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The article localizes the problem of interscientific system methodology in the study of a new social practice domain, which manifests itself in the form of the trend towards sincerity and frankness in language interaction. The purpose of the article is to consider the issues that arise within the overlapping scientific approaches in the context of polyparadigmality in linguistics. The article describes vectors and scenarios of discipline interaction, as well as the examples of interdisciplinary transfer practice. The author presents the concept of rhizomic interdisciplinarity as a nonlinear development of scientific research that contains the potential for differentiation and integration. The system methodology application has enabled the author to build the core part of the model for describing linguistic facts. It includes some clusters of scientific knowledge that are undergoing a development phase. The article outlines the problems of “new sincerity” with an emphasis on network communication. For illustration, data from social events with elements of a flash mob, cases of cancel culture and eco-alarmism were used. The patterns that form a social community in the form of thematic fashion, Internet communication algorithms, and mobilizing potential are indicated. The author presents several clusters of research into the phenomenon of “new sincerity” from the perspective of the science of language. Being indicative of the dynamics of interaction amongst currently existing approaches and theories, they can form the core of the research model.

The article represents the peculiarities of “new sincerity” discursive representation in a media text. The research into this phenomenon from sociocultural angle presupposes conducting a multifaceted analysis, in particular, in communicative-and-cognitive and communicative-and-discursive perspectives. It is shown that the willingness of a linguistic personality to share their own thoughts and feelings in the public space is manifested in the generation of media discourse of “new sincerity”. The referential aspects of the “new sincerity” are revealed. The author establishes a repertoire of denotative-identifying reference (concrete, abstract referents, referent event), and a set of subject-marked text reference (emotive, evaluative referents). The explication of “new sincerity” is proved to become a tool of linguistic creative activity, as a result of which discourse scenarios are generated. They are focused on influencing the addressee (explication of personal significance, hypersensitivity). The macrostructural positions of the radio discourse of the “new sincerity” are revealed: lead, detailing, evaluative, emotionally oriented parts. Thematic dominants that form the discursive field of “new sincerity” are identified: “everyday life”, “life’s troubles”, “demonstration of weaknesses, inability”, “personal achievements and failures”, “personal preferences, secrets, qualities, interests, habits”, “fears and phobias”, “desires and dreams”, “details of personal life”. The television and radio discourses are rich in emotionally and personally oriented topics and concepts of sincerity, which leads to a change in the status of sincerity and sensitivity from peripheral phenomena to discourse-forming ones. It determines significant functional, qualitative changes in television and radio discourse.

The article deals with the techniques of building a dialogue in the interview genre that encourage the interlocutor to be sincere. The intrusion of a journalist into the addressee’s private space, as well as the interviewee’s expression of their own identity through answers to “uncomfortable” questions can be considered as the discursive indicators for determining whether a text belongs to the tendency of “new sincerity” described in the present paper. The material of the study includes text fragments from the interviews of the Russian journalists with famous cultural figures and politicians published in the media or posted on the Internet platforms within the period of 2018–2023. It has been established that in order to determine the markers of “new sincerity” in the genre of a journalistic interview, one should consider the following essential discursive characteristics: thematic variety, methods of requesting (finding out) information by a journalist, the interlocutor’s reaction to a question that is on the borderline between public and private communication, techniques of euphemization and implication/explication of taboo meanings. “New sincerity” is found, first of all, in the expanded zone of thematic freedom acceptable in public communication. The main topics discussed in journalistic interviews, which reveal this trend (finances, health, appearance, etc.) are described in the article. The subject of the study is various methods of stimulating the “confessional” statement of the interlocutor and their latter’s reaction to violations of the acceptable boundaries of sincerity in public communication. The study also reveals metalinguistic markers of “new sincerity” that represent the strategies of speech behavior of both the journalist and their interlocutor. The results of the study show that “new sincerity” is becoming a technology that is used in mass media as a tool to influence the audience; thereby it shapes the communicative culture of the society in the public space.

