There are many language units with action metaphors in Russian and Chinese. This article conducts a comparative study of Russian and Chinese verbs and verb phrases that metaphorically describe human activities. By analyzing the language and culture of these language units, we have identified the meanings and images in the internal forms of vocabulary, and expressed the stereotypical concepts of behavior known as the direct meaning of core components. Our research contributes to the development of cross-cultural communication theory and can help Chinese students learn Russian by cultivating comparative analysis skills between two languages and cultures.

Hairdressing terminology belongs to an actively developing part of the Turkish language vocabulary, which is due to the progressive development of hairdressing. Modern hairdressing terminology mainly consists of Western origin words, also including a large number of Turkic origin words. Hairdressing terminology as a system is changeable, it develops in accordance with the needs of the time. In this article, hairdressing vocabulary is considered in the etymological aspect. In this research was applied the method of analysis which is used to determine the original form of the word and its further historical development. The material of the study was lexical items related to the terminology of hairdressing, which were determined by the method of controlled selection. In the conclusion it is shown the percentage of the identified etymological features of the researched terminology.

Internet address terminology is an important part of the Internet language, which not only reflects the changes in people's lives and ideas in the Internet era, but also enriches the system of addresses of modern Chinese. The purpose of this paper is to study and systematize the address terms in Chinese Internet language, considering their structural, word-formation, lexical and semantic features. The author of this article conducts the study of address terms using the material of posts in Weibo and WeChat. The author determines that the features of Internet communication affect the formation of address terms used in the Internet, and it is manifested most clearly in the way these terms are written. Attention is called to such methods of formation of address forms as: formation on the basis of consonance, the expansion commonly used words’ meanings and semantic borrowings from foreign languages.

This article provides a linguistic and cultural analysis of the world-famous toponym ‘Nile’ in the Tajik-Persian written monuments of the classical period. This hydronym is analyzed on the basis of certain cultural-historical and trade-economic relations linking the Iranian-speaking peoples with the peoples of the Nile basin and the Persian Gulf.

The sources of the linguistic materials of this article indicate the wide popularity of the hydronym in historical and geographical treatises and philological works created in the vast territory of the spread of the Tajik (Persian) language.

The article also deals with geographical phenomena and biological creatures associated with the Nile, which are described by scientists and writers of the classical period of the development of science and literature.

The analysis of the linguistic material in the article associated with the hydronym "Nile" is carried out using various methods of studying linguistic facts and phenomena.

The illustrative material of this article is selected from reliable and original texts of PersianTajik classical literature. They are the legacy of Rudaki and his contemporaries, "Shahnameh" by Firdousi, the poetry of Jalaladdin Balkhi (Rumi), Saadi Shirazi, Hafiz Shirazi, Khaqani Shirvani, Nizami Ganjavi, Abdarrahman Jami and many other Persian-speaking poets, as well as explanatory and bilingual dictionaries of the X-XX centuries of Tajik-Persian lexicographic tradition with the author's translation into Russian.

The results of this study can contribute to the mutual enrichment of the intellectual potential of various peoples living in the linguistic area of the analyzed hydronym, which is relevant at the present difficult stage of the development of social, cultural, political and economic relations around the world.

The selection of the research topic and its relevance are due to the fact that every year the number of students of the Russian language in Vietnam, as well as the number of students of the Vietnamese language in Russia, is increasing significantly, but teaching methods and materials are limited. One of the most difficult parts in learning these languages is learning the grammatical features of nouns. The purpose of this work is to compare the grammatical features of the nouns of the Russian and Vietnamese languages. Results, conclusions, as well as the material of this study They can be used as teaching materials for teaching and learning Vietnamese and Russian as a foreign language. The following methods are used in the work: collective, comparative analysis and descriptive method.

