The article deals with Chinese inclusions in the novels by modern Chinese American writers E. Tang and M.H. Kingston. In the process of the study different types of bilingualism are taken into consideration. Being bilingual representatives of the second-generation immigrants both E. Tang and M.H. Kingston can evaluate the level of linguistic and cultural assimilation of the Chinese in the multinational environment. The research is focused on the ways linguistic and cultural worldview of bilingual authors is reflected in their works. To reach the goal of the research the continuous sampling method is used to collect the data. Though in most cases the authors explain or translate inclusions, we find it important to track the origin of the inclusions under study. The analysis has shown that the majority of Chinese inclusions illustrate such basic cultural values as family circle, forms of address, cuisine and etc. Inclusions in the texts prove that root culture and newly acquired one peacefully coexist in Chinese community in the USA. The results indicate that inclusions employed by the authors in the novels reveal their personal emotional attitude to the characters and prove that their bilingualism and biculturalism help to bridge the gap between different cultures and nations.

The problem of cultural transformations or transference remains a relevant object of research in film discourse. Of particular interest is the study of the representation of cultural concepts in films. It is noted that the film text is a complex linguistic product that can undergo primary, secondary and more transformations through comprehension by representatives of different cultures. There are many recipients have an opportunity for seeing a product of mass culture, therefore filmtext can also generate cultural transfers. There is a special position in the scheme of cultural transfer in the filmtext is occupied by the translator in the status of an intermediary and interpreter of culturally significant components of the original, responsible for the availability and maximally equivalent perception of information. This article examines the stages of cultural transfer and their influence on the final filmtext for the Russian viewer (final recipient); a classification and comparison of linguistic and cultural concepts are carried out based on the material of the films “Mulan” produced by Walt Disney Pictures (2020) and “Hua Mulan” (花木兰) produced by Beijing Film Company (PRC, 2019). The authors came to conclusion that the linguistic and cultural concepts selected in the course of the study have undergone several stages of cultural transformations during the transfer, contain “imprints” of this culture and therefore may not be understood by the final recipient.

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The article deals with the elements of Russian cultural code in folklore and literary works of the Russian-Chinese and Mexican-American borderlands. The object of the study is the texts united by the topos of the border. The borderland is considered as the place of the most intense interaction of cultures. The authors focus on the features of the polylogue of cultures at specific loci: Trekhrechye, Northern China (right bank of the border river Argun); California and Baja California (Mexican-American border) — historically marked by the “Russian presence”. These loci are characterized by linguistic contacts of the Russian language with Chinese and Evenk (Trekhrechye, right bank of the Argun River); Russian with English and Spanish (California and Baja California). The relevance of the study connected with the growing academic interest in the phenomenon of cultural and linguistic interaction in the borderlands. The authors explore significant units of Russian cultural code: personal names (anthroponyms), toponyms, exoticisms based on Russian song folklore of the Trekhrechye and the literary works of contemporary authors of the Russian-Chinese and Mexican-American borderlands (Chi Zijian, G. Valdes). The verbal cultural code contributes to the preservation and transmission of cultural information in a situation of close interaction with a foreign culture. The work uses comparative-historical, structural-semiotic and linguocultural research methods. The study confirms that specific linguistic units, onyms (anthroponyms, toponyms) and exoticisms, are significant elements of the Russian cultural code, which is actualized in the polylogue of cultures in borderland loci.

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