卷 30, 编号 2 (2025)

Examines the image of Faust in the works of I.S. Turgenev, based on his eponymous novella (1856). The study demonstrates that Turgenev’s Faust is a complex and enriched figure, shaped by the interplay of European and Russian interpretations of this character, the writer’s personal life experiences, and the social reality of Russia in the first half of the 19th century. The protagonist-narrator is not a direct embodiment of Goethe’s Faust but rather a hybrid figure, blending traits of both Faust and Mephistopheles. Turgenev’s Faust is characterized by an antinomical fusion of contradictory qualities: a spirit of egoism and negation coexists within him alongside a pursuit of goodness, truth, and beauty. Through the protagonist, the writer fully explores the phenomenon of the reflective egoist, reinterpreting it through the lens of Christian moral ideals, as well as the pantheism of ancient and German thinkers. The author of the article concludes that Turgenev’s Faust emerges as the outcome of a tension between two principles - natural (divine) and human, theistic and pantheistic. This tension generates an internal conflict that can only be resolved by relinquishing individuality and the self. Service to duty is presented as the sole path to achieving unity with the universal.

The aim of this study is to interpret and analyze medical motive in A.P. Chekhov’s early and little known to researcher feuilletons by A.P. Chekhov Fragments of Moscow Life . The author attempts to reconstruct the view of Chekhov the publicist and to reveal the reasons for the predominance of critical intonation in the description of the problems of social medicine. The task of the study is to analyze the language of the essays, its narrative and descriptive formulas found in this cycle of feuilletons. As a result of the study, the author concludes that it was medical practice that allowed Chekhov the writer not only to understand human suffering more deeply, but also to directly encounter the vices of the health care system. In the cycle of feuilletons Fragments of Moscow life begins to form the dominant artistic style of the writer. Chekhov’s main task is not to criticize the existing authorities, but to emotionally involve the reader in the actual problems of society and the health care system.

Examines the evolution of a plot that emerged and developed in Western European literature in the 13th century and was later called The Constance Saga . Over the past century of research into stories that embody this plot and that form a unity based on the motif of the ‘accused queen’ or ‘calumniated wife’, no single plot formula has been presented for them and no trends in the plot genesis of this Saga have been identified. In this article, the author assumes that the formula for the plot common for stories in this unity consists of two fundamental situations: 1) ‘separation from the family’, consists of the motifs marriage, pregnancy, the husband leaves his wife for a long time on business, substitution of letters between spouses, unfair accusation of the wife and her punishment by exile; 2) ‘reunion’, represents recognition and a meeting after a long time.Each of these situations is preceded by its own motivational complex. Our task was to trace the extent to which the elements of the motivational complexes were fixed, whether new free motives appeared among them and whether they were associated with the choice of genre form for a specific text that embodied this plot with its four-part formula. The material for the study was the works of the first half of the 14th century: The History of the Countess of Anjou by Jean Maillard, the story of Marguerite from Scala Coeli by Jean Goby the Younger, the anonymous History of the Daughter of the King of Hungary and the story of Constance from The Chronicles by Nicholas Trevet. The main conclusions of the study: in the first three stories, minor introduced motives did not violate the established formula and at the same time turned out to be associated with a new genre form, and in Trevet’s work, revolutionary transformations were discovered that did not violate the two plot-forming events, but redefined the initial motivational complex, eliminating the theme of incest from the traditional story, and at the same time demonstrated the multi-genre nature of the story.

Eliza Haywood, a famous English novelist of the 18th century, went down in the history of journalism as the author of the first women’s periodical The Female Spectator . Despite Haywood’s prominent contribution to the development of journalism, her experience in this area has remained virtually unnoticed in Russian scholarship. The purpose of this study is to examine the forms of Haywood’s transformation when passing from a novel into a periodical writer with special attention to her ways of interacting with the readers. Based on the prime source and recent English-language research analysis, the author of the article comes to the conclusion that Haywood used a number of strategies when working out her magazine: she creates the images of a collective publisher and a collective reader, implements a program for educating a female audience, and masters new principles of presenting material and interacting with the reader. The necessity of transforming female novel lovers into readers of a new quality required Haywood to use, besides some literary techniques, a number of educational and didactic ones. Thus, she works hard on building up a new attitude to reading, educates the female audience by discussing a range of issues, and searches for a different, eluding obvious didacticism, form of interaction with her audience. Even though most of the material published in the Female Spectator remains of the literary origin, new characteristics of the periodical as a cultural and social control element emerge behind each of the listed techniques.

In The Dark Room , the children - Kamala, Babu, and Sumathi - play a pivotal role in shaping the protagonist Savitri’s decisions. While the novel explores themes of patriarchal oppression and female agency, it is ultimately Savitri’s emotional bond with her children that compels her to return home after leaving in protest of her husband’s infidelity. Thus, the children serve as emotional anchors, reinforcing the theme of familial obligation and the societal expectations placed on women, particularly mothers, in traditional Indian households. Through the lens of childhood interactions, the paper illuminates Narayan’s perspective on family structures, traditional values, and the developmental roles assigned to children, particularly in relation to parental authority and social expectations. This study provides a critical perspective on how Narayan uses children to subtly critique societal norms, portraying them as both products and critics of the family’s internal dynamics.