The article deals with the types of lexical homonymy and features of their functioning in modern Chinese sports and medical media advertising. The relevance of the study is due to the expansion of the traditional generic model of lexical homonyms in Chinese, which is reflected in advertising media texts as a means of realizing the addresser's speech intention. The purpose of the research work is to identify and describe the types of lexical homonymy in Chinese sports and medical media advertising. The main methods applied to this article are the inductive method, the deductive method, the method of definitional analysis, lexico-semantic analysis, content analysis. In the process of research, the conceptual apparatus of traditional types of lexical homonymy in the Chinese language is defined: homonyms proper, homographs and homophones, and the concept of similar-sounding words (近音词jı n yı n cı ) is introduced as one of the categories of homonymy; Chinese proper, proper English and English-Chinese subspecies of the established category are considered. The listed subspecies of similar-sounding words are interpreted as a component of lexical homonymy due to the desire for sound identity in the presence of absolute phonetic or graphic similarity with the original component. The analysis of the material showed that in Chinese sports and medical media advertising there is no such category of homonyms as homographs, which is associated with the semantic and phonetic component of the final media message. The principle of choosing a syllable for subsequent homonymous replacement in an advertising media message is carried out from the point of view of highlighting a component that is key in meaning, reflecting a current event/holiday in a country or city. One of the productive areas of functioning of lexical homonyms in the Chinese sports and medical advertising media text is the phraseological layer of vocabulary.

Zhou Enlai’s personality is well known to the Soviet/Russian scholars, but most of the works cover Zhou Enlai’s activities on the Soviet direction as Minister of Foreign Affairs and Premier of the State Council after the formation of the People’s Republic of China. This article analyzes the content and meaning of less known pages of his biography in the Comintern during his stays in Moscow in 1928, 1930 and 1939-1940s. As a senior CCP member, candidate and later as a member of the Executive Committee of the Comintern he saw his task in clarifying and harmonizing the Comintern’s position on the CCP, the Chinese Revolution, and the anti-Japanese War. On the other hand, at the crucial historical moments he conveyed to the Comintern the latest and most reliable information about China: the state of the CCP, party and military construction; during the anti-Japanese war — it was the situation on the fronts, the position of the Kuomintang government, relations between CCP and Kuomintang, a situation on the united front.

The study shows that Zhou Enlai’s highly professional and businesslike approach played an important role in coordinating actions and political line between the CCP and the Comintern.

The article is written on the basis of Russian archival materials, some of which were introduced into scientific circulation for the first time, and with the involvement of Chinese researches which had not been known to Russian scholars before.

The article gives an idea of the main milestones in Chinese Manchu studies. The formation of the Eight Banner system could be considered as one of the most important issues among the modern historians in China, such as Wang Zhonghan and especially Liu Xiaomeng. The article analyses the evolution in Chinese historiography concerning this important military, administrative, and economic institution of the Manchu state at the initial stage of its emerging. It becomes obvious that American and Chinese schools have affected each other. Without such interaction, it is hard to imagine a critical revision of the dominant statements in both historiographical schools. At the same time, despite some common approaches, the gap between the two schools is still substantial. The influence of the predecessors and political agenda cause modern Chinese historians to consider the early Manchu history as the evolution process, the goal of which was to absorb the achievements of the Chinese civilization. In this interpretation, “the formation of the Eight Banner” issue becomes relevant since the Banner system has served for the transformation of the so-called “backward” communities into “civilized” society. In a short time, due to the Banner system, a transformed society was able to create a state based on Chinese political culture. These changes in the Jurchen social structure reflect the establishment of a centralized government. Although the Banner system was obviously a repressive institution for its ordinary members, it was the only way to make a strong state under conditions of small resource base and loose connections between Jurchen tribes.

The frticle deals with the development of art films in China as an independent direction in Chinese cinema. The author assumes that the development of cinema as a modern art form has evolved through several stages. But the main reason that determined its progressive development was its mass character and general accessibility along with the main functionality fulfillment of cinema. The author emphasizes that the functionality of cinema lies in the fact that cinema relays the demands of society back to the same society that forms these demands. Therefore, two obvious trends can be traced. Firstly, given its mass character and accessibility, cinema has been simplified, which led to the emergence of a huge number of genres popular among the people. This trend made cinema understandable and interesting to the mass audience. Secondly, at the same time, cinema was standardized, which was explained by the need among a more educated and intellectually advanced audience for more complex and “smart” forms of cinema. These two trends formed two types of cinema into which film specialists usually divide cinematic content: producer cinema and arthouse (or art films).

Producer cinema usually includes commercial films that takes into account the tastes of the mass cinema audience. Arthouse, on the contrary, is focused on elites, art films are normally low-budget and represent “weird” films made by independent filmmakers who try to present their own view of the life and development of human society. Sometimes such cinema is called "cinema for the elite, those who understand."

