Vol 27, No 1 (2025)

Dynamic changes in the global space, increasing interest of foreign citizens in obtaining higher professional education in Russia determine the relevance of forming a professional image of a higher education teacher. It is the university teacher who forms communicative competencies in students from different countries, ensuring productive acquisition of oral and written speech, understanding of the expressiveness of the text, adequate use in business communication. The most effective discipline, within the framework of which the teacher forms not only communicative, but also socio-cultural competencies in foreign students, is Russian as a foreign language. The article analyzes the concept of "teacher image", considers the levels of its formation, "teacher reference", which is closely related to the term "image", as well as the features of the image of a teacher of Russian as a foreign language. The results of the study are presented, which help to create an up-to-date professional portrait of a teacher of Russian as a foreign language. Diagnostics was carried out using the author's questionnaire. The results showed that for most foreign students, the personal qualities of the teacher (sense of humor, responsiveness, sociability, tact, etc.) are important, as well as a high level of speech competence. The work notes that teachers need to form, first of all, a communicative image. The authors analyzed the main components of competent speech of a teacher of Russian as a foreign language and concluded that he is a guide for foreign students into the world of Russian language and culture through the implementation of modern approaches and technologies.

In the modern world, professional education of future teachers is moving to a new level, where the development of soft skills during the study process at a university becomes an important component of their further implementation in work. The article pays special attention to the issues of introducing competencies, such as soft skills and hard skills, into the educational activities of students, which contributes to their personal and professional development. The authors consider the influence of soft skills on the creation of a favorable educational environment, effective teaching and education of the younger generation, as well as their role in the development of constructive interaction between the subjects of the educational process. The importance of soft skills, such as communication, cooperation, self-development and focus on results, for successful interaction between teachers, students and parents is emphasized. An analysis of studies demonstrating the relationship between the level of soft skills development and the quality of interaction in the educational sphere is provided. The article substantiates the need to develop soft skills in students of pedagogical universities as an important condition for successful professional activity.

The object of the article is the phenomenon of apophatics in modern artistic culture, which manifests itself in poetry through folklore cases and national constants. The subject of the scientific work is the analysis of the interaction of folklore and literature, which organizes vertical transmission in culture and allows us to trace the processes of apophaticization of creativity. The material was the work of the Russian poet V.S. Vysotsky, who represents the phenomenon of the author's song. In the center of the hermeneutic analysis is the famous poem "My Funeral", which was set to music by the author and became a famous song. Much attention is paid to the poetics of sleep, since sleep is apophatic in nature and is equated, according to Slavic folk beliefs, with death. The relevance of the undertaken study is due to the growing need to comprehend the ontological issues of Soviet poetry, which for a long time were taboo in Russian literary criticism of the last century. The authors of the study pay great attention to the border ethos in the poet's poem, the phenomenon of sleep associated with the space of another world and anti-world. The forms of manifestation of the folklore tradition in the poetics of V.S. Vysotsky are analyzed. The methodology of the study is reduced to a holistic hermeneutic analysis of the artistic text. The results of the study may be of interest to cultural scientists and literary scholars who consider literature in the space of a large dialogue of cultures.

The article is devoted to the study of a particular aspect of the phenomenon of linguistic antonymy – its irreversibility in the processes of communication, the impossibility of its replacement by other means of linguistic expression in certain types of speech contexts. The article substantiates the point of view about the deep essential rootedness of antonymy in extralinguistic reality, as well as its priority status in the systematics of linguistic phenomena, which is explained by the fundamental constructive significance of the principle of binary-oppositional structuring in the ontology of the physical world, consciousness and linguistic activity. The picture of the world provides many examples of binary archetypes functioning as a generative model of complexly organized systems. Mythology, which is the first human experience of artistic and ideological reflection on reality, is built on a system of the simplest archetypal oppositions, such as "friend or foe", "light-darkness", "good-evil", "chaos-order", "center-periphery", etc. In the history of intellectual culture, the principle of binary oppositions acts as the most important factor in the implementation and representation of the activity of consciousness, human thinking, and cultural experience. In language, semantic opposition manifests itself as an experience of naturally formed systematization in the sphere of semantic relations, which precedes scientific analysis. In the processes of communication, antonymy acts as a unique resource of linguistic representation, which is in a relationship of interdependent functional correlation with certain types of contexts and object-reference situations. In works of literature, the discursive correlate of linguistic antonymy is artistic contrast, which is realized primarily and most vividly in the classical models of antithesis and oxymoron. Rich illustrative material of this kind is provided to the researcher by the novel by Lion Feuchtwanger "Exile" analyzed in the article.

The article develops an ontological model in relation to which the narrative is presented as an 8-element cycle, applied to both microstructures (episode) and macrostructures of the narrative (plot). The study is conducted in the context of ancient macroalgorithmic models, which are still popular in the countries of Southeast Asia. In ongoing storytelling, there is periodic application of the 8-element model. Three such cycles are accepted as a narrative cycle, the content of which is a large-scale description of a certain reality. The 24th stage of the narrative is followed by the beginning of the description of a new reality at the 25th/26th stages. The author determines the properties of four levels of the 8-element episode. The obtained characteristics are tested at the micro level of the narrative and at the macro level, represented by eight parts of the novel "Anna Karenina" by L. Tolstoy. It was found that there is a change in socio-political reality upon completion of the 24th stage of narrative, after this stage public opinion acquires greater significance.

The article analyzes the role of public sculpture in shaping citizens' aesthetic experience and urban identity. The research is based on an interdisciplinary approach combining methods from aesthetics, sociology of art, and urban studies. The methodology includes literature analysis, comparative research, and case studies. The author examines the diverse functions of public sculpture: aesthetic, symbolic, social, and communicative. Based on the analysis of theoretical works and practical examples ("Cloud Gate" in Chicago, "Muzeon" Park in Moscow, "Hong Kong Sculpture Project," "Gateway Arch" in St. Louis, "People on the River" ensemble in Vyksa), the key factors influencing the perception of public sculpture are identified: cultural context, artistic quality, spatial integration, and community involvement. Recommendations for effective integration of sculpture into urban space are proposed, including the development of clear selection procedures, engagement of local residents, interdisciplinary collaboration, educational programs, and post-project monitoring. The necessity of a comprehensive approach that takes into account artistic, social, and urban aspects to enhance aesthetic impact and strengthen urban identity is substantiated.

All social transformations in history have always relied on culture in one way or another, seeking justification and support in it. From this perspective, the objective world of society not only reflects the urgent demands of society, combining current social and ideological paradigms, but also provides a person with many real opportunities to promote and renew culture. In this article, the appeal to culture is based primarily on rethinking its material attributions, which are considered through their coupling with cultural practices and technological innovations. All this makes us look at the world of things more broadly, finding answers to many urgent questions of our time in cultural artifacts, that is, to see in the forms and articulations of objects what is hidden behind their usual material shell. A thing is not indifferent to the preferences and values ​​of a person. In the space of social interaction, a thing acquires the status of a character, an actor, a participant, a designer of a new cultural reality. Things also serve as signs of distinction and a way to attract culture. At the same time, it is the cultural context that largely shapes the social significance of an artifact and makes it not only an economically useful object, but also an aesthetically attractive and socially status item. Information and digital technologies expand the boundaries of the world of things, and by challenging culture, enrich it with new art objects. In the process of subject transformation, things are increasingly included in communicative innovations and current cultural practices. The dialogue between a person and a thing in a changing society is positioned as an area of ​​creativity, visualization of memory and reclassification of culture. Some aspects of subject transformation in creative practices of modern culture are considered in this article.