We consider the features of model terminology. The purpose of the study is to comprehend and initially describe the specifics of the basic model legislative terms and definitions, aspects and trends of their formulation and use. To achieve this goal, we analyze 157 model acts (13 codes and 144 laws) adopted by the Interparliamentary Assembly of the CIS member states in the period from 2012 to 2021; more than 2000 model terms and definitions. We note that the model term formation is carried out taking into account the established traditions of creating legal acts, the peculiarities of the hierarchical and subject-branch correlation of legislative terms and concepts, as well as understanding the functions, means and methods of formulating legal definitions. Model definitions of terms reflect the typical phenomena of legal discourse of unification, transformation, homonymy, polysemy, synonymy, antonymy of legal concepts, variability of their legal definitions. The methodological basis is formed by general scientific methods and approaches used in modern Russian studies and legal linguistics (analysis, comparison, analogy, modeling, contextual, interpretive, systemic, interdisciplinary and other approaches). The work can be useful to those whose activities are related to the official business sphere of communication, who creates, analyzes and systematizes legal acts, examines the development of legal terminology, the Russian language as the state language of the Russian Federation. 

Andrei Platonov’s writing method in its ideological and theoretical basis is considered by us as the ontological relationship of his personality and creative perspective with spiritual values, attitudes and philosophical views which he professes. This writing method is realized in Platonov’s prose through the artistic interaction of author’s philosophical concepts and linguistic means which form his idiostyle. The main and broader goal of our research is a systematized and classifying description of the key language models and techniques most typical of Platonov’s writing method. The scientific results of our comprehensive analysis of Platonov’s idiostyle testify to our assertion that most of the elements and features of Platonov’s “deformed” and “coded” language are artistically modeled and are an example of the author’s successful stylization. Due to the peculiarities of the author’s language and style, Platonov’s literary text is distinguished by rich semantic ambivalence and implicativity. The volume of our work does not allow us to present a more detailed presentation of the provisions of Andrei Platonov’s creative method and an allencompassing analysis of the most important linguostylistic means which make up it. In this we, we set our specific task within the framework of a brief analytical review of the individual characteristics of Platonov’s writing method and a selective linguostylistic analysis of the key and most effective means and techniques of linguistic expressiveness which form this unique author’s method, to clearly demonstrate some of its fundamental principles and approaches.

In a series of complex study of multicomponent or polypredicative complex sentences, it is relevant to consider them as a microtext. In the text study discussion issues still exist: the number and composition of categories, the means of their expression, the difference between the concepts of “textual characteristic” and “text-forming function”. Based on the material of multicomponent complex sentences, we consider universal text categories inherent in any text, and optional, inherent only to certain types of text. The principal categories of the text, such as cohesion, coherence, integrity, consistency, continuum are realized even within the limits of a microtextsentence. The analysis of multicomponent structures is carried out in a triune way: taking into account the relation of their form, meaning and function. We show that the sequence of homogeneous subordinate clauses is determined by their content and the communicative task of the statement. In this regard, as the utterance unfolds from one subordinate clause to another, either the concretization of the meaning of conditionality or its intensification is revealed. On the other hand, the connection to the subordinate clauses of constructive conjunctions and lexical actualizers contributes to the expression of the category of informativeness, which implies the reflection in the text of the degree of novelty or significance of information. On the example of contaminated structures with various types of communication (compositional, subordinate, non-union), various methods and techniques are described as tectonic means of text formation. Thus, we conclude that a multicomponent complex sentence, which is a transitional structure from a complex sentence to a text, makes it possible to study the interaction of lexical and syntactic means in the formation of the meaning and implementation of the author’s communicative intention. 

We analyze the semantics, structure and use of French military borrowing batman from the moment of its entry into Russian at the turn of the 17–18th centuries to the present. We give an etymological and historical analysis of the word, we consider the evolution of its semantics in Russian due to the functional diversity of its use in the recipient language. We trace the history of the terminological development of the lexeme and its derivatives in the Russian literary language of the new period, the peculiarities of its functioning as a representative of the military vocabulary in contact with other spheres of the Russian language, while the provision we emphasize for the complete borrowing of a word from the French language into the Russian literary language from its form (phonetics, grammar, features of word usage) and meaning. We indicate and analyze in detail sources of the word study in the synchronous-diachronic aspect, lexicographic, documentary-historical and artistic-text, both on the material of the modern Russian literary language and in the previous periods of its formation, which helps to identify the gradual transformation of its semantic structure. We pay particular attention to the disclosure of the voluminous meaning of the word in the text of the novel-epic by L.N. Tolstoy “War and Peace”, which is a valuable source for studying the lexico-semantic system of the Russian language after Pushkin era. A number of examples of different spheres of the modern usus of the Russian language show a change in the functional-stylistic color of the word and the acquisition of other additional shades by the word. We conclude about the inevitability of fading the activity of its use in modern conditions of conducting military operations, turning it into historicism, which leads to the correlation of its place in the literary Russian language and the transfer to passive vocabulary.

