INTRODUCTION. An analysis of lexemes of the kinship code with the dominant root rod in F.M. Dostoevsky‟s novel “The Brothers Karamazov” is presented. The study examines appellatives that have retained a semantic connection with the common etymon, revealing the concept of „birth, emergence into the world‟. The aim of the study is to identify the semantic potential of derivatives that belong to the etymological-derivational nest with the root rod and participate in the creation of the kinship code in F.M. Dostoevsky‟s novel “The Brothers Karamazov”. MATERIALS AND METHODS. The material of the study is F.M. Dostoevsky‟s novel “The Brothers Karamazov”, which has hardly been studied in terms of describing the kinship code. Therefore, addressing the lexeme rod and its derivatives is of particular interest, as the significance of kinship or family identity is already stated in the title. The work employs both general scientific methods (classification, statistical analysis, complete sampling method) and specialized linguistic methods: linguistic observation and description, etymological, word formation, contextual, stylistic, and linguocultural types of analysis. RESULTS AND DISCUSSION. In total, 320 word usages of lexemes with the dominant root rod were found in the text of F.M. Dostoevsky, however, not all of them retain semantic proximity to the base form, which V.I. Dal defines as follows: rod – “birth and production; generation, each of which is newly born”. This lexeme, which is a fundamental concept in denoting the status of people connected to each other thrjugh blood, spiritual kinship, or marriage, is defining for the novel “The Brothers Karamazov”, the biblionym of which contains a reference to the family theme. CONCLUSION. The number of lexemes included in the etymological-derivational nest with the root rod indicates that in the novel “The Brothers Karamazov”, F.M. Dostoevsky raises the issue of kinship and parenthood. Fyodor Pavlovich Karamazov, who is the biological father of four sons, is far from fulfilling his parental duties, even when his children, abandoned by him at an early age, gather many years later in the family nest. Almost all the characters in the novel are related by blood, but this fact may be concealed, as the significance of kinship is determined by social status. The central idea of the novel – the idea of universal kinship – is conveyed by F.M. Dostoevsky through the teachings of Elder Zosima, who considers everyone who comes to him as akin and kindred.

INTRODUCTION. The relevance of the research is due to the necessity of filling the gap in the study of the journalistic legacy of G.D. Grebenshchikov. After the writer's emigration in 1920, his name was forgotten in Soviet Russia, which for many years excluded his work from the realm of academic study. Despite the increased interest at the turn of the 20th and 21st centuries in the personality of G.D. Grebenshchikov and his artistic texts, the writer’s journalism still hadn’t become the subject of thorough analysis. The aim of the study is to examine the ways of expressing the author’s “I” in the journalism of G.D. Grebenshchikov based on the genre peculiarities of the journalistic texts he created during the pivotal years of World War I.MATERIALS AND METHODS. The research material consists of G.D. Grebenshchikov’s journalistic texts from the wartime period (1916–1917). A comprehensive linguistic analysis method was used, combining techniques of semantic, stylistic, interpretative, compositional, and comparative analysis, as well as techniques of genre modeling of texts. RESEARCH RESULTS. An analysis of the genre-forming features of the texts is conducted, examining three ways of expressing the author’s “I” in the journalism of G.D. Grebenshchikov: 1) as a participant in events, 2) as an observer, and 3) as a reflective subject. A relationship between the expression of the author’s “I” and the genre organization of the texts is established. CONCLUSION. It has been revealed that texts exhibiting features of journalistic genres embody the author’s position as a participant in events. In texts gravitating toward fiction, the author emerges as a reflective subject. The author’s position as an observer is complementary to the other two modes of expressing the author’s “I”.

INTRODUCTION. The relevance of the discursive analysis of superword euphemisms is determined by the need to clarify the content of the term euphemism and the feasibility of a lexicographic representation of such units. The aim of the study is to describe multi-component euphemisms as a discursive unit. MATERIALS AND METHODS. The material for the study were superword euphemisms, primarily collected from the oral subcorpora of the National Corpus of the Russian Language (NCRL), as well as from the “Dictionary of Euphemisms of the Russian Language”, edited by E.P. Senichkina. Contextual and descriptive methods were used in the analysis of the material. RESULTS AND DISCUSSION. The concept of “superword euphemisms” is characterized and described in terms of their discursive practice, and their discursive features are identified and described. CONCLUSION. The necessity of considering the discursive features of superword euphemisms in lexicographic practice is noted.

