The paper presents two Serbian travelogues published in 1928 in Belgrade: Impressions from Russia (Утисци из Русије), by the writer Dragiša Vasic and Impressions from Russia (Импресије из Русије) by the sculptor Sreten Stojanovic. On the occasion of marking the tenth anniversary of the October Revolution, Vasic and Stojanovic, as journalists, had the opportunity to spend two months in Moscow and Leningrad. Driven by great respect and love for Russian culture, they wanted to acquaint the Serbian public with the social, political and cultural life in the new state. Both travelogues emphasize the image of Soviet society in which there are still conflicts between traditional and new values ​​that are gradually but surely being established. The authors pay great attention to the Russian art of that time, primarily to the theater. Both travelogues are important literary and documentary evidence of the image of Soviet Russia that was formed in the Serbian cultural public in the period between the two world wars.

The article is devoted to the analysis of G. Ivanov’s judgments about K. Leontiev. The sharpness of Ivanov’s statements is explained by the similarity of Leontiev’s views with the ideology of a new generation of emigrants, including members of the fairly mass party of “mladorosses” (young Russians). From the point of view of Iva­nov, Leontiev’s political convictions in many ways contain a danger for the formation of the worldview of contemporaries. Leontiev’s idea that liberal-egalitarian progress would lead to the collapse of the Empire was combined with his belief in the possibility of protective socialism in Russia and a socialist monarch, blessed by the Church. The “mladorosses” were social monarchists who believed that with the older generation of Bolsheviks leaving the political arena, Bolshevism would come to an end; they saw the Soviets without the Bolsheviks as a promising form of self-government. In the political activization of the younger generation of emigrants, their way of thinking, Ivanov was not satisfied with the opposition to the ideals of the old emigration. He considered the ideas of the “new Russian people” contradictory and illusory, and expressed his beliefs in a number of articles. The deceptive hope of emigrants for the Soviets without the Bolsheviks is the motif of the famous poem “The way is Free under Thermopylae...” Ivanov created a complex, contradictory portrait of Leontiev; he is partly close to the opinion of N. Berdyaev, S. Bulgakov, V. Rozanov in his assessments of Leontiev’s human qualities and judgments.

The article analyses the development of the plot of the story by Leonid Andreev “The Abyss”, paying particular attention to the changes taking place in the internal structure of the “self” of the main character of the story, understood as a non-equilibrium system. A number of external impulses, initiated from the outside, causes gradually so powerful fluctuations that the character’s “self” undergoes a process of restructuring, which reveals until then hidden, unknown, primitive composite only partly overlaid by cultural memes.

The article examines the typical problems of representing oral and handwritten forms of traditional culture in digital format using the example of a new electronic resource dedicated to the last Pechora writer and copyist of ancient manuscripts S.A. Nosov.

The Provencal language and lyrics of troubadours had the highest authority in the Middle Ages, having influenced the development of poetic art, in particular, and the development of philological thought, in general, in adjacent territories. Undoubtedly, there were the closest ties of medieval Provence with Catalonia. However, Italy was also involved in the orbit of the cultural life of Provence. The purpose of the article is to show how Italy and Provence were connected in the 13^th century and to what extent Italy contributed to the development and preservation of the grammar of the Provencal literary language of that era.

The report is devoted to the media text editorial methods in the aspect of author’s and traditional translation. The strategies used to recreate the original in a foreign language are considered, some topical problems of authorship in the era of digitalization and commercialization of art are analyzed.