卷 7, 编号 1 (2025)

Introduction. The relevance of the study is due to the need to discuss the problem of translating world literature classics into the language of cinema and of the related problem of distinguishing between the concepts of “screen adaptation”, “film based on”, “and director’s version of a classic text”. The article examines three screen versions of E. M. Remarque’s novel “All Quiet on the Western Front” (1929): “All Quiet on the Western Front” (1930, directed by Lewis Milestone, USA); “All Quiet on the Western Front” (1979, directed by Delbert Mann, USA); “All Quiet on the Western Front” (2022, directed by Edward Berger, Germany). Objectives of the study: to find out how legitimate it is to call the above films screen adaptations

Materials and Methods. The material of the study was E. M. Remarque's novel “All Quiet on the Western Front” and its three screen incarnations. The research methodology is mainly reflection in the paradigm of phenomenology of intermediality. The author uses integrative and systemic-cultural approaches, historical-situational principle (which allows analyzing the peculiarities of the cultural environment of modern film production), methods of comparative-historical and cultural-historical analysis.

Result and Discussion. The greatest sympathy of the public was aroused by the latest “screen adaptation” of E. M. Remarque's novel, which is as far removed from the source material as possible in comparison with the previous ones. This leads to certain conclusions of philosophical and aesthetic (about the fate of realism in art), axiological, ethical, as well as socio-pedagogical nature: the expressionist worldview of the beginning of the last century naturally loses its relevance in the 1970s; the millennium, when postmodern thinking takes us further and further away from historical truth, replaces psychologism with action, the rich inner life of heroes with external events in the paradigm of the thriller. The author is concerned about the tendency of the present generation to familiarize itself with real historical events (which became the root cause of the ethics and aesthetics of the “lost generation”) through the prism of “comprehension of the comprehended”, i.e. through the prism of modern directors' vision of a literary work reflecting the spiritual culture of the “lost generation”.

Discussion and Conclusion. The article contributes to the study of the problem of intermediality, in particular, the translation of literary works into the language of cinema, as well as the influence of various versions of the “screen adaptation” of classics on public consciousness. The practical significance of the study lies in the possibility of using its results in developing special courses for students studying world artistic culture.

Introduction. The relevance of the study lies in the fact that in the 20^th century, musical art entered a new stage of development and at the present stage is characterized by a tendency towards polystylistics and the expansion of musical practice to the entire cultural tradition. In this regard, in the publications of modern musicologists, there is a growing interest in the problems of dialogicity, polystylistics and intertextuality. The purpose of the study is to consider the development of the theory of intertextuality (which is based on the dialogic principle of M. M. Bakhtin) in the study of musical art.

Materials and Methods. The material of the study is the works of Chinese composers and their reflection in modern musicology. The leading approach in the work is culturological (allowing to understand intertext as a part of national culture). The authors also use intertextual (to analyze specific works of Chinese music), integrative (to use a broad empirical base of various fields of humanities), axiological (to establish the value orientations of interacting cultures) approaches and the dialogical method (facilitating the understanding of musical traditions).

Results and Discussion. The authors show that modern musicology follows the path of mastering the already accumulated scientific experience in related fields of humanities and tries to develop its own methods of text research, in particular, turning to intertextuality as a mechanism of preservation and transmission of cultural information. Intertextuality in music is realized as a condition and a way of existence of the text in the semiotic cultural environment in relation to the creative process of an individual composer, taking into account individual techniques of intertextual interaction, which results in a dialogue of original cultural concepts.

Conclusion. The article contributes to the development of the theory of intertextuality and of its application to music research, to the study of the Chinese-Russian cultural dialogue. Its materials may be useful to specialists in the field of comparative musicology, the study of Chinese musical culture, and Chinese-Russian cultural relations.

Introduction. The article is devoted to the study of the poetics of modern Mordovian women's poetry. The subject of the study is the thematic organization of the lyrical texts of the Erzya writer Alina Podgornova. The goal is to reveal the peculiarities of the representation of the male subject in her poems.

Materials and Methods. The research material is the works of A. Podgornova. The study uses traditional methods of literary analysis: structural-semantic, method of holistic analysis of a literary text.

Results and Discussion. The article asserts that the lyrics of A. Podgornova present a masculine lyrical subject, which indicates the renewal and enrichment of the motif-figurative cluster of national women’s poetry. It should be noted that the male lyrical subject is not a permanent form of the author's self-representation, the appeal to the “masculine mask” is determined by the author’s postmodern world view, his desire to change the established gender world order, to see life through the eyes of a man. The poet models the relationship between a woman and a man in accordance with his individual creative position, creates a subjective idea of a man’s behavior, intentions, masculine traits and their transformation under certain conditions. The article reveals the method of modeling the male image in the author’s poems, based on the rethinking of male and female archetypes and the refutation of the ideology of hegemonic masculinity, as a result of which the male subject is often depicted from a satirical perspective, is endowed with negative connotations (weakness of character, lack of ethical principles), evokes various emotions in the recipient.

Conclusion. The material of the article can be used in the process of teaching philological disciplines at the university. Prospects of further research of the problem are connected with the study of features of subjective organization of lyrical works of female authors.

Introduction. The problems of creating a scientific biography of M. M. Bakhtin in the last decade have been the focus of attention of researchers of his legacy. Readers' notes of the philosopher on other publications, including works of fiction and textbooks, remain unstudied and are of interest for further study. The purpose of the study is to present a list of publications with Bakhtin's marginalia from the personal archive of the thinker.

Materials and Methods. The main material for the study were books and articles with readers' notes of M. M. Bakhtin from his personal archive, the collected works of M. M. Bakhtin. The biographical method was used to analyze the relationship between the life path, the concept of "small time" and the work of the scientist in the context of his "personal environment"; the descriptive method was used to systematize the marginalia and reconstruct Bakhtin's work processes; the comparative historical method was used to identify the creative dialogues of the thinker with his contemporaries against the background of the evolution of humanitarian thought in the 20th century.

Results and Discussion. The article presents an alphabetical list of 19 books and reprints of articles with marginalia by M. M. Bakhtin from his personal archive. The authors note that the pages of all publications contain Bakhtin’s pencil marks (from one to seven lines in the margins), reader’s signs “NB”, and in some cases, additional horizontal underscores of phrases and sentences. Based on a preliminary analysis of the identified publications, we came to the conclusion that it is relevant and important to study the publications in detail in the context of M. M. Bakhtin’s scientific biography, to determine the “source value” of preserved reader’s notes in the margins of specific books and articles, to understand M. M. Bakhtin’s marginalia in terms of the consonance of the elaborated texts with the scientific interests of the scientist in a certain period, as well as to consider a number of publications with reader’s notes as a material that M.M. Bakhtin used in teaching and educational activities.

Conclusion.The study of marginalia and transitional texts by M. M. Bakhtin allows us to clarify our understanding of his work with sources, to restore the contours of his scholarly dialogue with his contemporaries and predecessors, and to determine the originality of his ideas in the context of intellectual trends of the time. The prospects of the study are connected with the restoration and study of Bakhtin's dialogues in accordance with his idea of ​​dialogizing reading.