feminism, the media construct an alternative reality that differs from the real issues that feminism aims at resolving.

The current globalization means that countries have to use different channels in order to build a positive national image. This article describes linguistic means that shape the image of Japan in the corpus of academic and methodological texts for learners of the Japanese language. It focuses on the impact of pedagogical discourse and foreign language textbooks as a channel for linguistic construction of a positive national image. The analysis involved such methods as linguo-imagological analysis, content analysis, lexico-semantic and morpho-semantic analyses. The study owes its scientific novelty to the fact that the Japanese textbooks for foreigners were described for the first time not from the perspective of cultural studies or Japanese language teaching methodology, but as a key genre of pedagogical discourse that transmits knowledge and attitudes reflecting the interests of the most influential social groups and institutions. The textbooks demonstrated a variety of linguistic means of Japan’s image at different linguistic levels. The directions of country image-making are set by texts related to linguistic and cultural studies. Intertextual inclusions, visuals, and grammatical constructions have an ancillary character in this process. Japan’s image has a complex nature, which includes positive and negative aspects. Lexical units with negative connotations are used to "ground" the image, presenting Japan as a country which has problems that should be corrected. The conclusions and observations on the process of country image formation obtained in the study are of practical significance for teaching such university courses as Cultural Linguistics, Sociolinguistics, and Discourse Analysis. The research will be useful for specialists in the Japanese language, linguistic imagology, and pedagogical linguistics.

The article describes the pragmatic, semantic, and axiological features of the speech genre of congratulation complement in pedagogical discourse with asymmetric communicants. The research material included 170 fragments. The research revealed two groups based on semantic, axiological, pragmatic, and linguistic differences: personal informal internet congratulations made by teaching staff to students and formal public speeches given by university rectors and teaching staff to students published on official websites of universities. The analysis relied on the factor of formality / informality. The differences between formal and informal congratulations manifested themselves in the content, language, and tactics. Both types were detailed and poly-intentional. The informal congratulations touched upon the addressee's personality, hobbies, achievements, and character traits. The formal congratulations showed a much greater distance between the sender and the addressee. They focused on the addressee's status, not personality. The texts often reflected current events, e.g., in 2019–2020 they touched upon the COVID-2019 pandemic.

Invectivity is an ambiguous but integral feature of modern cinema. The author used a complex linguistic approach to describe the obscene vocabulary of foreign movie discourse. The article attempts to answer the following questions: Why do films need invectives? Who they are addressed to? How many invectives fit in one movie line? How emotionally colored are invectives? How do they fit into the idiomatic composition of the language? What kind of shock power do they carry? What sacred values do they attack? Who swear more, male or female characters? Are invectives perceived literally or figuratively? How can they be avoided? The scientific novelty of the taboo studies is in tracking and maintaining the balance between two conflicting trends: the oversaturation of mass media with obscenities vs. the current purist movement. The theoretical significance lies in the comprehension of the ongoing cultural interaction. The author believes that the choice of invectives depends on the filmmaker, their sense of humor, and the style of character imagery. The method of continuous sampling from modern film scripts provided extensive exemplary material, which was subjected to cognitive-semantic, stylistic, pragmatic, and quantitative analyses. Western cinema often uses invectivity to make a line catchy. In addition, obscene vocabulary designates subgroup affiliation, encourages immediate interaction, and demonstrates a dominant social position. In a cultural society, invective vocabulary refers to criticized signs of verbal aggression, and the negative connotations of invectiveness can be eliminated in euphemisms. However, foreign cinema demonstrates and facilitates the degradation of the cultural background.