Presents the results of a sociological content-analytical study devoted to the dynamics of value paradigms based on the study of traditional values on Russian TV. The study was a panel study, that is, several times from 2002 to 2025, measurements of the values promoted by television were made according to a single codifier compiled on the basis of the analysis of 30 thousand folk proverbs collected by V.I. Dahl. Dynamics of the presentation of basic Russian values on the TV screen. Throughout the years under study, the television content actively reflected the creative potentials of the people, their optimism, desire for security and order. Over the years, the number of publications with the value of patriotism, mercy, philanthropy, peacefulness, love of truth, Orthodox spirituality, morality, conciliarity, and creativity has been increasing. And vice versa, there are fewer and fewer publications that promote consumer psychology, individualism, cruelty, egoism, immorality and other anti-values. The overall ratio of positive values and anti-values during this time changed from 58:42 to 83:17 %.

Presents the results of the analysis of adapted news packages of 24-hour news channels on the VK platform. By the adapted news packages, we mean fonted news stories without voiceover. They use video footage as the main element and satisfy the audience demand to watch the news with sound off. The sample is compiled from the VK accounts of three Russian 24-hour news channels: Rossiya 24 , 360° and Moskva 24 covering two typical news weeks in April and September 2024. Quantitative content analysis was used as the main research method. The screen language of the adapted news packages has not been analyzed before. We are taking a detailed look at it through the four groups of the expressive means: dramaturgy, plastic means, audial means and edit. We are also finding common themes for the federal, regional and local broadcast levels (which is healthcare), as well as different thematic preferences and diversity for each channel. The package length and the set of visual and audial elements used by the producers have also been explored. One of the main conclusions of the study is the fact that fonts are being used as one of the main dramaturgy means. We are also seeing prominent transformation of audial means in order to adapt to the digital platforms. Only 40 % of stories use the emotional component in the opening video or final episode. Finally, we are setting direction for the future research.

In the context of increasing globalization, national audiovisual content is becoming an important tool for intercultural communication. The cultural exchange between China and Russia is marked by the growing interest in Chinese TV series in Russia, while the mechanisms of distribution of Chinese television series in the Russian market have not been reflected in the scientific field. The authors have identified specific strategies for promoting Chinese content and analyzed the perception of Chinese TV series by the Russian audience. The study was conducted in the context of China’s foreign cultural policy using Russian empirical data. The results demonstrate that the distribution of Chinese TV series in Russia largely depends on Chinese government support aimed at strategically promoting TV products abroad, as well as the use of a multi-channel content distribution model. This model includes the synergy of Chinese and Russian television channels, local streaming platforms, social networks, and international video services. This approach contributes to the progressive strengthening of the Chinese presence in the Russian media sphere and strengthening its influence on the Russian market. An analysis of data from the KinoPoisk portal shows a growing interest in Chinese TV series, which is reflected in an increase in the number of ratings and reviews, and high ratings. The key factors in genre and content policy are related to marketing aspects: responding to audience expectations, genre diversification, an emphasis on melodramas, fantasy and action films, and high-quality content. The authors offer counter recommendations for the promotion of television content in China, which can serve as a guideline for the effective distribution of Russian video products based on Chinese-Russian cultural cooperation.

Examines a phenomenon that is referred to by the term ‘animadoc’ - a synthesis of documentary and animation, when the latter acts as a visually expressed relationship to a document and uses various technologies, including docudrama (feature films in a documentary format that reproduces real events), mockumentary (a genre of feature films that imitates documentary filming) and others. Today, documentary animation is viewed from different angles: as an experimental direction in documentary filmmaking; as a new direction in animation itself, using the techniques inherent in documentaries; as an independent means of representing reality. The points of view on the genesis, specifics, nature and classification of documentary animation vary. We propose our own classification of films in the genre of ‘animadoc’ according to the degree of transformation of reality. In the first group, reality is reconstructed: at the same time, it is restored and dramatized. In the second, reality turns out to be imaginary, replaced by fiction. In the third, inanimate reality is animated, transformed and aestheticized. Films created in the hybrid aesthetics of ‘animadocs’ are considered, as well as shooting and editing technologies used in cinematography and new media. The conclusion is drawn about the convergence of documentary, feature, and animated films, resulting in a new kind of visual aesthetics.

Explored the evolution of Internet memes as a polycode media phenomenon, from early web forms (1990s) to modern hybrid genres (2020s). Based on the corpus of viral memes from Russian and international platforms, their structural and meaningful transformations are analyzed in the context of the theory of memetics. The author identifies the key stages of meme culture development, demonstrating the relationship between the technological capabilities of platforms and genre diversity. The proposed typology integrates traditional formats (demotivators, macros) with innovative ones (mashups, AI-generated content), revealing the logic of their creation and distribution. The methodological framework combines discourse analysis, a linguosemiotic approach, and the study of platform constraints. The results reveal stable patterns of meme transformation under the influence of the digital environment, including the transition to short video formats and the growth of professional production, and demonstrate how meme semantics reflect a shift in generational values. Telegram’s role in professionalizing memes using its own creation tools has been reduced. The study contributes to the understanding of media virulence and cultural reflection in the digital age, emphasizing the role of memes as markers of sociocultural change.

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