An example of annotation formatting

An abstract is a stand-alone, informative text that allows the reader to evaluate the content, scientific novelty, and practical significance of the study without consulting the full text of the article. The abstract should be logically complete, informative, and understandable outside the context of the main text.

The recommended length of the abstract is 150–250 words in Russian. The English abstract should be a correct and complete translation of the Russian version, without abbreviations or semantic differences.

The content of the abstract should reflect the structure of the article and include the following elements:

Relevance of the research - justification of the significance of the topic, formulation of the scientific problem;
The purpose of the study is an indication of the subject, object or research task;
Research methods - description of the approaches, methods and sources used;
Results are the main data obtained, identified patterns and provisions;
Conclusions and practical significance - interpretation of the results, areas of their possible application and scientific value.

The following is not allowed in the annotation:

general and declarative formulations that do not contain specific information (“a current problem is being considered”, “research has been conducted”, etc.);
verbatim repetition of the article title;
references, footnotes and quotations;
undeciphered abbreviations and acronyms;
descriptions of the author's intentions ("the article will consider", "it is planned to show").

The abstract should present the results already obtained and be formulated in the present or past tense.

Examples of annotations

Example 1 (161 words)

Conceptual Metaphors in the Pre-election Discourse of Russian Political Parties: A Corpus Study

Metaphor as a cognitive mechanism for structuring political discourse has attracted sustained research interest within cognitive linguistics and critical discourse analysis. Studying metaphorical patterns in election texts allows us to reconstruct the conceptual foundations of political argumentation and identify manipulative strategies for shaping public opinion. The aim of this study is to identify and systematize the dominant conceptual metaphors in the election discourse of Russian political parties based on the 2021 parliamentary elections. The study corpus consists of 480 election texts—policy documents and public speeches by the leaders of five parliamentary parties—with a total of approximately 320,000 word tokens. The methodological framework is based on the MIP/MIPVU metaphor identification procedure, Lakoff and Johnson's theory of conceptual metaphor, and corpus analysis tools using the AntConc program. It was established that the dominant conceptual metaphors in the studied discourse are STATE-FAMILY, POLITICS-STRUGGLE, and ECONOMY-ORGANISM. The STATE-FAMILY metaphor predominates in the texts of parties with a paternalistic ideological orientation, while oppositional discourse is characterized by the predominant use of agonistic metaphors. The identified patterns indicate a connection between metaphorical preferences and the ideological positions of the parties and can be used in media literacy and political linguistic assessment.

Example 2 (150 words)

POETICS OF AUTOFICTION IN CONTEMPORARY RUSSIAN-LANGUAGE PROSE: STRATEGIES OF NARRATIVE IDENTITY

The phenomenon of autofiction—a narrative that straddles the line between autobiography and fiction—has occupied a significant place in contemporary global prose, yet this genre remains understudied in Russian literary studies. Of particular interest is Russian-language autofiction of the 2010s, which emerged amidst the transformation of reading practices and the rethinking of the relationship between private and public in social media culture. The aim of this study is to analyze the poetics of autofiction in contemporary Russian-language prose, using works by A. Snegirev, S. Shargunov, and O. Breuninger as a basis for narrative identity and the boundaries of referentiality. The methodological framework draws on Genette's narratological approach, Ricoeur's concept of narrative identity, and S. Dubrovsky's theory of autofiction. The analysis revealed that the texts under study employ different strategies for blurring the boundaries between author and narrator: Snegiryov's dominant strategy is ironic distance, Shargunov's is testimonial credibility, and Breininger's is a transnational subject with a split identity. A common feature is the use of traumatic experience as a structural element of the narrative. The findings contribute to a typology of contemporary autobiographical practices and can be applied in courses on contemporary Russian literature.

Example 3 (161 words)

RECEPTION OF THE VISUAL LANGUAGE OF SOVIET CONSTRUCTIVISM IN CONTEMPORARY RUSSIAN GRAPHIC DESIGN

Soviet Constructivism of the 1920s had a significant influence on the development of global graphic design, yet the mechanisms by which its visual principles are translated into contemporary digital visual culture remain understudied. The resurgence of interest in constructivist aesthetics in the context of retrodesign and neomodernism highlights the need for a systematic analysis of the continuity and transformation of these principles. The aim of this study is to identify the mechanisms by which the visual language of Soviet Constructivism is received in contemporary Russian graphic design, using corporate identities and poster graphics from 2010–2024 as examples. A corpus of 180 examples of contemporary Russian graphic design was compiled, selected from the archives of international competitions and professional publications. The analysis was conducted using formal and semiotic methods, drawing on a typology of constructivist principles developed based on the works of El Lissitzky, A. Rodchenko, and V. Stepanova. It was established that diagonal composition, contrasting chromatic combinations, and typography as a structural element are the most consistently reproduced constructivist techniques. Two types of reception were identified: stylistic citation and conceptual reworking. The latter is characteristic of socially oriented and environmentally conscious poster design. The findings expand our understanding of the relevance of avant-garde heritage in contemporary visual culture.