The present research featured a complex description of non-verbal and verbal representations of the emotional concept of Abneigung (antipathy ) in the German linguistic worldview. The research objective was to analyze the linguistic representations of the core conceptual signs, as well as to describe their functional and special characteristics.  The study covered lexemes that designate the concepts of  emotion and antipathy in the modern German, as well as bilateral metaphors and sustained metaphors. The author defined the conceptual status of Emotion and uncovered the actual linguistic nomination and mental representation of  Abneigung. The core sings of Abneigung, represented by primary and secondary nominations, appeared to be Emotion (emotion), Ekel (disgust), and Hass (hate). The metaphoric analysis revealed physiological manifestations behind the basic conceptual sign Emotion. For Ekel, it was agent, object, and event targeting; for Hass, it was intensity and agent targeting. The conceptual sign  Emotion was represented only by primary nomination, whereas  Ekel and  Hass were represented by both primary and secondary nominations, i. e., bilateral and sustained metaphors.

The article describes the features of linguistic and culturological commenting on lexical units related to the nominations of the traditional Russian costume. The focus is on the lexemes that denote the type of fabric. The research objective was to identify the cultural connotative component in the semantics of clothing nominations, associated with the fabric.   The relevance of the study was in the fact that it made it possible to reveal the cultural component of the lexical meaning, objectified in the real communication of subdialect speakers. An attempt was made to reveal the cultural semantics of fabric names. This lexical group has never appeared in the focus of scientific attention. The study involved the speech of rural population from the Middle Ob region as it was recorded in the dictionaries of the Tomsk Dialect School and the Tomsk Dialect Corpus. The sampling procedure revealed more than two thousand linguistic units associated with clothes. The methods included interpretation, linguistic and culturological commentary, and systematization. The study defined the cultural connotative component of lexical meaning and three groups of fabric: 1) fabrics of industrial production intended for festive clothes, which demonstrated the wealth and status of the owner; 2) home-made fabrics for everyday wear; 3) seasonal materials of animal origin, which also characterized the status. The linguistic and cultural commentary revealed various characteristics of fabrics according to gender, season, social status, and routine vs. holidays. The parameters included utility, seasonality, prosperity, and status. They served as indicators of cultural traditions and can be interpreted as a cultural text represented through a linguistic and cultural commentary.

The article describes a psycholinguistic experiment that examined the associative image of the Moon in the Chinese language consciousness. The objective of the study was to determine the associative content of the image, as well as the national and cultural grounds behind the internalization of its meanings.  The free associative experiment was conducted in November 2022 and involved 550 students from 325 universities in China. The associative field was described using the semantic gestalt method developed by Yu. N. Karaulov. The data obtained were statistically processed using the SPSS 26.0 and Microsoft Excel 2016 software. These three methods combined provided a full description of the content and structure of the associative gestalt. The experiment confirmed the hypothesis that the Moon occupies a central position among the traditional symbols of art and literature. In the linguistic consciousness of Chinese youth, the type of association tends to be paradigmatic: they associated the image of the Moon with family and homeland. It also appeared to evoke a stable negative emotional evaluation. The association mechanisms were caused by both traditions and actual emotional states.

The article describes the theory behind the design of a computer application for speech therapy of patients in aphasia. The project novelty consists in its data: to build up the training tasks, the authors used speech patterns that were semiotically relevant for the patients and visual supports obtained in experimental work.  The research featured target-groups of healthy people whose gender, age, and social profile corresponded with those of patients undergoing neurorehabilitation at the Federal Siberian Research and Clinical Center of the Federal Medical and Biological Agency of Russia. The material included statistical data on the sociological characteristics of patients of the neurorehabilitation center in 2014-2018, as well as 18 questionnaires filled in by relatives of patients who were in rehabilitation from February to March 2019. It also involved scripts of interviews with 40 neurologically healthy native speakers of the Russian language of two gender-socio-professional groups that coincided in the language biography and collective speech profile with the most frequent groups of patients with complex motor aphasia. The data were processed using Sketch Engine corpus manager tools.  The main methods of analysis included linguistic experiment, questioning, description, modeling, and design.  The article introduces a methodological linguistic basis and a design project for a novel computer application that organizes speech therapy for patients with aphasia at home. The research was based on the ecolinguistic principle of relevance, which demonstrated good practical application prospects.