The article presents the results of a study on the phenomenon of “new sincerity” examined on the material of posts on social networks (about 2 thousand contexts in total). It has been noticed that while in registered media the phenomenon mainly exists as initiated by the journalist (in the genres of interviews with famous people), in social media it acts as an initiative of the author. The object of the study was the intentions of the authors of the posts, manifested in their speech, as well as the feedback that the authors received in response to their confession. The discursive approach used in the study has demonstrated the correlation between the topics of confessional posts and the general tasks of public social networks, between author’s intentions and word usage. Thus, feminist public accounts are created specifically to demonstrate those aspects of women’s life in society that have not been publicly discussed before. Borrowed vocabulary is widely used in such cases, as well as words that belong to the field of psychotherapy. Confessional posts on the authors’ personal accounts are much rarer, more varied in topic, most often aimed at creative self-expression and focused on a circle of familiar people. The types of addressees’ reactions to confessional posts are characterized: from distrust of what has been said to support with a demonstration of their similar experience and advice. The research contributes to the development of communication studies in general and media text linguistics in particular.

The ideographic description of new vocabulary and the linguistic units within the lexical-and- semantic field of the idiom new sincerity in particular, is being considered. It is noted that in addition to its cultural significance, this expression has also acquired two new meanings: marketing technology and communicative practice. It is precisely in these meanings that the idiom new sincerity is studied in this research. Using component, contextual, and interpretive methods of analysis, with the support of the ideographic dictionary compiled by one of the authors and examples of usage in media discourse texts, the vocabulary within the lexical-and-semantic field of “new sincerity” has been identified and described. Most of the linguistic units in this group have been established to be neologisms. The presented ideographic network has a frame structure and reflects the fragments of modern reality represented in the linguistic worldview by new vocabulary. The authors have identified 5 segments (slots) of the ideographic network: “new sincerity” as a tactic in internet communication, social-and-political communication, as a basis for uniting people, a form of expressing aggression, and as a communicative practice in the conditions of the coronavirus pandemic. Each segment includes a set of ideograms that unite lexical representatives – neologisms. It is noted that the expression new sincerity is not used in Chinese media texts. However, there has been an increasing interest in open expression of feelings and sharing personal stories by participants in modern Chinese shows, which corresponds to the practice of “new sincerity” in virtual and real life.

The relevance of the study is determined by the demand for “new sincerity” that has emerged in society. Reflecting modern trends, mass media highlight the urgency of research into this phenomenon from various angles. The purpose of the work is to describe mass media potential for the use of irony and post-irony as means of expressing “new sincerity”. The analysis is carried out on the material of modern intellectual periodicals The Rules of Life (formerly Esquire) and The New Yorker, which represent a striking example and an integral part of postmodern culture, create and communicate its values. The novelty of the study lies in the integrated approach that enabled the authors to describe the linguistic mechanisms of transforming irony to post-irony and to prove the capability of the “new sincerity” concept extrapolation to the sphere of mass media through determining the characteristic features of irony and post-irony that reflect new communicative strategies. An empirical study identifies lexical, syntactic, stylistic, graphic means of post-irony expression in modern intellectual periodicals and allows to conclude that it is represented in pathos and categoricity reduction, explicit criticism and sarcasm elimination, as well as transition from the irony of rejection to the post-irony of sensitivity, frankness and sympathy. Post-irony is shown to constitute the style of intellectual periodicals while the magazines themselves are noted to be the bearers of the “new sincerity” philosophy.

The aim of the article is to analyze pragmatic strategies and mechanisms to enhance narrative empathy, the key notion of metamodernist fiction that distinguishes it from postmodernist and modernist literary texts. The article postulates foregrounding of emotivity markers in metamodernist texts as a linguistic manifestation of the cultural logic of “new sincerity” in the contemporary fiction that is characterized by the lack of an explicit ludic modality of postmodernist fiction and by stressing means of producing emotional resonance on the part of the reader and their active perspective-taking. The article makes an original contribution to cognitive stylistics, multimodal studies and narratology by hypothesizing polyphony of narrative “voices”, second-person narrative and visual foregrounding as effective pragmalinguistic tools of triggering emotive and cognitive empathy that increases reader’s immersion in metamodernist fictional worlds. Using the novels by M. Porter and J. Egan, the short stories by J.S. Foer and D. Eggers as its case studies, the article proves the relevance of viewing the “new sincerity” concept as a driving force behind the authorial empathy towards fictional characters, which enhances emotionogenic potential of metamodernist fiction and contributes to reader’s engagement with modeled emotive situations. The findings of the research testify to the importance of further research into “new sincerity” and potential mechanisms of inducing reader’s empathy which is justly considered a powerful instrument for promoting social interaction, helping readers of all ages to inhibit aggression and develop understanding of others’ motives, emotions and desires.

