The article deals with existing proposals for adjusting the methodological foundations of teaching Latin terminology at the medical university. The importance of a practiceoriented approach in education is noted. Latin adjectives with the final component -formis, -e are considered and analyzed in anatomical nomenclature from the perspective of this approach. Information about these adjectives found in textbooks and dictionaries is expanded and summarized. Handouts are proposed that allow for the diversification of illustrative material in practical Latin language classes. The word building model of adjectives with the component -formis, -e is commented on, with examples of the use of these words in other terminological systems provided.

The article examines the interaction between the terminological systems of law and art in contemporary English-language discourse. The object of analysis is legal terminology that enters the sphere of art and is used to describe artistic practices, institutional relations, and audience experience. The aim of the study is to identify the main types of semantic transformation in the process of transterminologization of legal terms. The material includes art-related terms taken from articles published in Art Monthly and definitions from authoritative English-language dictionaries of legal terms, which make it possible to reconstruct the original legal meanings and trace their semantic transformation within the terminological system of art. The study employs componential, contextual, and semantic analysis. As a result, two main types of transterminologization are identified: the first is associated with the preservation of the legal semantic core while expanding its meaning through metaphorical or metonymic transfer; the second involves a deeper reconceptualization, in which the legal component recedes into the background and new culturally and aesthetically charged meanings come to the fore. It is shown that transterminologization affecting the spheres of law and art not only enriches both terminological systems by transforming the meanings of legal terms within the terminological system of art, but also significantly alters their pragmatic potential, enabling them to function as instruments of evaluation, institutional critique, and audience engagement.

 This article examines the linguistic strategies employed to objectify and actualize the concept of “mystery” within animated series discourse. Based on a lexicographic analysis of the core lexeme, the work identifies and describes its fundamental semantic components that structure the concept under investigation. The primary focus is on identifying, cataloging, and functionally analyzing the verbalizers of this concept within the narrative fabric of animated storytelling. The research results provide a comprehensive characterization of the derivational potential and synonymous field of the “mystery” lexeme. The identified linguistic means are grouped into three key semantic gpoups representing the concept: the affective (fear, awe, terror), the mythopoetic (magical, supernatural beings), and the epistemological (the unknown, the inexplicable, the hidden). The conducted analysis demonstrates how linguistic tools contribute to modeling an atmosphere of enigma and constructing a specific worldview within contemporary animated discourse.

This article examines the symbolism of the color of medical terminology in the works by M.A. Bulgakov and color symbols in the medical space. Special attention is paid to the analysis of color meanings in the stories "The Steel Throat", "The Starry Rash", "The Towel with Rooster", the novella "Heart of a Dog". The highlighted medical terms in the stories of M.A. Bulgakov indicate that medical terms with a color designation component are emotionally charged and cause various connotative (positive and negative) reactions. The concept of color (its nomination) is an integral part of medical knowledge, an ancient semiotic system, and an important part of the conceptual worldview of medicine.

This article examines good wishes and curses in the Tajik language as manifestations of linguistic universals. Their lexical, semantic, pragmatic, and sociocultural features are analyzed. It is revealed that the national and cultural specificity of the formulations of good wishes and curses is universal in nature, reflecting communicative needs common to many languages and cultures. Particular attention is paid to their role in expressing the speaker's mentality, moral norms, social relations, and emotional state. The use of folklore and colloquial material allows us to trace the stable formulas and cultural significance of these expressions in the Tajik linguistic and cultural space.

The goal of the article is to reveal the communicative value of colormarking of people and its interpretational potential. The colour indicators of phisical condition of people in Russian language are considered, among them the health indicators are analyzed. The experiences of Polish language are used for the goals of contrastive analyze. The terms of color in anthropocentric paradigm is analyzed in their function of the communicatively and socially relevant indicators of the different physical states of people. There is presented intraand interlingual comparison of terms of color usage. The color terms’ syncretism and the ways of its elimination are indicated. The article ssian is addressed to the teachers of Russian and foreign languages, general and contrastive linguistics, terminology and communication studies.

This article is devoted to the study of the representation of knowledge related to the transformation of a hero in a military artistic narrative through the analysis of metaphorical density. The MIPVU metaphor identification technique made it possible to identify metaphors in the source of the material, which were divided into three categories: low-density, medium-density and highdensity metaphors. When analyzing metaphors, it was revealed that low-density metaphors capture the description of hostilities and their consequences, medium-density ones include an assessment of events and reflection, while high-density ones are characterized by maximum expression and intensity of the protagonist's experiences. The analysis of metaphorical contexts from all groups of metaphors was carried out, demonstrating the dynamics of the plot and the internal evolution of the protagonist. The results of the study show that the metaphorical space of the work reflects changes in the complex inner world of the narrator character, who was a direct participant in the events described.

One of the key problems of phonostylistic studies is the identification of the sources of prosodic variation in oral speech. Functional and stylistic modifications of English prosody in spoken literary discourse (read-aloud prose) are determined (among other factors) by the “factor of the reader”. Comparative analysis of the prosodic realization of British prose performed by professional actors and untrained readers allows us to demonstrate the significance of this factor in forming phonostylistic features of literary discourse and to establish the role of suprasegmental phonetic means in conveying its expressiveness.

The purpose of this study is to identify specific linguistic means of figurative and symbolic representation of oneiric space in epistolary and autobiographical texts belonging to the French Romantic writer George Sand. The dream descriptions present in romantic fiction have a sacred meaning and a pronounced symbolic meaning, which is conveyed through a complex of sensual and rational images. The French author's epistolary and autobiographical texts are not examples of fiction, but demonstrate the peculiarities of writing skills aimed at depicting surreal reality, reflecting its psychological state, arising in connection with certain events or in a certain context of reality. The presented oneiric descriptions act as a means of verbalizing the process of self-knowledge and influencing the addressee of correspondence (the son of Maurice, Alfred de Musset and Michel de Bourges) or the reader of memoirs. George Sand creates sensual (sensory and emotional) and rational images, through which he translates his feelings of fear, anxiety, and insecurity. The writer strives to comprehend reality through abstract (faith, forgiveness, death, etc.) and concrete symbols (doll, furniture, thyrsus, etc.), which simultaneously attest to the depth of her introspection and individual interpretation of the ideas of Romanticism.