The forms of confession in Gaito Gazdanov’s short story "The Third Life"

The article focuses on ways of representing the psychological state of the hero in G.I. Gazdanov's story "The Third Life". The polyphonic leitmotif memory/recollection includes direct and summative ways of expressing the psychological state of the narrator. The replacement of these forms makes it possible to move from mental illness to access to a third life, explicated by intensities, extensities, comparisons, perceptual images. The prospective expectation of the appearance of ideas about the third life is associated with the mode of doubt, symptoms of mental illness, fantasy-dreams of artistic creativity The beginning of the third life is marked by the accentuation of the perceptual background (smells, synesthetic metaphor, visual comparisons). The symbolic title, decoded in comparisons, comes closer to the leitmotif of the two-worldness; the individual author's associate - the third life correlates with the search for G.I. Gazdanov's heroes of the lyrical world, sentimental trance, spiritual journey as the leitmotif complex of the writer's idiolexicon.

About the Role of the Hidden Text Equivalents in the Editions of the Poem “The Demon” by Mikhail Lermontov

The publication examines the role of the hidden text equivalents in the editions of the poem “The Demon” at the figurative, thematic, plot, compositional levels. In the editions of the poem “The Demon” by Lermontov there are various equivalents of the text: unrealized, unclaimed, having a variable character, replaced by previous and subsequent options, hidden. The listed types of text equivalents not only testify to the graphic features of Lermontov's verse, but also make it possible to identify encrypted information demonstrating the nature of the author's work in the poem, to emphasize their special productive role, indicating how “The Demon” gradually changed, how over time it turned from a romantic poem into a poetic story. This type of the text equivalents allows to emphasize the meaning of the fallen angel and the devil in love themes, the images of the main character, Tamara and the prince, to show how the plot of the poem gradually changed, to demonstrate the mirror structure of the composition, in particular, due to the motives of waiting, the kiss, death, the hand.

Psychology of text writing: truths and delusions

Review of the book by E. Peltek "Write - Don't Write: A Psychological Guide for Authors on Working with Text and Oneself". Moscow: Alpina Publisher, 2021

Gogolesque in the novel “The Life of Arseniev” by Ivan Bunin

The article deals with the peculiarities of the patriarchal noble-peasant life description in the novel “The Life of Arseniev” (1930) by Ivan Bunin, focuses on the use of characteristic Gogol’s images and techniques. Moreover, the comparison of the artistic interpretation ways of the patriarchal past by the writers reveals the Gogol's influence on the position of Bunin as the author, which is presented in the novel in different ways: from the point of view of an observer narrator who topographically accurately depicts the reality and life of the family estate, and from the point of view of an emigrant, focused on memories of the past, conveying an emotional sense of the connection between generations. In general, Bunin continues to develop the theme of the collision of immobile patriarchy with the quick movement of time that destroys the old serfdom, so his novel is imbued with nostalgia for the small-scale world going into the past. In Bunin's nostalgia, there are echoes of Gogol's sorrow about the doomed old world life.

Representation of the Space of Germany in “Journey” by W.K. Küchelbecker

The paper deals with the spatial images of Germany presented in the Russian literature traditions at the turn of the 18th – 19th centuries in the "Journey" by W.K. Küchelbecker. The common elements between these traditions of the depiction of territories of Germany and W.K. Küchelbecker’s text are the liminality of Baltics and Alsace, the motif of the monotonous travel through Prussia, representation of Saxony as the idyllic land whereas Prussia is antiidyllic, as well as labeling Germany as a land of European prominent cultural figures. Moreover, at the same time, unlike to sentimentalism discourse the romanticist W.K. Küchelbecker is more prone to depicting of contrasts in the image of Germany in his works. His picture of Königsberg is remarkably unusual combining traditional German (medieval-Gothic) and non-German typical features. The characteristic romanticism elements connected with the landscapes of Germany in the “Journey” are the rejection of the mechanistic civilization and worship of nature. In addition, W.K. Küchelbecker represents Germany as the battlefield for freedom of Europe.