We consider the place of heroic memoratives in the toponymic space of Russian Federation (at the level of oikonymy, urbanonymy, oronymy). The purpose of research is to show the effective role of commemorative practices, which are part of the state toponymic policy and aimed at preserving the historical memory of the heroic past of our country for posterity, using the example of Russian toponymy. We conclude that the state ideology is one of the main reasons for the appearance of toponyms-memoratives, gives the main categories of heroic personalities after whom geographical objects were named (heroes of military battles of the initial period of Russia before the 18th century, Patriotic War of 1812, October Revolution of 1917 and Russian Civil War, Great Patriotic War of 1941–1945, fighting in “hot spots” in peacetime, heroes of labor). In conclusion, we note that in the names of geographical objects considered, different historical epochs were intertwined, in which our ancestors showed courage and heroism in defending the Fatherland from external and internal enemies, and also performed labor feats for the benefit of their native country. 

We consider nicknames in the environment of modern Russian servicemen identify their aesthetic potential and features of their use in speech communication. Based on the answers to the questions of anonymous questionnaires filled out by Russian servicemen of various age groups, we establish that the nomination of nicknames for naming and naming contains various types of assessment, including emotional, which is manifested in the binary oppositions “good – bad”, “positive – negative”, ”beautiful – ugly”. We reveal that individual nicknames among modern Russian servicemen reflect an aesthetic function and are used only by those who are equal to its bearer. Communicators tend to label aesthetically positive characteristics in nicknames. Units from various layers of the national language (literary, colloquial, slang vocabulary) are involved in informal communication. We prove that the same nicknames do not arise among the military, even if the motivation is the same (tall – Long, hair color – Red). In the process of verbal communication, a linguistic personality with the help of a nickname demonstrates the national-cultural specificity of a representative of the society and the national-cultural specificity of the communication situation itself. 

We analyze the features of onomastic units functioning, which are cultural-onomastic constants, in the A. Platonov’s story “The Sluices of Epifany”. We substantiate the special attention that is drawn to the specificity of the introduction by the author of onomastic units of different categories. We show that a proper name is a special artistic element that does not exist independently in the text and is always interconnected with other elements of the text, since it is necessary for the author to create an artistic image. An interaction analysis of all these systems makes it possible to more accurately understand the author’s intention and the purpose of introducing one or another onomastic unit into the text. We reveal the features of onymic vocabulary functioning as an identifier of the chronotope in A. Platonov’s story “The Sluices of Epifany”. It is obvious that the introduction by the author of specific onomastic units into a work is always not accidental, such a choice is always caused directly by the author’s associations related to a particular name. The analysis of the author’s use of hydronyms as onomastic units as chronotope markers in the story “The Sluices of Epifany” gives the following results: by the means of hydronyms denoting the names of rivers and seas, A. Platonov verbalizes the scale of the described space, emphasizes its limitlessness; introducing the hydronym Ivan-lake into the text, the author verbalizes the chronotope of abyss. We conclude that space as a category in A. Platonov’s picture of the world occupies an important place. 

We consider the issues of teaching methods of Russian native language, which is included in the system of basic general education and is important for teaching school students. Among the current ones, there are issues associated with the awareness of the importance of the Russian native language course by both teachers and school students, not only for deepening knowledge, but also for fostering patriotism, as well as issues caused by the training of teachers and the insufficient appeal of teachers to linguo-regional material, reflecting the foundations of the national language and culture. Based on the analysis of regulatory sources and scientific and methodological literature, the work substantiates the possibility of solving the problems that have arisen by in-depth study of specialized disciplines by students-philologists within the framework of a specialty, as well as by using the linguistic-ethnographic approach in teaching Russian native language, contributing to the study of national foundations Russian language, education of patriotism. 