INTRODUCTION. Regional linguistic research is increasingly expanding each year. A regional linguistic analysis of the geographical, historical, phraseological, and onomastic material from the Tambov village of Kulevcha reveals a unique picture of its founding. The aim of the study is to establish the origin of the toponym “Kulevcha” in the context of the migration flows of the first settlers in the territory of the future village.MATERIALS AND METHODS. The materials for the research included Tambov geographical maps of the 19th century, archival documents from the Kulevcha village museum, and scientific and journalistic publications. Research methods include anthropocentric, comparative-historical, and system-structural approaches, linguistic regional analysis, techniques of etymological analysis and linguistic-historical commentary, as well as methods of direct observation and description. RESULTS AND DISCUSSION. It has been established that the toponym Kulevcha, with its simple nominal meaning, was transformed into a word-text during the communication process, encompassing the volume of its historical content, which includes information about events, cultural traditions, natural features of the region, and more. CONCLUSION. The toponym Kulevcha represents the transfer of the name of the native village Kulevchi by Bulgarian settlers, where the Kulevchin battle took place on May 30, 1829, which had strategic significance in the Russo-Turkish War of 1828-1829. In the onomastic space of the Tambov region, this name functions as a linguocultural marker of historical memory and naming traditions among the settlers, tracing back to the Bulgarian substrate and illustrating the mechanisms of borrowed toponymic nomination in the Russian language.

INTRODUCTION. The metaphorical ergonyms of the city of Tambov are considered as an effective method of naming in a competitive market. The aim of the study is to identify and systematize groups of metaphorical nominations of commercial entities in Tambov. MATERIALS AND METHODS. The empirical base consisted of 180 Tambov ergonyms, extracted from official city directories, business registries, and online maps (Yandex Maps, 2GIS). A descriptive method, lexical-semantic analysis, and a classification approach were used. RESULTS AND DISCUSSION. Three main metaphorical groups have been identified through which lexical-semantic nomination is carried out: anthroponymic – nomination through human images and names; zoomorphic – figurative designations of animals motivated by their functional characteristics and behavioral stereotypes; natural-landscape – nomination based on images of natural phenomena, vegetation, and terrain. Each of the listed groups encodes specific connotations. CONCLUSION. Metaphorical nominations in Tambov ergonymy are an effective communicative resource: through metaphorical transfer, they convey the specialization, properties, and recognizable features of enterprises, increasing the memorability of names among consumers. The activation of figurative transfers and associative connections makes these nominations a strategic tool of urban toponymy. The inclusion of local symbols in the structure of metaphorical ergonyms further enhances their communicative and identificatory functions.

INTRODUCTION. The concept of “family” as a key cultural and linguistic category reflecting fundamental values and stereotypes in Russian and Uzbek linguistic cultures is examined. The aim of the study is to compare the semantics, pragmatics, and linguistic and cultural functions of Russian and Uzbek proverbs with the semantics of “family” in order to identify common cultural and nationally specific axiological markers of the paroemiological fund. MATERIALS AND METHODS. The research material was based on examples extracted from dictionaries of proverbs of the Uzbek language and dictionaries of proverbs of the Russian people. The empirical material consisted of 100 paroemias representing images of parents, children, marriage, and family relationships. Comparative and descriptive methods were used. RESULTS AND DISCUSSION. Universal ideas about the family and ethno-cultural differences were established, which allowed for a deeper understanding of the functions of paroemias as carriers of cultural memory and the establishment of mechanisms of intercultural interaction in folklore discourse. CONCLUSION. The conducted research confirmed the dynamic nature of the concept of family in Russian and Uzbek linguistic cultures, revealing the stability of traditional values and the tendency to reinterpret them under the influence of socio-cultural changes. The concept of “family” in Uzbek linguoculture is characterized by increased stability, traditionalism and normative commitment compared to Russian, where, under the influence of modernization processes lead to greater variability and dynamics of transformations.