The structure and semantics of the early lyrics of Diman Belekov

The article analyzes the semantic features of D. Belekov's early lyrics, identifies the figurative and spatial dominants represented in the author's artistic world. In the temporal designation, the semantic structure is actualized in a series of images associated with spring, and primroses, a blooming apple tree, murmuring streams of meltwater, fields with thawed patches, etc., creating a holistic picture of the awakening nature, metaphorically embody the image of the younger generation. Toponymically and geographically, the dominant image is the image of the native land, which includes the entire complex of symbols-markers characteristic of the designation of the territory of Gorniy Altai (Altai Mountains). If the homeland for the lyrical hero of the poet becomes a source of strength and inspiration, then for his development he needs a movement understood as the development of the "other" space, actualized in the generalized image of blue distances and a crowded city with bright lights. The central theme in the poet's lyrics is the theme of the road, embodied in the motives of departure and return.

Representation of the concept of 'stubbornness' in the Bashkir language

This article analyzes the lexical and phraseological units that represent the concept of ‘stubbornness’ in the Bashkir language and its dialects. The sources of the research were the materials presented in the “Machine Fund of the Bashkir Language” (mfbl2.ru). In the course of the analysis, the semantic connection between the meanings of polysemous lexemes is revealed, the main motives of the nominations are revealed. Special attention is paid to names formed on the basis of transfer of values. The multiplicity of nominations proves the importance of this parameter for native speakers It is established that the main composition of the lexemes of this group has a pejorative assessment. This is due to the fact that the attention of others is attracted by deviations from the norm and cultural speech behavior always goes unnoticed. The images through which the linguistic portrait of a stubborn person is built reflect the peculiarities of the worldview of the Bashkir people. The study of the lexico-semantic group 'stubbornness' allows you to create an idea of one of the fragments of the linguistic picture of the world.

Text Fragmentation in the novel “Troubled Blood” by Robert Galbraith

The article examines specifics of fragmentation in contemporary works of fiction. Identifying elements that connect heterogeneous episodes or fragments can reshape readers’ experience and serve as a key for interpretation. The analysis of the detective novel “Troubled Blood” by R. Galbraith has demonstrated that fragmentation is realized at different text levels and in different compositional and stylistic forms, namely, within the categories of temporality and locality, in the development of plot lines, within the categories of description and reasoning, in dialogues, polylogues, internal monologues. The category of intertextuality plays a special role in the fragmentation of the novel under study. Non-linear narrative, intended lack of chronological and psychological sequence serve to effectively introduce the main focus of detective fiction – suspense and puzzle-solving; these literary devices also contribute to its unique narrative perspective.

The Problems of Media Strategy Transformation of Russian Regional Television Broadcasting Companies in the Context of the Crisis of Traditional Media

The article deals with the problems faced by the regional television market in the context of the growing popularity of new media and the transition of Russia to a digital broadcasting format. Regional and municipal television broadcasting, having lost traditional platforms for promoting their content, faced the necessity to develop new platforms in a short time. The new media environment required regional TV companies to review the promotion concepts. The author of the article is the developer of one of such concepts of rebranding and relaunching a regional television studio in a new format, and, based on practical experience, analyzes the factors and difficulties of transformation of media strategies of regional TV companies. Five blocks of problems were identified as a result of testing of the concept of a new regional broadcasting. They include: project management, its staffing and financial support, analysis and interpretation of modern media measurements, transition to new video content formats adapted to digital platforms.

The specifics of the embodiment of a smile, laughter, mocker in creativity B. Kanapyanova

The article analyzes the specifics of the embodiment of laughter, smiles, mocker in the works of the modern Russian-speaking Kazakh poet and writer B. Kanapyanov. The study uses a complex approach to analysis of a work of art. Smile, laughter and mocker in describing the appearance, actions of the heroes of the works is due not only to the subjective opinion of the author, but also to the whole concept of images, which are based on aesthetic, spiritual and moral ideals that have developed for millennia in the steppe culture of Kazakhs. The results showed that the derivatives of the comic (laughter, smile, mockery), firstly, play a key role in the poetics of Kazakh author’s works, being a catalyst for the most important motives (friendship, sympathy, joy, love, anger, hatred). Secondly, they are means of transmitting emotions, markers of the behavior of the lyrical hero, allowing us to understand what his real experiences are, i.e. perform a characterological function.