The aim of the study is to develop evaluative knowledge about educational activities in modern English. The relevance of the study is determined by the cognitive approach, in the framework of which the level belonging of evaluative concepts is considered and the means of their representation are revealed. As the main method, the conceptual-definitional analysis is declared, on the basis of which the characteristics of the UPBRINGING concept are revealed and the evaluative benchmarks of the subject of assessment are established in relation to various aspects of educational activity, presented in the form of a frame. We determine that at the superordinate level, evaluative knowledge is based on the acceptability of certain indicators and their compliance with social norms. At this level, assessment is represented by the adjectives acceptable/unacceptable and proper. Evaluative knowledge of the basic level is represented by the adjectives good, bad, perfect, great, fine. For the observer, in this case, private evaluative meanings are not important, the assessment is presented in a gestalt manner and indicates the approval of the observer due to the compliance of a certain objective characteristic with the standard. At the subordinate level, the assessment is projected onto various private assessment benchmarks that are significant for the observer. It is concluded that the evaluative knowledge about educational activities is formed at the intersection of objective and evaluative characteristics. 

We attempt to study nautical history influence on the phraseology of contemporary English. Britain’s geographical location and consequently its dependence on the surrounding seas greatly affected the language of all English-speaking countries. On the basis of criteria defined by J. Swales and ideas of W. Teubert, we identify the English-speaking discourse community of seafarers. The assessment of historical and social conditions made it possible to determine the causes and the impact of the highly specialized language of this discourse community on the entire English language. Following the study of two main approaches when working with language corpora (corpus-based and corpus-driven), we conducts corpus-driven research relying totally on the data obtained from the corpus. Using the material from the English language corpus NOW (News on the Web), we study the context and extent of distribution of seven phraseological units with components with the semantics of navigation in two main variants of the English language: British and American. The data obtained showed partial grammatical and syntactic discrepancies, as well as acceptable variations in the lexical structure of some units. The study of original nautical meanings allows us to understand the metaphorical mapping underlying the sense of the idioms.  

We investigate the main trends in Ural newspaper literature of the late 19th century. On the example of K. Bolshakov’s work, published in the first unofficial Ural’s newspaper “Yekaterinburg week”, within the framework of the historical and literary analysis, the attempts of a novice non-professional poet to integrate into the literary hierarchy of the national literary tradition, find literary “teachers” and “patrons” are considered. At the same time, the context of the Ural cultural nest, newspaper form of the existence of literary works exerted its influence on K. Bolshakov’s work. Comparison of publications in the newspaper and archival data (drafts, poems that were not intended for publication) allows us to say that the context of newspaper literature, the will of the editorial board had a direct impact on the writers of that time. We analyze, among other things, social composition of writers of the newspaper “Yekaterinburg week”, newspaper has united non-professional authors who, while developing generally significant social topics, sought to combine with the national tradition. Provincial newspaper literature sought to depict exotic plots, picked up literary innovations coming from the capitals. Against this background, K. Bolshakov’s work gave the impression of being quite traditional, but the choice of S. Nadson as a “literary teacher” for D. Mamin-Sibiryak’s student was quite unexpected. Social sketches, descriptions of professional life, philosophical reflections were intended by the author for publication, including in the newspaper. Poems “in case”, humorous poems remained in the drafts, although newspaper periodicals allowed publishing such texts, which testified to the deliberate selection of texts for publication by the author. K. Bolshakov became – along with Sivkov, Kholodkovsky, I. Popov, Galin, I. Belousov, Milyaev – one of the authors of the “Yekaterinburg week”, which addressed in the late 1880s – 1890s to the philosophical reflections of “night poetry”, nevertheless continuing the traditions of the civic poetry of N. Nekrasov (which is also noticeable in the choice of poetic meter). He did not manage to go beyond the limits of newspaper literature, and so much the better in his works the general tendencies of newspaper literature of that time can be traced.