INTRODUCTION. This research is devoted to the reception of the Chinese classical novel “The Water Margin” (Shuihu zhuan) in Russia, which has not yet received comprehensive coverage in scholarly literature. The aim of the study is to analyze the stages and features of the novel‟s reception in Russian cultural and academic space. MATERIALS AND METHODS. The research material comprises Russian translations of the novel, articles by Russian orientalists and scholars, as well as dissertations and monographs. The study employs the cultural-historical method, the method of receptive criticism, and comparative analysis. RESULTS AND DISCUSSION. The research demonstrates that the reception of “The Water Margin” in the Russian academic community has evolved from a marginal status to recognition, and subsequently to the formation of diverse methodological approaches. CONCLUSION. The perception of “The Water Margin” in Russia has traversed a path from its first mentions in the 18th century to systematic academic study. This process has led to the formation of a scholarly tradition based on textual analysis, historical retrospection, and inter-genre comparisons. Summarizing the achievements of Russian Chinese studies in the study of the classical Chinese novel allows for the identification of promising research methods and demonstrates a successful example of the promotion of Chinese culture in the international academic space.

INTRODUCTION. The aim of this study is to reveal the dialogic specificity of Nabokov’s relationship with Russian classics, as defined by Bakhtin. It is noted that Nabokov’s dialogic discourse is represented by two opposing vectors. On the one hand, it was a continuation of the tradition of Pushkin, Gogol, and Bunin, while on the other hand, a confrontation with Dostoevsky, Leskov, and Chernyshevsky. The fundamental concept for V. Nabokov is the idea of the intrinsic value of literature, its independence from political and ideological factors, which the writer constantly declared in his articles and speeches. MATERIALS AND METHODS. The materials used include the works of N. Gogol “Nevsky Prospect”, “Diary of a Madman”, “Dead Souls”, and Nabokov’s novels “The Gift” and “Invitation to a Beheading”. The research methodology draws on M.M. Bakhtin’s theory of dialogue, V. Nabokov’s analytical works, Andrei Bely’s methodology in his book “The Mastery of Gogol”, as well as on comparative-historical and structural-semiotic methods. RESULTS AND DISCUSSION. The relevance of the study stems from the importance of exploring the dialogic connections between texts from the perspective of the two authors’ artistic techniques. The novelty of the topic is evident: the research provided an opportunity to compare the artistic “optics” of the two writers within the framework of Andrei Bely’s research method. CONCLUSION. A comparison of fragments from “Dead Souls” and “The Gift” allows us to conclude that Nabokov uses the technique of pictorial perspective, tracing back to Gogol. The texts of Nabokov’s novels reveal a rich array of allusions, hidden quotes, and motifs that serve as tools for dialogic discourse. A significant aspect is also the search for a synthesis of the real and unreal narrative planes through unexpected shifts in perspective, changes in point of view, a combination of semantic and logical shifts, and the grotesque and absurd.

INTRODUCTION. The intermedial structure of A. Bely's poem “The First Encounter” is examined in the context of the persistent trend in philological science to investigate interactions between literature and music. The research problem lies in the absence of a comprehensive analysis of musicality as a structure-forming principle in “The First Encounter”. The aim of the study is to identify the musical mechanisms of form-building and to determine their role in shaping the compositional and semantic model of the text. MATERIALS AND METHODS. The material for the study includes the text of the poem “The First Encounter” (1921), as well as theoretical works on intermediality, Symbolist poetics, and literary musicality. The analysis of the poem is carried out at two complementary levels. At the macro level, the study reconstructs the musical-compositional model of the work, establishes the boundaries of its major textual segments, and describes their tempo-rhythmic profile, emotional register, and functional role within the poem’s overall dramaturgy. At the micro level, specific musical principles and their verbal implementation in the text are examined. RESULTS AND DISCUSSION. It has been established that A. Bely’s poem “The First Encounter” reproduces a four-part symphonic cycle consisting of an exposition, a development, a lyrical adagio, and a finale–coda. At the micro level, systematic musical correspondences have been identified: tempo transitions, rhythmic acceleration, syntactic fragmentation, sound patterning, dynamic contrasts, and the variational development of the motifs of light, movement, and memory. It is shown that the climactic point is shifted to the second part of the poem, while the finale is constructed according to a diminuendo model, which brings the work into close alignment with the symphonic aesthetics of late Romanticism and Modernism. CONCLUSION. The study demonstrated that musicality is not a thematic metaphor, but a structural principle of artistic form. The practical significance of the research lies in refining the mechanisms of literary musicality in A. Bely’s poetics and expanding the methodological apparatus of intermedial analysis. Prospects for further study include an examination of symphonism in A. Bely’s later works and a comparative analysis of musical models in Russian Modernist poetry.