Сonsequently, for a long time it was believed that there is no independent and arthouse cinema in China due to the spread of ideology into all spheres of the Chinese society.

The purpose of this study is to show the existence of deeper processes in the Chinese cinema other than just the industrialization of film production in the country. Based on the methods of logical and social analysis, the author attempts to identify and underline the key features of arthouse development in China, and determine the degree of dependence of the most influential film directors on the political and ideological attitudes of the authorities. The author also demonstrates social orientation of Chinese art cinema.

The majority of publications on modern art-house Chinese cinema is currently concentrated in online resources devoted to the history of cinema. These publications are focused mainly on the mass reader and, in terms of their content, are rather not of scientific, but of popularization in nature. Serious research works are extremely rare. Among such works, the author singles out the article “The Art of Chinese Cinema” by O. V. Shubaro, which not only explores the processes in modern Chinese cinema, but also emphasizes their duality. “Different trends coexist in modern Chinese cinema — the process of commercialization on the one hand, and the development of art-house cinema on the other; different genres — action films, melodramas, historical dramas, comedies; orientation to Western cinema standards and preservation of the peculiarities of the national culture”. The founders of modern arthouse cinema in China are considered to be the masters of the Chinese cinema, directors Zhang Yimou (张艺谋) and Chen Kaige (陈凯歌).

During the Liuchao period 六朝 ("Six Dynasties", 220–589), encyclopedic texts leishu 類書 ("classified books") began to be actively compiled in China. Their creation was due to the goal, on the one hand, to preserve the ancient texts, and on the other hand, to make it convenient to use the large accumulated body of literature. However, the origins of the leishu genre can already be traced back to the treatises of the Han era 漢 (202 BC – 220 AD), for example, Baihutong 白虎通 ("Allpenetrating [Discussions in the Hall] of the White Tiger") and Fengsu tongyi 風俗通義 ("Penetrating into the Meaning of Traditions and Customs"). The purpose of this study was to establish parallels in the methods of work and organization of the earliest extant encyclopedias and the aforementioned Han treatises through their comparative analysis. As a result of the study, it was shown that features of leishu in "Feng su tong yi" and "Bai hu tong" are observed not only in the breadth of the material covered, but also in the structure of content: in the use of glosses and definitions for all key concepts, abundant citations of classical texts to characterize them, as well as the arrangement of material from the most important to the less important.

The subject of the research is the influence of the K-Beauty phenomenon on the formation of promotion features of Korean cosmetics. The chronological framework of the article covers the period from the mid-1990s to the present. The choice of the chronological framework is related to the emergence of the concept of the "Korean wave" in the late 20th century, which implied the spread of culture, followed by South Korean products around the world. It became a fundamental basis for the development of the cosmetics industry in the Republic of Korea that got known as the KBeauty phenomenon. Korean cosmetics have become a kind of trend, behind which there are many manufacturers of both budget and luxury segments. Korean biochemists and marketers are increasingly surpassing their Japanese and U.S. counterparts in both packaging design and product quality. Korean cosmetics are considered natural and safe all over the world, as the government carries out strict control over the production of cosmetics: the quality of product composition, its authenticity, environmental friendliness of packages, and also promotes it in the international market. Completely unlike other cosmetics industry, the one of South Korea has not gone unnoticed, is very popular around the world, contributing to the global cosmetics industry, which made the topic of the research relevant.

The source base is primarily represented by the materials of the periodical press of the Republic of Korea. The novelty of the research lies in the attempt to consider the peculiarities of promotion of South Korean cosmetic products due to the KBeauty phenomenon in a comprehensive way. The article analyzes the dynamics of the development of Korean cosmetic industry, the methods of product sales promotion, the creation of a unique image of South Korean cosmetic brands, and draws reasonable conclusions.