We consider thematic, genre-compositional, stylistic features of D. Rubina’s works of the early period of her work. We focus on the analysis of stories “On Saturdays”, “This wonderful Altukhov”, “The House behind the Green Gate”, “Thorns”, which were included in the collection of short prose by D. Rubina of the 1970s–1980s. The relevance of study is associated with the need to study the work of one of the leading modern literature authors in order to clarify the general picture of the literary process at the turn of the 20th–21st centuries and the place of a particular artist in it. We formulate the main features of D. Rubina’s early works, which consist in the increased role of the autobiographical beginning, the presence of special heroes-representatives of creative professions, attention to the problems of childhood and the relationship between the older and younger generations, the introduction of mystical elements, the proximity of stories to the novelistic genre. We draw parallels with some of the writer’s later works from the perspective of development of images, artistic techniques. We define the prospects for the study of D. Rubina’s short prose: the study of the cross-cutting motives of writer’s stories, novellas and novels from the initial to the present period of creativity, the analysis of the intertextual connections of author’s works with classical and modern Russian and foreign literature. 

We conduct continuous poetical and philosophical research on the work of Y.V. Bondarev (1924–2020), the greatest Russian Soviet prose writer and a participant in the Great Patriotic War. Based on the study of the novel “The Shore” (1975) and the writer’s journalistic statements of the mid-1970s of the 20th century, within the framework of cultural-axiological paradigm, we attempt to comprehend one of the central dialogues between representatives of the creative intellectuals of Russia and West. The conversation between Russian Soviet writer Nikitin, a former front-line soldier who visited the German city of Hamburg 26 years after the war, and the German journalist and publisher Dietzman is read as a kind of philosophical quintessence of both this novel and, possibly, the writer’s work as a whole. The conflict between Russia and West is seen by  Y.V. Bondarev in the most complex metaphysical paradigm of the struggle of largely opposite cultural foundations, despite the common Christian basis. We state the complexity, multidimensionality, polyphonism of the Bondarev type of artistic expression, its ascent to the traditions of Russian literary classics and, above all, in this case to the work of F.M. Dostoevsky. We note the key, culminating significance of this dialogue-reflection undertaken in the chapter of the second chapter of the third part “Nostalgia” by Dietzman and Nikitin, which has some obvious similarities with the author both for the further development of latter’s character in the poetical and philosophical space of novel, and for its artistic “completion” in work finale. We comprehend the relevance of Bondarev’s metaphysical constants in the first quarter of the 21st century, prophetically written out about half a century ago. 

We analyze the epic breadth of A.F. Pisemsky “Men of the Forties”, the timeless relevance of writer’s reflections on the possibility of a harmonious relationship between a person’s personal life and his activities for the good of country. We note that, in comparison with other works by Pisemsky, this novel, which tells about life of an ordinary person, contains a spiritual vertical, a view from the position of eternity, which gives it enlightenment and epic monumentality. The metaphysical line of communication between many phenomena and events expands the space of novel. Pisemsky, who positions himself as the most truthful writer, matches the examples of reality to the desired models, moves away from his inherent pessimism, presenting several exemplary heroes and, if not an ideal, then the possible type of state and social structure of the country that is best for Russia. We analyze the influence of the “Dawn” magazine on the Pisemsky concept, we suggest that the writer needed a kind of moral and spiritual support of the Slavophiles to create an epic novel with a line of approval. Following the prominent publicists, lawyers and sociologists (V.Y. Danilevsky, A.D. Gradovsky) who published their articles in the “Dawn” magazine, Pisemsky’s hero turns to the model of a “all-estates-social” state based on nationality. Special attention in the novel is paid by the author to the motive of power over people, which puts a person in difficult and unnatural conditions for him.

We consider the ambiguity of Y.I. Zamyatin’s novel ending “We” on the basis of its synthetic feature and the author’s worldview ideas embodied in it. We note the key function of the heroine I-330 in the structure and novel theme, we draw attention to another female character, O90, whose fate is a seemingly “secondary”, completed earlier, but no less important storyline of the novel. We analyze O-90’s intertextual connections with other characters, at the plot level; we also reveal some possible extratextual associations of this character with Zamyatin’s statements in his critical articles and essays. Thus, in this character we see a fairly clear “integral image” of motherhood and writing, a realization of the “spiral” path of dialectical development, which is important for Zamyatin’s writer identity, and a hint of the vitality of the seemingly failed revolution as well. The combination of these features in one character makes us rethink the plotline of the novel and allows us to see a certain optimistic implication in its tragic ending. The symmetry of the two heroines’ fate and their decisive alliance also prove the importance of this character in the composition and the subject matter of the work. 

