This article explores the theoretical and practical foundations of a technology for improving the cognitive mechanisms of a digital immersive multisensory teaching environment in higher education. It substantiates the potential for developing students' cognitive activity, critical thinking, reflective activity, and professional competence through the integration of digital, immersive, and multisensory learning tools. The effectiveness of the proposed technology is confirmed by the results of a pedagogical experiment.

The article analyses, with reference to English, the impact of digital learning tools on translation quality and on the professional competence of trainee translators. The relevance of the study stems from the rapid entry of computer-assisted translation systems, neural machine translation and AI-based assistive tools into the educational process, while it remains insufficiently described how exactly these tools affect translation quality and which components of competence they develop or weaken. The aim of the research is to classify types of digital tools, to determine the effect of each on translation quality, and to relate them to the components of established competence models. The material comprises a corpus of scholarly sources on translation competence theory, the didactics of translation technology and machine translation post-editing. Descriptive, comparative-analytical and structural-functional methods were applied, together with content analysis of the sources. Five types of digital tools were identified, and for each a quality effect and a risk zone are described. Three principal risks were established: the flattening of style, over-reliance on the tool, and the false confidence produced by fluent machine output. On this basis a three-stage methodological model and assessment criteria are proposed. The practical value of the study lies in the applicability of the model to the design of translation curricula and teaching materials.

The article examines the system of parts of speech in modern Russian and argues for its refinement on the basis of a multi-criterion approach. The relevance of the study stems from the continuing controversy surrounding the issue: despite the stability of the classification used in schools and universities, the composition and boundaries of individual word classes remain disputed, and the number of parts of speech identified varies across descriptions. The aim of the research is to determine the criteria for classifying parts of speech in Russian, to identify the zones in which classes overlap, and to characterise the dynamic processes that alter the composition of word classes. The material comprises a corpus of scholarly and reference literature: classical works on Russian morphology, academic grammars, and contemporary studies in the theory of parts of speech and the typology of word classes. Descriptive, structural-semantic, distributional and contrastive-typological methods were applied, together with content analysis of scholarly sources. The findings show that parts of speech in Russian do not constitute a discrete partition of the lexicon: classes are linked by relations of prototypicality, and between them lie transitional zones filled by hybrid units. Four types of transitional phenomena are identified and described, and the status of the most disputed classes — predicatives, participles, gerunds, pronouns and modal words — is substantiated. The practical value of the study lies in the applicability of its conclusions to the teaching of Russian morphology, including in classrooms where Russian is not the students' first language.

The article provides a comparative-typological analysis of the mythopoetic nature of eschatological (doomsday) motifs in world mythology and of the dominant mythological images activated within these motifs. The source base comprises the Ragnarök plot of Scandinavian-English mythology, Sumerian-Akkadian and scriptural accounts of the universal flood, Turkic (Altai-Khakas) narratives connected with Ülgen and Erlik, and the layer of Uzbek folklore enriched by Islamic notions of the hereafter. The analysis identifies a four-stage mythopoetic model of the eschatological motif: violation of the norm – catastrophe – purification – rebirth; the dominant images are classified into the groups of demiurge, eschatological antagonist, seer, salvific vessel and the surviving restorative pair. It is argued that in English mythology the destruction of the world is cyclical and cosmological, whereas in Uzbek mythology it is linear and morally accountable in character.

The article examines the integration of the cultural analysis of literature with modern digital technologies in the educational process. Particular attention is paid to the study of rituals, anthropological codes, and folkloric motifs in nineteenth-century Russian literature, including the works of Mikhail Lermontov, Alexander Pushkin, and Leo Tolstoy. The use of immersive technologies, such as VR, AR, and interactive platforms, makes it possible to visualise social and cultural practices, reconstruct literary scenes, and gain a deeper understanding of the psychology of literary characters. This approach contributes to the development of students’ meta-subject and critical competencies, enhances analytical and reflective thinking, increases student engagement, and promotes a practical understanding of the text as a cultural and historical artefact. The article demonstrates how innovative teaching methods combine traditional textual analysis with modern educational tools, ensuring the integration of humanities-related and digital competencies.

This article examines how the conceptual opposition of good and evil is linguistically constructed through metaphor and imagery in three novels by Khaled Hosseini: The Kite Runner (2003), A Thousand Splendid Suns (2007) and And the Mountains Echoed (2013). The study combines Conceptual Metaphor Theory with a discourse-oriented account of literary metaphor, and applies the Metaphor Identification Procedure to a purposively sampled corpus of evaluative passages in which moral judgement is expressed figuratively rather than named directly. The analysis identifies five recurrent source domains that carry the moral load of the three narratives: light and darkness, vertical space, natural cycles of water and drought, predation and disease, and culturally salient artefacts such as the kite, the wall and the blade. Results show that Hosseini rarely lexicalises moral categories with abstract nouns; instead, goodness and evil are encoded in perceptual imagery, and their evaluative polarity is frequently reversed or suspended within the same image, so that a single source domain serves both poles. The article argues that this internal reversibility, rather than a stable binary scheme, constitutes the distinctive feature of Hosseini’s moral idiom, and that it produces specific problems of equivalence for translators working into typologically and culturally distant languages, including Uzbek. The findings contribute to cognitive stylistics, to the study of Afghan diaspora fiction, and to the description of figurative moral language in literary translation.