The review aims to systematise scientific works in the field of linguistics for the 2000-2022 period devoted to the analysis of discursive practices of Internet communication and their characteristics. The review is novel in that it is the first to actualise the latest data obtained by Russian and foreign researchers of Internet communication in the framework of a cognitive-discursive approach to the study of linguistic phenomena, as well as to assess the degree of development of this scientific field in works of modern linguists. Special attention was paid to the corpus of linguistic works of the last few years. At the same time, despite the presence of a fairly large number of works devoted to the study of the Internet language and its various aspects, no comprehensive study of discursive practices of Internet communication has been undertaken to date. As a result, approaches to the formation of the terminological apparatus of Internet linguistics have been described, linguists’ views on the discursive nature of Internet communication and consideration of Internet discourse as a separate type of discourse have been summarised, discursive practices of Internet communication and their characteristics have been examined, possible directions for further research of Internet discourse have been outlined.
The aim of the study is to substantiate the linguistic status of small plot-containing discursive forms (hereinafter SPCDF) of digital communication. The paper is novel in that it is the first to introduce the notion of a small plot-containing discursive form, to describe its structure and main characteristics. As a result of the study, the stages of plot development and the main plot components of SPCDF have been presented. It has been found that the plot component of SPCDF is open to a variety of interpretations and is characterised by variability, which leads to the generation of new meanings. SPCDF can be revealed both in an explicit form based on clichéd plot models and in an implicit form that allows the recipient to interpret the text based on their presuppositions, value orientations and cultural background. Particular attention is paid to the analysis of SPCDF as an element of clip culture, which is explained by the fragmentary, mosaic nature of these forms that currently exist in digital communication. The folklore orientation of SPCDF, which are characterised by the anonymity and collectivity of generation and transmission of plots correlating with folk art and actively participating in the formation of the cultural code, has been analysed.
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