The article deals with the current trends in the field of linguistic categorization of emotions. The emotional spectrum is much wider than the experiences that possess stable verbal explications. Fuzzy emotions include mixed, blended, complex, and other emotional experiences. They are primary, but they have never been subjected to independent linguistic research. This article focuses on the cultural particularities of emotions that reflect the ability of language consciousness to actualize the boundless emotional and semantic potential of the word to express the inner world. The research relied on the National Corpus of the Russian language to describe the process of creating emotional endoconcepts, i.e., emotional experiences that go beyond the traditional classification of emotive words. The authors believe that the controversial nature of the basic emotional paradigm is argued by the class of emotive words formed from basic emotions, e.g., sad emotions. Their dominant remains fuzzy, and only the evaluative meaning is clear. The approach that the linguistics of emotions adopts to categorize emotive words has a number of advantages because it takes into account the poly-ambivalence, discursivity, and flexibility of emotions that depend on the communicative situation.

The article focuses on the understanding of the motif as one of the central categories of fiction and the key concept of text analysis. The article focuses on various approaches to the pragmatic content of the motif. A review of scientific publications revealed an ambiguity in its definition: motif can be interpreted as a scenario act or an ideologeme. The author believes that the objective basis for determining the content and function of a particular motif is a detailed analysis of its verbalization in the text. The article introduces the fundamental difference between literary and linguo-stylistic approaches to the motif analysis. The author proposes a definition based on the linguo-stylistic status of the motif and a set of reference parameters, which is exemplified by a linguo-stylistic analysis of the motifs of beauty of nature and time of day in N. V. Gogol's May Night, or the Drowned Woman.

The article describes the way Russian right-wing literature reflected the Buddhist component of the image of Baron R. Ungern von Sternberg. The author used the interpretive and comparative methods to study the works by E. Limonov, A. Dugin, and L. Prozorov, as well as poets and essayists from the Black Corps Almanac published by the Brotherhood of St. Rev. Joseph Volotsky. Each of these authors had their own perception of R. Ungern’s image, but he remained a symbol of struggle against the wrong world order. For E. Limonov and A. Shiropaev, he was an anti-Western, anti-bourgeois, and revolutionary-minded warrior who became Mahagala, a Mongol-Buddhist god of war. For A. Dugin, he was a universal Pratyekabuddhayāna who was to bring a purifying destruction upon the world as a forerunner of Bodhisattva Maitreya. For the team of the Black Corps Almanac, he was a Buddhism-related Christian warrior who opposed the red ideology. For L. Prozorov, R. Ungern was a demonic mystical being who chose fascism as a means to conquer the world but thought himself equal to Buddha and Christ. In all these cases, the image of Baron R. Ungern existed in a high stylistic register while his real biography and religious issues faded into the background, overshadowed by his symbolism. As a result, Baron R. Ungern turned into a principle that still inspires the modern right-wing, Eurasian, and traditionalist idea.

The article describes the traditions of magical realism in M. Shishkin's  Letter Book and N. Abgaryan's Simon. The research involved comparative, mytho-poetic, hermeneutic, formal, and structural methods. V. I. Tyupa's theory of artistic discourse and F. Schlegel's idea of irony served as the basic theory in identifying the motifs associated with magical realism and generated by the ironic type of artistic completion. The term of magical realism covers works that belong to very different literary movements. The authors used the ironic type of aesthetic completion to explain similar elements in different poetics of magical realism fiction. The traditions of magical realism in the twentieth-century fiction revealed the following features: an ironic type of artistic integrity; dual worlds and miracles; fantasy intertwined with reality; myths, traditions, and legends; archetypes (father, savior, eternal lover, etc.) and symbols (tree, sea, etc.); unmotivated fantasy; fantastical timeline with no clear boundaries between the past and the future; a highly rhythmical pattern, etc.