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The article deals with the evolution of ruins motif and ruin perception in Spanish poetry, from the Golden Age to contemporary poets. The starting point of the research is the perception of the ruins, after M.M. Bakhtin, as a chronotop, the intrinsic connectedness of temporal and spatial relationships. The ruins became an aesthetic category, whose reflection in the form and the content of a poetic work agreed with the ideology of a particular period – Renaissance, Barocco, Enlightenment, Romanticism, or Postmodernism. Studying the ruins topos in the context of Iberian mentality allows us to see the local tendencies in the perception of the ruins. The Renaissance poets were the first to draw attention to the ancient remnants, from Carthage later refocusing towards the Roman ruins and the Iberian space. Thus, in Renaissance Spanish poetry Garcilaso de La Vega and Gutierre de Cetina were the first to devote the sonnets to the Carthaginian ruins, while the 16th century Seville poets took a broader view, both geographically and historically. The two functions of the ruins established in the early poetic tradition emerged in the later works both individually and in their inseparable unity, to be interpreted in the 20th century poetry by Aníbal Núñez (1944–1987).

Metaphor functioning in political communication is a widely investigated scientific field as this rhetorical device is able to influence the addressee’s opinions and attitudes and change the perception of reality. The purpose of this paper is to describe the pragmatic potential of metaphors in Christmas messages (which are considered the main instrument of communication of the Head of State with his citizens) made by Juan Carlos I from 1975 to 2013, analyzing three metaphorical models (“War”, “Construction”, and “Way”). The solution to the current problems of Spanish society is associated with national unity, which is the leitmotif of all the analyzed Christmas messages. The metaphorical model “War” calls for fighting against common “enemies” (unemployment and terrorism); the metaphorical model “Way” convinces the audience of the correctness of the chosen political course, which leads to the country’s prosperity; the metaphorical model “Construction” shows that every citizen needs to participate in the development of the state, based on democratic values, and to underscore the important role of Spain in the European integration process.

Football reports are considered to be the main dynamic form of Spanish sports discourse that has a strong identity through a rich tradition that reflects a nationwide interest in football. Among the different means of speech that are widely used by sports commentators with the purpose of eliciting the influence on the recipient (an ordinary reader, fan or professional) a metaphor as a universal technique, deserves special attention, as it reveals the peculiarities of the national mentality of the society, its perception of the surrounding reality. The purpose of the article is to analyze, from the point of view of the national and universal vision of the world, the basic metaphors of the sports discourse prevailing in football reports (2019–2021) in Spanish. The material for the study is the online versions of the leading print sports publications of Spain (“Marca”, “As” (Madrid), “Mundo Deportivo”, “Sport” (Barcelona), as well as the sites www.rtve.es, www.laliga.com. The study presents the main universal spheres – the sources of basic metaphors in the genre of modern Spanish football reports in the projection on the realities of the national mentality.

In the domain of world intellectual history, the Sephardic language, otherwise called Judeo-Spanish or Ladino, occupies a special place. The article deals with terminological nominations corresponding to the language, accepted in the paradigm of modern philological studies; the concept of Judeo-Spanish which implies a heterogeneous dialect continuum, including various geographical varieties that formed outside the Spanish-speaking area and independently of the Spanish language; the multifaceted nature of the Jewish-Spanish in the projection on its history as a repository of collective memory and cultural heritage; the religious context of the appearance of Ladino; a certain tradition of understanding the Jewish-Spanish language as a place of memory and a metaphor for a lost home, which has developed in the ethnic mentality of the descendants of Sephardic Jews and has been fixed in the artistic and documentary narrative; conventional and institutional status of the Hebrew-Spanish language; modern formats and strategies for its promotion, as well as features of its positioning in the ethnic mentality of the descendants of Sephardim expelled from Spain and Portugal in 1492/1496. Currently the language of Sephardic Jews, transmitted to different continents along with its native speakers, continues to be a powerful means of legitimizing the symbolic unity (based on maintaining a sense of secondary identity) of representatives of this traditional community. Despite active divergent processes, Judeo-Spanish or Ladino has a special status in the world intellectual history in accordance with its historical, social and cultural context and serves as a traditional basis in the structure of historical ethnic memory.

The object of discourse is an extraordinary person with all his creations, which is constantly replenished by reviews of every subsequent generation of spectators revealing their attitude to the author and his works. The legacy of the great Spanish artist Salvador Dali is a unique asset of the world artistic culture, which has come under scrutiny not only by his contemporaries, but also by a wide audience, art historians, scientists, film critics, literary scholars, poets and writers of the following generations. Due to the fact that the works of the great artist involve countless acts of interpretation and revision, and form an open space around the hitherto unsolved questions by the creator himself, the authors of the article proceed from the assumption that the discourse about Salvador Dali will continue to be enriched in the future cultural and historical context by the works of representatives of art and science. The present article focuses on the discourse about Salvador Dali and his creations, which has been named the Dalinian discourse in the Spanish-language art tradition. The subject of the research are texts written by Dali himself, his friends, and artists, as well as those written by the representatives of other sciences dwelling on the creations of the artist. The article attempts to systematise the main corpus of texts in Spanish about Dali’s visual and literary work and to present its typology.