INTRODUCTION. The relevance of this study stems from the fact that, in the process of intercultural communication during the translation of literary works, issues related to space frequently arise, such as the geographical distribution of works, the regions in which translators operate, and the regional distribution of publishing houses. These issues play a key role in ensuring the effectiveness of translation work. In this regard, a thorough study of the interaction between geographical and cultural-historical factors will help to identify patterns in the evolution of the spatial structure of translations of Russian and Soviet literature into Chinese at different stages, as well as determine the degree of correspondence of translation strategies to them. MATERIALS AND METHODS. The material used was drawn from specialized works on translation and dissemination. A descriptive method and a method of linguistic analysis were employed. RESULTS AND DISCUSSION. The study identified three historical phases in the translation of Russian and Soviet literature into Chinese during the Republic of China era, and pinpointed the main centers of publishing activity at each stage. It was established that the geographical distribution of translations was closely dependent on the historical context, the activities of translation groups, and the development of publishing organizations. The study also revealed a dynamic interrelationship between the evolution of translation strategies and changes in the channels through which Russian and Soviet literature was disseminated in China. CONCLUSION. This study demonstrates that the translation of Russian and Soviet literature during the Republic of China period constituted a spatio-temporal process linked to historical and cultural changes in Chinese society. The application of a spatiotemporal approach has made it possible to identify patterns in the geographical evolution of translation activity and to expand the scope of translation studies analysis. The findings may serve as a guide for contemporary research into intercultural communication and the dissemination of translated literature.

INTRODUCTION. Artistic images related to the perception of China in the works of A.I. Solzhenitsyn – “In the First Circle”, “The Gulag Archipelago”, and “The Red Wheel” – are examined. The goal is to trace the evolution of Chinese motifs, identify their artistic functions, and determine the specifics of their transformation depending on the historical context and the author’s ideological settings. The relevance of the study is due to the need for a deeper understanding of the images of another cultural tradition in 20th-century Russian literature, as well as the clarification of the role of the “Chinese” component in the system of the writer;s artistic thinking. MATERIALS AND METHODS. The empirical basis of the research consists of the texts of the mentioned works by A.I. Solzhenitsyn, as well as scientific studies dedicated to their interpretation. The methodological foundation includes historical-literary, comparative-typological, and hermeneutic approaches, supplemented by elements of textual and motif analysis, which allows for the identification of both specific-historical and symbolic dimensions of the examined motifs. RESULTS AND DISCUSSION. It has been established that Chinese motifs in the works of A.I. Solzhenitsyn possess a multilayered structure and perform a wide range of artistic functions. In the initial layers, they are associated with the reflection of foreign policy realities and the specifics of the perception of the “East” in pre-revolutionary Russia; in the further layers, they acquire the character of symbolic generalization and function as a means of critically understanding social phenomena of the 20th century, including the geopolitical rivalry of powers, forms of capitalist exploitation, and various models of state power in the USSR. It is shown that the documentary basis of the texts is combined with a philosophical understanding of the historical process, resulting in specific historical facts being transformed into universal images that reflect the problems of power, the historical fate of Russia, and the nature of humanity. CONCLUSION. The conducted analysis allows us to conclude that Chinese motifs in the works of A.I. Solzhenitsyn are significant elements of his artistic system, serving both historical-documentary and symbolic-philosophical functions. Their evolution reflects the transformation of the author’s view on history and modernity and contributes to a deeper understanding of the key themes in the writer’s work, related to the nature of power, moral choice, and the fate of the individual in the context of historical upheavals.