We analyze the process of appearance and approval of orphanhood motive in V. Astafyev’s work. We substantiate its connection with autobiographical episodes from the prosaist’s life. The purpose of work: to prove the idea of origin and institutionalization in V. Astafyev’s prose of a character’s special type through emphasizing the motive of orphanhood. The relevance of the study is due to the inexhaustible interest in the prosaist’s unique work on the part of criticism, literary studies, reading community. Based on the stories material of the turn of 1950–1960s (“Pass”, “Starodub”, “Starfall”, “Theft”, “Last Tribute”) we establish the typological similarity of Astafyev’s characters both among themselves and with the characters of Russian literature classics (N.M. Karamzin, A.I. Kuprin, M.M. Prishvin). We argue the idea of fundamental commonality of Astafyev’s character-orphan with the type of “natural”, “untutored” person. We express and prove the assumption that this community, among other things, is the result of V. Astafyev’s reflections on the social and ethical problems that concern him: the spiritual and moral loneliness of a modern person, the loss of ethical and social ties between generations, a consumer attitude to nature, a separation from origins. We find a deep connection between the actualization of the orphanhood topic in the prosaist’s work and the large-scale social cataclysms of the twentieth century (military conflicts, socio-political upheavals, urbanization, disintegration of the traditional village, corrosion of once stable family values). 

The work is devoted to the study of artistic structure specificity of A.I. Solzhenitsyn’s novel “In the First Circle”. We focus on the elements analysis of “circular book building” and parallel plot lines, typology of characters-antipodes. We consider in detail, from the formal-content point of view, the “heading complex” of the novel: title, author’s preamble, dedication, double list of contents. We clarify the semantics of the title variants and the final title of novel. We define the main levels of plot-compositional parallelism. We identify the peculiarities of narrative temporal organization, covering three New Year’s Eve days. We analyze artistic details that help create contrasting situations. We can trace several cross-cutting motives in the description of the fate of different characters. We designate the intersection of storylines affecting the work, love, interpersonal relationships of the characters. We draw parallels between the individual structural elements of the novel, which form the compositional “circular book building” given by the title formula. We define pairs of ideologically and behaviorally similar characters, characters-antipodes and the principles of their typology. We show the importance of parallel elements to create a coherent piece of art. We conclude that the artistic means and techniques used by the writer are directly related to the social and artistic practice of research and embodiment of the Russian national character as the main vector of A.I. Solzhenitsyn’s work. 

We tell about the I.A. Dedkov’s views on the ratio of end and means on the way to high social ideal. We conduct an analysis that reveals the humanistic ontology of his worldview. Being a staunch antistalinist, supporter of the decisions of the 20th Congress of the CPSU, I.A. Dedkov throughout his life and work, in letters, diary entries, in literary-critical and practical activities, consistently condemned the inhuman principle “the end justifies the means”, drawing for this arguments from the traditions of Russian classical literature and Russian pre-revolutionary liberaloriented philosophy, as well as from Western European existentialism. We reveal this humanistic and ideological intention that existed latently in the times of the USSR in the literary heritage of the critic and journalist I.A. Dedkov. The main methods used in the preparation of this work: elements of systemic and comparative analyzes, biographical, discursive and narrative research methods. The main conclusions from the study are the disclosure of the humanistic nature of  I.A. Dedkov, which sharply differs from the immoral methodology of political expediency, neglecting the choice and use of ethically grounded and adequate means of its implementation. This provision is supported by texthestruic analysis of a number of sources, including the  Y.V. Triforov’s novel “The Impatient Ones” from the series «Family Revolutionary» on the revolutionary population of A.I. Zhelyabov. I.A. Dedkov consistently defended his theoretical and ideological postulates based on the non-acceptance and rejection of inhumane and ruthless political practices in his literary, critical and journalistic activities, as well as in his personal life, while remaining loyal to the socialist (communist) ideal in its humanistic (anthropocentric) ideal. 

