Vol 24, No 1 (2019)

The article is devoted to a rough copy of the mystery play “Dionysus Hyperborean” composed by 1. Blok - a copy that has never been in the focus of researchers’ attention. Meanwhile this sketchy work, written just before the unveiling of his first lyrical play “Balaganchik”, helps the readers to grasp the essence of his esthetic strivings in dramatic for the author period. That was the period of transition from “strategy” of “Verses about a Fair Lady” inspired by religious Vl. Solovyov sophiology to “mystical realism” the first manifestation of which, as Blok himself stated, could be seen in the artistic method of the drama “Balaganchik”.

The article is devoted to the consideration of the creative connections of I.A. Bunin and S.N. Durylin (1887-1954). In modern literary criticism, the question of studying the creative connections of S.N. Durylin and I.A. Bunin is urgent, which was not touched upon by the researchers. Although Durylin does not belong to the writers of emigration, in Russia he almost immediately finds himself in internal emigration: art works and scientific works were not published. This brought him closer to Bunin’s position. First of all, Durylin is interested in Bunin’s story “The Village”, in which the “Russian question” is touched. But, if in the story “Village” the writer does not fully accept the Bunin idea of Russia as a country of the wild and primeval, then in the “Life of Arseniev” the model of Russian life recreated by the author finds a response in Durylin’s creative consciousness. In the memoir book “In his corner” the author recreates the immanent image of Bunin’s native land. Brings together the writers of the perception of the revolution of 1917 as a “breakdown”, a catastrophe, a lyric narrative, a structureforming function of memory. However, if Bunin’s pre-revolutionary pictures of Russian life are the center of the narrative, then Durylin serves as a background (and a window into an ideal past), the focus of writers’ attention is the post-revolutionary process of the death of the healthy beginnings of Russian life, embodied in the form of snow.

On October 24, 2018 80 years since the birth of Venedikt Erofeyev - one of the most unusual Russian writers, thinkers and rebels of the XX century were executed. This article is devoted to identification and the description of the nature of creative intension of the writer. Besides, the stateof-the-art review of the main stages biographic and a career of V. Erofeyev is provided. It is proved that the main sense-forming milestones of the creative nature of the author are the following: sources (or injuries) which defined a drama vector of all course of life; gift as potentiality of the birth of creative energy; “madness” as original, original manifestation of identity and, at last, belief - a powerful moral and spiritual ancestor.

The article attempts to consider the book by A. Bitov “Travel from Russia” as a fictional purpose and the “journey” feature as a genre of fiction. At the same time, the features of similarities and differences, the “creative evolution” in the writer’s stories, which reflect the author’s reflection on the spaces of the former Soviet Empire and its social connections, are considered. Constant study of the cultures of other nations helps the writer to create an overall artistic picture. As a result, the journey becomes for A. Bitov the process of existence (ontological principle).

The paper examines Su Tong’s novel “Wives and Concubines” as historical resource to study the position of women in the first quarter of the 20th century in China. Literature is accurate in assessing changes in mentality of society. The process of the women’s role transformation is the most complex and insufficiently studied issue still. The first part of the 20 century Xinhai Revolution overthrew the Qing dynasty and China had a great impact of Western culture. This is the era which the women’s movement also belongs. Even the novel “Wives and Concubines” author shows harsh reality of women from province, where the traditions, sexual politics, gender hierarchies, class are repressed them a lot. Within the narrative of novel women are abused by authority male culture. The Chinese revolution in 1911 didn’t change the main rules that govern society. There was still strong perception of power-related norms in people’s ideology about marriage, traditional role of women is linked to family, limiting the career development and ambitions. Women shall be defined as obedient and dependent in support their husbands even if they sacrifice their own careers.

The article deals with the main tasks of modern museums and the intersection of these tasks with the activities of the mass media. Creative museum spaces are becoming part of the media space, which necessitates their new positioning and study within the framework of the scientific specialization “journalism (philological sciences)”. The authors consider the functionality of museums as a new medium of communication, identify the most successful forms of presenting information, identify criteria identical with new media for evaluating the effectiveness of museum content. The authors emphasize the importance of the “museum as a medium” concept in terms of cross-platform and digitalization.

The research is concentrated on the increasing popularity of political context in humour if we take into account the state fragility, identified the manipulative properties of humorous content in general, as well in the research we have tried to evaluate the contribution that ridiculous things in speech make while shaping public opinion. Considering the changes in the sense of joke formation and formats of presenting content on TV by the leading production-company of Ukraine Studio “Quarter 95”, the authors concluded that both satirical and serious stand-ups or politically colored TV-series have a deep influence on the formation of civil position - the attitude towards the media person gains the nature of politically painted trust thanks to sharpness of reflection of real problems which disturb the population. By means of popular culture and television Vladimir Zelensky together with the group have opportunity to recite their citizenship. Above all, the result of the formation of public sentiments by the creative elite serves as a platform for electoral trust. The mentioned idea allows us to state that humor as a tool of political discourse is a weapon that gives visible results in the electoral campaign.

The article examines the genre composition of the broadcasts of the Kyrgyz Public Radio and Television Corporation (KTRK) in the Soviet, post-Soviet and modern periods of time. The analysis is performed on the example of the first radio station of Kyrgyzstan “Kyrgyz Radiosu”, which is part of KTRK. The study is based on the collection and analysis of statistical data on the composition of program blocks and genres of “Kyrgyz Radiosu”.