INTRODUCTION. The evolution of visual content in modern journalism under the influence of digital technologies has been examined. The relevance of the study is due to the audience’s clip thinking, information overload, and the obsolescence of existing classifications that do not take hybrid formats into account. The aim of the study is to develop a technological typology of visual formats based on two criteria: the complexity of technological implementation and the level of user engagement. MATERIALS AND METHODS. The methodological basis of the research includes a theoretical analysis of scientific literature, the method of classification and typology, as well as the method of observing publications in Russian online media (VK communities, Telegram channels, Zen platform). RESULTS AND DISCUSSION. Five types of visual content have been identified: static graphics, basic motion, dynamic narrative, interactive formats, and immersive environments. Each type is characterized in terms of technological features and journalistic functions. It has been proven that the proposed typology allows for the systematization of the diversity of visual formats, from the simplest static images to complex immersive systems. CONCLUSION. The scope of application of the results includes editorial practice in digital media, analysis of journalistic materials, and forecasting the evolution of visual formats. It is concluded that the development of synthetic media and generative neural networks creates new challenges (deepfakes, crisis of documentary evidence, lack of legal regulation) that require further reflection and supplementation of the typology.

INTRODUCTION. The issue of the spread of social stereotypes in visual user content has been examined. News groups in the social network “VKontakte” have been analyzed, the main content of which consists of reposts from similar groups, user-submitted materials, as well as photographs, videos, and clips without source credit. MATERIALS AND METHODS. Content analysis, discourse analysis and classification were used to analyze the visual content. The sources included social media groups such as “VKontakte”, “Main News!”, “Operational Reports!”, “Overheard in Tambov”, and “Tambov”. A classification of the analyzed posts containing social stereotypes has been conducted according to the following types: age, professional, social status, psychophysical, national, and gender. RESULTS AND DISCUSSION. The results of the study are presented in a table and are qualitative in nature, reflecting not the number of posts demonstrating a particular stereotype, but their semantic load and influence on the audience, which often manifests in the comments to the posts. Users are not only creators of posts containing social stereotypes but also spread them. Quantitative data on user reactions (views, comments, reposts) presented in tabular form. CONCLUSION. The results of the study can be used for further research on the issue of the reliability of user-generated visual content, as well as for improving media literacy. Media literacy serves not only to counteract fake news but also to critically perceive social stereotypes in visual content, which contributes to their deconstruction.

INTRODUCTION. The transition to digital broadcasting has affected the functioning of regional channels. To participate in the competition for cable network broadcasting, local TV had to revise their programming policies. The aim of the study is to analyze how regional TV channels have adapted to the existing requirements and what broadcasting strategies they are using. MATERIALS AND METHODS. The empirical base consisted of 5 regional TV channels on buttons 21 and 22 in various regions of Russia (“Saint-Petersburg” (St. Petersburg), “TV Gubernia” (Voronezh), “Tolk” (Barnaul), “OTV” (Sverdlovsk region), and “Gubernia” (Khabarovsk)). The primary research methods were comparative analysis and content analysis of the programming schedules of local channels. Parameters such as genre diversity, the ratio of original to third-party content, and the number of program reruns were assessed. The study was conducted in two stages to confirm the initial findings. RESULTS AND DISCUSSION. The analysis identified three main strategies for regional TV programming. In the first case, the editorial team tries to fill the airtime as much as possible with in-house productions. An alternative strategy involves producing exclusively news programs with a high percentage of content from third-party producers. And finally, a balanced strategy in which third-party programs occupy approximately one-third of the airtime. CONCLUSION. Regional television broadcast programming is influenced by factors such as technical regulatory requirements, competition for audiences, the economic situation of the editorial office, and the professional skills of journalists.