Changes in modern communication have led to the transformation of the category of sincerity into a technology (or strategy) of persuasive influence. Increased sensitivity and the illusion of displaying genuine emotions are used not for frank self-expression, but for achieving commercial, ideological, and other goals. In the article, “new sincerity” is examined from the perspective of communication theory and the understanding of effective strategies by communication participants. It is argued that “new sincerity” has several variations with different sets of substantive components. Four models of new sincerity are characterized, each structured according to the significant components identified during the analysis: the scope of the concept of sincerity, the subject of sincerity, the object of influence, the instrument of influence, the conceptual core (integral component), qualifiers of the concept, type of activity; means of carrying out the activity; expected result of the activity. The assumption is made that variations in understanding the linguistic unit new sincerity have emerged as a result of the universality of its structural-and-semantic contour. It is suggested that the word sincerity originally had potential for future transformations due to the practical properties of the reality it denotes. It is shown that the awareness of the unique properties of sincerity has led to its transformation into insincere sincerity as a technology for attracting audiences of different types with different goals.

The review examines the critical reception of David Foster Wallace’s personality and works. A particular attention is paid to the appreciation of David Foster Wallace (1962–2008) in foreign criticism as an intellectual, religious writerphilosopher and a martyr (“Saint Dave”), whose works require deep analysis, and as a writer whose popularity is the result of marketing manipulations and publisher’s work, which has nothing to do with his talent. According to some researchers, it was market specialists who created his iconic image as the most important American writer of the turn of the millennium, and his books are unlikely to become classics. Others consider him the author who caused a “revolution” in literature, being the first to oppose postmodernist ironic and cynical attitudes. The paper reviews books dedicated to Wallace's personality, his religious, ethical and philosophical views, as well as studies based on the archive of David Foster Wallace. Attention is also paid to Russian-language critical works, although it is largely based on the above-mentioned foreign criticism. It is concluded that to a large extent the difference in opinion is caused by the identification of the writer with the man, whose life was complicated by the struggle with addiction and depression, as well as by the analysis of his works based on his personality. It is emphasized that Wallace's works are important for contemporary literature, and they are to be studied objectively, without deifying / demonizing Wallace or elevating him to the ranks of suffering geniuses.

The article explores the leading metamodernist features evident in the autobiographical novel ‘A Heartbreaking Work of Staggering Genius’ (2001) by a contemporary American writer Dave Eggers. The purpose of this study is to identify the characteristic features of metamodernism in contemporary works on the basis of an interpretive analysis of D. Eggers’ autobiographical novel “A Heartbreaking Work of Staggering Genius”, to determine ways of their original implementation in this novel. The review of theoretical sources confirms the significance of Eggers’ works in the development of key trends in the new cultural paradigm of post-postmodernism. The author can be attributed to a galaxy of American writers who fully embody the tenets of metamodernism. A practical analysis of the selected novel for study allows for the assertion that the main characteristics of metamodernism in the examined novel can be identified as the following elements: a revival of the author’s role, post-irony, new sincerity, and neo-realism. To embody these artistic elements, the author employs various literary techniques such as the contamination of artistic and documentary elements, meta-narration and meta-meta-narration, and the fusion of realistic and romantic perceptions of reality. Eggers explores traditional themes of family values, friendship, responsibility, and finding one's place in life through a new metamodern lens.

This paper proposes that a transformation of the New Sincerity aesthetics has taken place in Zadie Smith’s short fiction. This shift is explored through an analysis of some of the short stories in Smith’s most recent collection, Grand Union, opposite David Foster Wallace’s “Octet”, one of the foundational fictions of the literary New Sincerity. Their respective approaches to authenticity considered, Smith is argued to have partially departed from the other-directed concern with the reader that had shaped Wallace’s outlook on sincerity, and thus to stand at a productive intersection between postmodernist form, the anticipatory disposition of New Sincerity aesthetes, and the unquestioned, unironic embrace of single-entendre values that Wallace prophesied for the twenty-first century. [ABSTRACT FROM AUTHOR]