We analyze the cultural and historical development of art of theater direction in the 20th–21st centuries. We consider the features of director’s theater on the example of Anatoly Vasiliev’s theater, Mark Zakharov’s theater, Zhenovach’s theater, Pyotr Fomenko’s theater, etc. We note that throughout the entire period there is a transformation of the role of the director in the theater. We note that throughout the entire period there is a transformation of director’s role in the theater. The significance of the theater director – artist grows into more complex forms of his existence: the playwright – the organizer of the performance – the teacher and educator of the theatrical collective. We conduct an analysis of directing schools allow us to draw the following conclusions. Firstly, the Russian theater at the turn of the 20th–21st centuries managed to preserve its traditions even in the conditions of the most powerful computer and television boom. Secondly, the theater continued to occupy one of the leading places in the spiritual, moral and aesthetic education of society. Thirdly, the direction of domestic theater adopted and multiplied the best traditions of realistic art, coming from K. Stanislavsky, V. Nemirovich-Danchenko, E. Vakhtangov, M. Chekhov, taking into account modern trends and interests of the audience. Fourthly, there was an active search for new forms in directing and acting, experimental theaters and studios were formed. Fifthly, a huge place in directing was given to the production of classics. We note that the period under review provided an opportunity to fully reveal the originality in directing and acting. 

We present an analysis of the basic aesthetic principles of Mark Zakharov’s directing. We consider the creative path of the director, factors influencing the development of his directorial views and worldview. Throughout his career, Zakharov improved and was constantly on the lookout. The director formulated some principles of working with actors. Among them is the need to help an actor, directing him in the right direction of his plan, without turning him into a pawn for directorial experiments. A modern actor must constantly take into account three important theatrical elements: the material environment, partners and spectators. Mark Zakharov’s performances did not put the actor in a certain framework, but on the contrary, gave an opportunity for improvisation, active life, constant creative search. We also focus on the director's ability to influence the viewer. He was able to unobtrusively, in a comedy-musical form, convey to the viewer the most terrible events, the wisest thoughts, and this form is always perceived better, the viewer is more willing to let himself be taught. We conclude that Zakharov built his own special directing system based on his worldview. 

We consider the cultural and philosophical aspects of critical thinking and scientific approaches to them in the classical and postclassical philosophy of education. We characterize the specific features of thinking and requirements for it within the framework of the traditional and new models of educational values. We note that in the culturological value context an important place is occupied not by individual models as an intrinsic value, but by the presence of continuity, the implementation of the principles of complementarity and interdependence of “traditional” and “modern”. We analyze the concepts of “culture of thinking” and “culture of education”. We provide definitions and levels of critical thinking in their relation to universal human cultural values, taking into account the awareness of the multipolarity of world. We propose an approach to solving problematic issues related to the formation of critical thinking, in accordance not only with historically established philosophical doctrines about thinking, but also with cultural and educational traditions. As an example of the traditions influence of culture of thinking on the critical thinking formation, such educational practice as “Philosophy for Children” is given. We substantiate the choice of programs and methods of philosophizing with children based on cultural reality and spiritual problems (intellectual, political, ethical, etc.), characteristic of a particular state. We conclude that there is a close relationship between cultural and educational traditions and key aspects of the critical thinking formation. 

We investigate hidden comparisons that are relevant for advertising texts, created on the basis of lexical superlatives – marker words with an estimated value of high quality, superiority, originality, uniqueness, ideality, exemplaryness, etc. We show that the use of such hidden comparisons, not related to specific objects or phenomena, with which the advertised product/service is compared, is a striking feature of modern advertising texts. We substantiate that hidden comparisons created on the basis of lexical superlatives, demonstrating the advantages, superiority of the advertised goods/services over all others, increase the persuasiveness of the advertising text, enhance its effectiveness. We prove that hidden comparisons created on the basis of lexical superlatives provide emotional representation of information about the advertised object in the advertising text and perform a text-forming function, forming the dominant meanings of advertising. 

The work is devoted to the consideration of the specifics of selling content in stories. The stories format is considered as relevant and effective marketing tool. Based on modern statistical data, as well as research by specialists in the field of SMM and native advertising, we highlight the main advantages of Instagram network as a space for various kinds of marketing innovations, describe the functional, content and stylistic features of stories. We focus on the native presentation of advertising information in stories, which manifests itself in the maximum mimicry (imitativeness) to the format, style, blog topic and the specifics of the media platform on which this tool is used. A feature of selling information in stories is the fact that content is selected for advertising that is relevant to the brand, product, communication strategy, which ensures high-quality, meaningful integration of SMM text into the blog format. The research material is polymodal texts of two bloggers whose Instagram accounts are characterized by different issues, different target audiences and, as a result, different ways of broadcasting advertising information through stories (publications of 2020 are analyzed). As a result of the analysis, we highlight the main features of the modern SMM text used in stories, the form and function of the most common types of content.