INTRODUCTION. The rapid neural network revolution, transforming the production of media texts into a hybrid process of collaborative creativity between humans and algorithms, is fundamentally changing the established landscape of the media industry. The demand for a review of the professional competencies of media communicators and journalists is becoming more relevant. The necessity of integrating the philological component into the conceptual core of AI literacy for media and communication specialists is justified. The author’s hypothesis is that without the development of philological reflection, the risks of content quality degradation, the strengthening of the manipulative potential of technologies, and the loss of authorial control will increase. The aim is to justify the need for integrating the philological component into the conceptual core of AI literacy for media and communication professionals. MATERIALS AND METHODS. The methodological basis of the study is the synthesis of a critical analysis of existing theoretical models of AI literacy and data from the author’s empirical research, which included a survey of students. RESULTS AND DISCUSSIONS. The analysis revealed a conceptual gap in contemporary models of AI literacy, where the philological aspect of text and narrative criticism remains implicit. Empirical data confirm a sharp gap between instrumental proficiency with the technology and the ability to critically evaluate it among future media professionals. In response to this challenge, the author has proposed a structure for the philological component of AI literacy, which includes four key competencies: 1) linguistic reflection (critical analysis of stylistic markers and hallucinations in AI-generated text); 2) narrative construction (managing the plot and preserving the author’s story); 3) hermeneutics of context (infusing AI content with cultural meanings and checking for biases); 4) editorial expertise (“humanizing” the text and adapting it for the communication channel). CONCLUSION. The formation of the philological core of AI literacy appears to be a strategic condition for bridging the gap between technological skills and humanitarian reflection, as well as for preserving the essential mission of journalism in the digital age. The prospects for further research are related to a deeper study of the role of philological expertise and the expansion of the structure of the philological component of AI literacy.

INTRODUCTION. The verbal-visual polycode mechanisms shaping the language of contemporary Russian documentary cinema have been analyzed. The relevance of the study is due to the digital transformation of media, the blurring of boundaries between fact and fiction, and the increasing role of the verbal layer in the verification of images that can be generated or modified using artificial intelligence technologies. MATERIALS AND METHODS. The aim is to identify and systematize the dominant stylistic registers of the verbal part of the documentary film, the types of word-image interaction, and the rhetorical figures generated by editing. The concept of polycode text has been clarified in the context of modern linguistics (with reference to the distinction between the terms “polycode”, “creolized”, and “multimodal”). The methodological basis includes a semiotic approach (C. Peirce, R. Barthes), the linguistics of creolized text (Yu.A. Sorokin, E.F. Tarasov, E.E. Anisimova), rhetorical analysis (C. Plantinga, B. Nichols) involving the categories of ethos, logos, pathos and the doctrine of topoi (commonplaces), narratological analysis (P. Ricoeur, A.A. Pronin), discourse analysis to identify ideological frameworks, and montage theory (S.M. Eisenstein, Yu.N. Tynianov). The empirical corpus consisted of over 120 Russian documentary films and projects from 2000 to 2024, including video platform content. RESULTS AND DISCUSSION. Based on the analysis of the corpus, six stylistic registers of the verbal part are identified; four types of verbal-visual interaction and the main montage rhetorical figures are described. A six-step scheme for analyzing the polycode text of documentary cinema has been developed and tested on 30 films, supplemented by a parameter for identifying dominant topoi (commonplaces) as markers of the film’s ideological framework. CONCLUSION. Documentary cinema is a rhetorical whole in which verbal-visual mechanisms determine the persuasive power of the statement. In the digital age, the “contract of truth” is transforming: the source of credibility shifts from institutional authority to the open subjectivity of the author and interactive verification, with the verbal layer (commentary, titles, direct address) increasingly assuming the function of explicitly stipulating the boundaries of credibility.

INTRODUCTION. Based on the analysis of social media, the following methods of fraud are described: phishing, identity theft, distribution of malicious software, misinformation, and incitement to illegal activities through the manipulation of historical facts. The aim of the study is to analyze the key trends and forms of digital fraud in modern media, as well as to identify approaches to its prevention. MATERIALS AND METHODS. The empirical basis of the research consisted of publications from 10 Telegram channels that should be classified as digital fraud. A total of 100 publications were analyzed over the period from 2020 to 2025. RESEARCH RESULTS. The main negative trends in modern media have been identified: consumer’s distrust and indifference towards broadcast content, as well as information overload and poor content quality in the digital environment. As a result, a favorable environment for committing various fraudulent activities emerges in the digital space – from the malefactors’ profit to the provocation of mass riots on the streets of Russian cities, which poses a threat to the country’s national security. CONCLUSION. The methods of manipulation by digital malefactors, the main modern channels of communication and the spread of digital fraud have been identified. In addition, for content consumers, the necessity of fact-checking and improving critical thinking when coming into contact with any information has been noted, the main rules in the field of digital security have been highlighted.

