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3. The Trends in Chinese Literature of XX and XXI Centuries Issues of Far Eastern Literatures: Materials of the 11th International Scientific Cconference. June 27–29, 2024 44 intention of the author, as a means of emotional and expressive influence, as a mechanism for structuring, transforming and creating new knowledge, etc. In addition, metaphor, as a cognitive phenomenon, is used to display and create linguistic consciousness, which reflects the national-specific and universal features of thinking characteristic of a certain linguistic and cultural group. It is one of the ways to organize a person’s cultural experience and an integral cultural paradigm for native speakers of any language. Keywords: urban metaphor, WangAnyi, “The Song of Everlasting Sorrow”, Shanghai, Chinese literature. Karimov Akramdjan (TSUOS), akramkarimov56@mail.ru Xiaoxiaoshuo as a Genre of Chinese Prose Current article is one of the first attempts to illuminate the events taking place in the literary life of the PRC in the 70–80s. During the years of “cultural revolution” and after it, micro-stories (in Chinese: 小小说 ) began to appear in press. The article reveals the reasons of appearance of such stories, their ideological orientation. Who were the authors of such micro stories? Why there were not any famous writer of that time among the authors? The author of the article is trying to answer these and other questions. The objectives of the article also include the identification of the linguistic features of micro stories.According to the view of researcher, the main feature of micro stories is the brevity, conciseness, and ideological orientation of micro stories. The presence of Wenyanisms and the widespread use of phraseological units gives the authors the opportunity to observe the main condition of micro-stories — brevity. To illustrate the linguistic features, Associate Professor A. Karimov makes a linguistic analysis of an paasage from the micro-story “The Blissful Way”, translated by his aspirant SevaraAllambergenova. AkramKarimov does not only analysis, but also shows how to translate certain words and combinations within the framework of this micro-story. It proves that the interpreter must pay an attention not only to the political situation of that time, but also know the base of the philosophy and culture of China. Keywords: Chinese literature, microstory, brevity, conciseness, ideological, linguistic features,Wenyanism. Khaladtsova Regina (Belarusian State University), reginaholodcova@gmail.com Interpretation of the Image of Pan Jinlian in Modern Chinese Literature Literary images, having a set of typical features that express part of the collective memory of the people, are capable of evoking a chain of specific associations and ideas in people’s minds. One such image is that of Pan Jinlian ( 潘金莲 ), the main character of an anonymous 17th-century novel “Plum blossoms in a golden vase” ( 金瓶梅 ), whose name has become a household name in Chinese culture. Up to the 20th century, this image was associated with a dissolute and cruel woman, all of whose actions were condemned by traditional morality. Pan Jinlian becomes not only a character in the book, but also a symbol of vice and debauchery. In modern works, Pan Jinlian’s behavior is often interpreted as forced; the image is transformed into “an example of the innovative ideological emancipation of women”. Aradical rethinking of the image of Pan Jinlian begins with the five-act drama “Pan Jinlian” (1928) by Ouyang Yuqian ( 欧阳予倩 ). Influenced by the tendencies of the May Fourth Movement, Pan Jinlian is portrayed in this play primarily as an “intelligent, quick-witted woman with a strong character”. The writer treats Pan Jinlian with a degree of admiration, turning her from a “tormentor” into a “victim”. The Sichuan absurd opera “Pan Jinlian” (1985, authorWei Minglun ( 魏明伦 ) also demonstrates a new interpretation of the image of Pan Jinlian, a woman who became a victim of a patriarchal society. Using the example of the novel “I am not Pan Jinlian” ( 我不是潘金莲 , 2012) by a representative of the 4th generation of modern Chinese writers Liu Zhengyun ( 刘震云 ), one can see how deeply rooted the negative image of Pan Jinlian is among the people. The writer demonstrates that changes in people’s conscious-