The unique tradition of the Korean studies at the Institute of Oriental Manuscripts of the Russian Academy of Sciences (until 2007, the St. Petersburg branch of the Institute of Oriental Studies RAS) developed within the framework of the St. Petersburg (Leningrad) school of Oriental studies. It is based on the study of the traditional culture of the countries of the Far East, and, first of all, the classical monuments of the Far Eastern literature. The article is a brief outline of the history of the Korean studies at the IOM RAS since the establishment of the Japanese-Korean cabinet in the 1930s until nowadays. The article is based on previously unpublished materials from the Archive of Orientalists of the Institute of Oriental Studies RAS. The main emphasis is placed on the introduction of the biobibliographical data of those who worked at the IOM RAS: D. M. Sklyarov and L. K. Koreyan, members of the Japanese-Korean cabinet, who for the first time in the Institute of Oriental Studies of the Russian Academy of Sciences began to study Korea. Special attention is payed to the works of A. A. Kholodovich, who was the first in our country to describe the grammar of the Korean language; D. D. Eliseev, a translator and researcher of the medieval Korean prose of small forms; M. I. Nikitina, a specialist in ancient and medieval Korean-language poetry; A. F. Trotsevich, a historian of Korean literature and translator of traditional prose; L. V. Zhdanova, who studied and translated Korean medieval poetry from the literary Chinese language; S. O. Kurbanov, an expert on the history and ideology of Korea; Yu. V. Boltach, who is engaged in the study of sources of early Korean history.

Miao's albums appeared in the XVIII century and were intended to depict ethnic groups of small nationalities living on the borders of the Qing Empire. The albums included not only the Miao (Hmong), but also many small peoples of southeastern China, i.e. the modern provinces of Guizhou and Yunnan. The purpose of this article is to give a brief overview and assessment of Western European and American studies of Miao albums. Studies of albums began in the middle of the XIX century and became especially popular in the XXI century. Research object is often solely one album that was studied with minimal background. Usually researchers translated and commented on the album, at best comparing it with the collections of other museums and universities. At the present stage, albums are researched in accordance with modern trends (gender, ethnicity, etc.), research is often tendentious, but grows to be more multifaceted.

As you know, in 1921, on March 16, In Moscow, an Agreement on Friendship and Fraternity is signed between the RSFSR and Turkey.1 On the Soviet side, the document was signed by the People's Commissar of Foreign Affairs G. V. Chicherin and a member of the Central Executive Committee J. Korkmasov, from the Turkish side — Yusuf Kemal, Ali Fuad and Riza Nur, authorized representatives of the Government of the Grand National Assembly of Turkey (hereinafter VNST). The Treaty entered into force on September 22, 1921. It was of significant importance for Turkey, being the first official recognition of its independence and equality with other powers. The RSFSR and Turkey exchange ambassadors. Semyon Ivanovich Aralov is going to Ankara as a plenipotentiary, And the Turkish ambassador, General Ali Fuad, is arriving in Moscow. Any contract is worth something if it is consistently executed by both parties. The first period is especially important, during which the foundation of future relations is laid. This initial stage will be discussed in this article. At the same time, the authors limit themselves to 1922, the year of strengthening bilateral ties. This is evidenced by the published documents of the USSR's foreign policy, memoir sources (K. Ataturk, S.I. Aralov), which became the basis of the proposed material.

The article analyzes the current situation regarding the technological security of the United States in the Pacific Ocean, including underwater telecommunications cables of various types. The work also proposes the assessment of China's views on the US building up the volume of its technological infrastructure in the Pacific Ocean. According to the results of the study, the following conclusions are made: the growing rivalry between the United States and China in the Pacific Ocean will intensify, putting more pressure on Pacific Island countries. The key task of the leadership of the Pacific states will be to protect national interests and strengthen sovereignty, resisting the dictates of the United States and its allies.

Champa architectural and decorative sculptural arts of Vietnam is one of the three famous arts in Southeast Asia (Java, Angkor and Champa), under the influence of Indian culture but Champa sculpture has had their own unique values thanks to the combination of regional characteristics with indigenous religions. Commonly used images on architectural works, statues, reliefs, stand for Indian gods and dancers, protectors, linga — yoni, legend animals (Kala, Makara, Nandin, Naga, Garuda…). Through the solutions to attract domestic and foreign tourists interested in Vietnamese ancient art as well as promote in practical subjects at schools training art and design. Researching on the image of Kala on decorative sculptures of Champa, the article proposes solutions to attract domestic and foreign tourists interested in Vietnamese ancient art as well as promote them into practical subjects at art and design schools today.