INTRODUCTION. The relevance of this study is tied to the necessity of exploring additional opportunities for the implementation of the social functions of children’s media in the context of a changing media landscape. The emergence of new technical capabilities for interacting with readers has allowed children’s press to use new techniques (augmented reality technologies, QR codes, infographics, online versions of publications, etc.) to engage with the audience and retain their attention. Children’s press is intended to meet the goals of education, adaptation of the younger generation to the adult world, and the cultivation of civic responsibility. The study of the thematic content specifics of individual issues of children’s newspapers and magazines can help identify the problematic areas of modern children’s journalism. MATERIALS AND METHODS. The theoretical basis of the research consisted of works on the peculiarities of the functioning of domestic children’s periodicals, their main functions, the place of children’s newspapers in the digital media environment, and the influence of children’s press on the formation of a child’s personality. The empirical basis of the research consisted of individual issues of children’s and youth magazines and newspapers from 2020 to 2025: the family reading children’s magazine “Gavrilka”, the children’s magazine “Yozhik”, the children’s magazine “Murzilka”, the magazine for children and adults “Luchik”, and others. RESULTS AND DISCUSSION. Despite the different profiles of the studied magazines, it is possible to identify similar communication tools used to implement the function of socialization. Often, getting acquainted with children’s press evokes in readers a desire to create, to take the place of a journalist, which positively affects the development of the child’s personality. CONCLUSION. The content and thematic filling of children’s magazines are adapted to the changing demands of the audience. In the context of competition with new media, magazines leverage their strengths and new methods to attract and retain the audience’s attention. Children’s press guides readers toward building a harmonious, socially responsible personality without a strong ideological bias. It can be concluded that there is a mutual influence between children’s press and its audience.

INTRODUCTION. The reception and transformation of the Russian choral tradition in China in the 20th–21st centuries have been studied. The relevance is due to the scale of the choral movement in China (over 50,000 ensembles) and the need to understand the intercultural transfer in musical art. The aim is to identify the stages, mechanisms, and outcomes of the appropriation of Russian tradition by Chinese culture. MATERIALS AND METHODS. The object is the Russian choral tradition as a cultural system (vocal school, pedagogy, and repertoire). Historical-genetic, comparative, and system-cultural approaches were used, as well as T.M. Lezhneva’s theory of cultural transfer and enculturation. RESULTS AND DISCUSSION. The reception went through four stages: the émigré stage (1920s–1940s), the Soviet-institutional stage (1949–1966), the crisis stage (1966–1978), and the dialogical stage (since 1978). The most profound transformation occurred in vocal technique – “Chinese bel canto” emerged. The repertoire evolved from copying to the synthesis of European polyphony with Chinese pentatonicism. CONCLUSION. The “Russian model” was not mechanically copied but profoundly transformed, becoming an organic part of the emerging “Chinese choral paradigm”. The evolution “from Russian sound to Chinese melos” demonstrates the universal patterns of intercultural transfer.

The oikonymic dictionary of the Volgograd region, put together by the renowned Volgograd onomasticians – Doctors of Philological Sciences, Professors I.V. Kryukova and V.I. Suprun – is being reviewed. The publication contains more than 1500 dictionary entries covering the names of cities, villages, stanitsas, khutors, railway stations and passing tracks, including settlements that no longer exist, and the names of the inhabitants of the settlement (demonyms). It is shown that the dictionary organically continues the traditions of the Volgograd onomastic school, developing the material previously presented in the hydronymic dictionary of the Volgograd region by the same authors (2009). It is noted that the work of I.V. Kryukova and V.I. Suprun is fundamentally different from the earlier reference dictionary of the regional toponymicon by D.Yu. Ilyin and E.G. Sidorova (2019): while the latter primarily addresses informational and reference tasks, the reviewed dictionary focuses on the etymology and historical and cultural motivation of names. The authors’ diligent work with archival sources, cartographic materials from the 18th to the 20th centuries, and field data is emphasized. The most notable etymological decisions, including those based on German colonial names and Kalmyk toponymy, are analyzed separately. Suggestions are made for the unification of the presentation of demonymy and the inclusion of cartographic material in the publication. It is concluded that the dictionary has not only linguistic but also historical and local lore significance, and in conjunction with previous works, it provides a comprehensive picture of the region’s toponymic landscape.