The article considers the possibilities of linguistic identity reconstruction through the analysis of the concrete character – Fedka-the-convict from Dostoyevsky’s novel «Besy» – speech features. The conclusions regarding the individual and collective peculiarities in the structure of this linguistic identity are made. The parallels between this character and other Dostoevsky’s characters are drawn, some of its constant components are determined.

Appeal to the past – to the «historical memory» – leads us to understanding the most important events of our own and public life. In different ways the same facts are interpreted in the memoirs, notes. In contrast to the biographies, the memoirs help us to open the spiritual world of the author, appreciate, albeit subjectively, the most important historical events, famous political and religious leaders produce; it makes the narrative emotionally, expressive, psychologically correct. Memories help us not only to break the usual stereotypes – historical, cultural, but also to offer a new look at the seemingly well-known to us the event.

The article deals with the concept of Modernism and Postmodernism developed in the novels by an Argentinean author F. Andahazi «Conquistador» and «City of Heretics» in relation to the concept of Russian modernism and in relation to the European cultural tradition.

The article reviews the literature of Slovenia in the first ten years after the republic gained the independence state in 1991. 1990s. became a watershed milestone in the development of national literature: at this time, adapting to new social circumstances, all its infrastructure has undergone significant changes. This influenced both on the artistic production and on the editorial policy, history and criticism of literature.

The article deals with the transformation of the Artsybashevʼs views – from his novel «Sanin» to his play «Djavol». Heroes are obsessed with the desire to know the truth of life, the truth about man. The struggle between good and evil opens the different sides of the human «I», indicates the contradictions of human nature. The heroes of these works violate moral norms, shocking the reader.

The article considers the main question which lead to proper understanding Lermontov’s story «Knyazhna Meri» that aims to the very base of the story’s love intrigue, whether it is a play, fun or more serious issue? The author concludes that the most profound layer of the plot is built on Gospel (John 4, 5 chapters) and ethical-philosophical system of Lermontov’s artistic ideas which consists of concepts «despite, hatred, love». Above mentioned factors determine problematics and genre structure of the story.

The article has revealed the elements of the theatricality in the cinematography while examining «Mefisto» by I. Sabo and «Pokayanie» by T. Abuladze, the films made in the 80-s where the theatricality of the aesthetics is considerably conditioned by the specific features of the depicted totalitarian epoch. The causes of the actualization and the forms of the manifestation of the theatricality in the language of the totalitarian culture are also examined. All the more, an attempt is made to find out the most meaningful moments of the interaction between the languages of the theatre and the cinema and the peculiarities of the intermedial interpretation of the literary texts, paintings and pieces of music.

The article considers interplay between theatre and cinema in Philippe Garrel's films of the 1980s Elle a passé tant d’heures sous les sunlights... (1984) and Les Baisers de secours (1988). In particular, the role of theatre in creating the oppositions «past – present», «dream – reality», «contemplation – action», «silence – word» in cinematographic space is analysed.

The paper deals with the feature of direct audience address in the cinema, borrowed from the theatre art. The improbable because of the noncoincidence of film production and perception gesture problematizes the role of a spectator in the cinematic communication and the nature of his dialogue with a fictional speaker.

In this article the author analyses Battle for ʻErnaniʼ that is a French film narrating about a famous battle that took place during the premiere of a play written by Victor Hugo, a charismatic leader of the literary movement of Romanticism. The exquisite combination of the theatrical and cinematographic features which can be discerned in this film is aimed at a screen adaptation of metatext. The film recreates the interpretation of the literary work by the epoch that produced it.

The aim of this article is to demonstrate (on the examples of G. Gorin and M. Zaharov’s films) how the using of parabola in the script contributes the theatricality of cinematic language and what the intermedial potential of this genre is. At first sight a parabola has the stable and heavily adapted for the synthesis form, however it appears to have the inclination for drama and theatre, providing them with new meanings and letting implement these meanings on the level of dialogs, characters and staging.

Focused on the theatre rehearsal used as a formal device in the films by L. Malle and M. de Oliveira, the article discusses it as a special phenomenon that «makes sense» when viewed through the concepts of liminality and transformation. These initially anthropological concepts applied to the performance theory by R. Schechner help to analyze liminal character of film viewer’s aesthetic experience balancing «betwixt and between» (V. Turner) film, theatre and literature (scripts of the films are based on plays). The author demonstrates how the theatricality of film becomes both – means of director’s play with film language stereotypes and means of transformation of the viewer discovering «the empty space» (to use Peter Brook’s phrase) of reception.

Two radical film adaptations of W. Shakespeare’s The Tempest by D. Jarman and P. Greenaway use tableau as the element of their film texts. This element is of special nature in both films, not being part of their figurative languages or part of their structure or a sign as understood by F. de Saussure. A more convenient instrument of analysis is «hieroglyph», the term that was used in the theory of theater at the beginning of the 20th century.

‘Euphoria’ (2006) directed by Ivan Vyrypayev represents a unique experiment on the comprehension of contemporary dramatic art by means of cinema language. This film is of interest not only as an example of art interaction but as a genre experiment. ‘Euphoria’ should be considered as an experience in ‘the research into the space of tragedy genre’. In his film Vyrypayev makes an attempt to resume a conversation on the problem of tragedy genre in the context of Russian theatre and, what is even more important, this is an attempt to analyze contemporary drama and cinematographic reality through the lenses of ‘pure’ genre. The author of the article shows what of theatrical methods and techniques is used by Vyrypayev in film itself and in its script and what can be achieved by of mixture of theatre and cinema.

The article is devoted to one of the most contentious issues in for researchers studying the literary works of Lermontov – the creative status of the last three editions of the poem «Demon». The author relies on the fact of censorship permission of 11 March 1839 to print of the poem, but it hasnʼt changed, however, the Lermontovʼs decision not to publish this text. This article discusses possible causes of restraint of the poet and, in connection with it, compares the key descriptions in the 6th edition with subsequent ones. Based on this comparison, the author concludes that the 6th, «Lopushinskyʼs» revision is not final and does not reflect in the full scope Lermontovʼs conception, so from December 1838 to the beginning of the 1839 the semantics of poem was changed fundamentally.

The article discusses the changes in the names of dishes in the late XIX – early XX c. The basis for comparison are the two «culinary bibles»: E. Molokhovetsʼ book and The Book of tasty and healthy food. Significant social changes, dismantling of the social system required new nominations, new means of expression. Names of dishes not only reflect changes in the language, but also show different motivating authors, the system of values of certain epoch. Mention the names of dishes of a national cuisine give an idea of the cultural relations of the country, in the Soviet period of history, in addition to it, characterizes political situation.