Vol 27, No 4 (2025)

The article presents the results of experimental work on the formation of the cognitive component of future teachers' readiness for research, the importance of which has increased significantly in recent years. Teachers play a key role in shaping students' universal learning activities and personal qualities that help graduates achieve success in their future profession. In this regard, the qualification requirements of modern teachers are constantly becoming more complicated, in particular, readiness for research activities consisting of cognitive, activity and personal components is becoming an integral component of their professionalism. Until recently, the preparation of students of pedagogical universities for it was not strictly regulated, each university could independently develop and implement author's programs and special courses that would involve students in research work. However, from 2022 Russian universities have started implementing a new concept for the professional training of future teachers – the "Core of Higher Pedagogical Education", which ensures the uniformity of educational programs. The preparation of students of pedagogical universities for research activities is becoming systematic and mandatory, as the basic discipline "Methods of research and project activities" has appeared in the curricula of all profiles of pedagogical training areas. This article describes the structure of the author's program of this course, as well as the results of a pedagogical experiment to test its effectiveness. The data obtained can be used by university teachers in the process of preparing future teachers for research activities.

The article examines the current aspects of educating teachers' readiness for the development of technical creativity of preschoolers at the current stage of society's development, which is characterized by rapid digitalization, the growth of technological innovations and the transition to a knowledge economy. Preschool age is of particular importance, when the foundations of cognitive activity, creative potential and technical thinking are laid. However, the implementation of these tasks is faced with the problem of insufficient readiness of teachers of preschool educational organizations (DOE) to develop technical creativity in children. The contradiction between the requirements of the Federal State Educational Standard for Preschool Education (FGOS DO, approved by Order of the Ministry of Education and Science of the Russian Federation dated October 17, 2013 No. 1155) and real practice requires scientific understanding.

This article presents the results of studies of three natural adhesives that can be used to strengthen easel paintings on canvas: sturgeon, rabbit and funori. On the one hand, these are two common protein substances that have been used since the earliest stages of restoration practice, and on the other, funori, a polysaccharide of oriental origin, the use of which for strengthening the paint layer began several years ago. The chemical composition of the adhesives was studied using IR spectroscopy, and the following parameters were analyzed: pH level of adhesive solutions, viscosity, hardness, moisture absorption, strength and gloss. Funori demonstrated high viscosity and elasticity, high water absorption capacity, and resistance to mold growth. It requires pH control due to potential contamination during its production. Sturgeon glue remains the optimal traditional material with high adhesive properties, while rabbit glue has a lower pH and is more hygroscopic. The addition of honey to gluten adhesives improves their flexibility but increases the risk of mold growth and makes them unstable under changing humidity conditions. The research results highlight the need for a comprehensive approach when selecting a reinforcing adhesive, considering its chemical and physical characteristics required for specific restoration tasks.

To date, the poetry of R.F. Kazakova has not been considered in terms of Christian vocabulary use frequency, appeals to God, as well as biblical images and quotations. From this point of view, the authors have analyzed the poetry, dating to various periods of her creative work: "Fridays" (1965), "To descend the Hill" (1984), "The Plot of Hope" (1991), "At Random" (1994), "Cross my mind" (2003). The authors believe the vocabulary of the verses to be noticeably changed after the poetess has accepted the sacrament of Baptism, as well as gained the icon of St. Rima placed at her Moscow apartment at the Chayanov Street. The authors claim the poetess to frequently use the lexeme "soul", turn to the Lord, and speculate on hell and heaven, as well as the Last Judgment. Kazakova is believed to understand the said notion from the Christian point of view, not materialistic one, being notably perceptible regarding her belated poetry. The authors declare in the poems written shortly before she passed away the poetess to worry about the fate of Orthodoxy in Russia, arguing the artist’s need to constantly spiritually lean on the Orthodoxy, which is traditional for the Russian culture. Hence, the authors believe it to testify to the fact R.F. Kazakova to become aware of the “predecessors historic memory” nowadays defined as the “Russian culture code”.

The article analyzes the short story “Shest’ spichek” [“Six Matches”] by Arkady and Boris Strugatsky as a cultural text reflecting the ideological, ethical, and social challenges of the Soviet “Thaw” period. It demonstrates how, within the concise framework of science fiction, the authors explore profound philosophical questions: the cost of scientific progress, the moral responsibility of scientists, the relationship between science and human life, and the limits of knowledge and human nature. Through close reading, as well as cultural and contextual analysis, the study examines the story’s poetics, composition, character system, and symbolism. The setting of the Central Brain Institute is interpreted as a “temple of science”, while the protagonist's actions are viewed as a form of religious asceticism. The title “Shest’ spichek” [“Six Matches”] is revealed as a multilayered metaphor: on one hand, it signifies the price of human life (both literal and symbolic); on the other, it alludes to the biblical six days of creation, emphasizing the futility of humanity’s attempts to assume the role of God. The story’s ending, in which the characters silently watch the helicopter flying away, is compared to the silent scene from Gogol’s “Revizor” [“The Government Inspector”] and interpreted as a puzzling pause for the reader – suspended between the departing era of heroic self-sacrifice and the emerging era of humanistic consciousness.

The article provides an overview of the works about the Great Patriotic War, created by both front-line writers and representatives of the generation who did not fight. All texts analyzed in this article were published for the first time at the end of the XX and in the XXI century. A new direction of military-historical prose in Russian literature of the early 21st century is noted as an important author's strategy, which arouses the keen interest of many researchers. This article examines texts about the Great Patriotic War, which combine fantastic, postmodern, realistic and documentary-historical approaches. This is shown in the example of Alexander Khlebnikov’s fantastic story “A Glimpse of the Future” and other works. Analysis of the “siege novel” by Andrei Turgenev (Vyacheslav Kuritsyn) “Sleep and Believe” made it possible to discover the use of many author’s strategies that are relevant in today’s literature. For example, the non-linearity of the narrative, the creation of a modern version of the "Petersburg" text, the use of "codes" of Russian classics. A similarity was found with “Kolyma Tales” by Varlam Shalamov. The works of front–line soldiers, Alexander Solzhenitsyn and Daniil Granin, published for the first time in the current century, are also analyzed. Their time-shifted view of the events of the last war is especially valuable, because the authors reveal unexpected details of everyday life at the front. Attention is paid to a unique edition – the novella by Vsevolod Petrov "Turdeyskaya Manon Lesko. The story of one love which waited about sixty years for publication. It marks the return of the "lieutenant" prose of the first post-war years, whose traditions were laid down by Emmanuel Kazakevich and later developed in the work of Boris Vasiliev.

The article examines for the first time the value aspect of the film "Challenge" (Russia, directed by Klim Shipenko, 2023), which became the first film in history to be shot in space on the International Space Station. The numerous commercials and posters for this film do not contain any value aspect; they only present "Challenge" in some of its emotional scenes, preserving its mystery, uniqueness, and singularity. The purpose of this article is to explore the uniqueness of events, facts, cases, and actions that were created during the filming process, as well as the spiritual and moral significance of a person who made a breakthrough into space and managed to solve complex medical problems there. The authors refer to the concepts of "space," "outer space," and "human in space" as fundamental for this research, justifying these phenomena as a diverse range of content and meaning in various forms and types of film practice. All of this is present in the film, providing a comprehensive understanding of the new film culture of the 21st century and the causal relationships that have shaped contemporary art.

This article analyzes the development of the symphonic poem genre in Russian music of the 19th and early 20th centuries and the formation of the category of "poem" as a type of musical thinking. The article examines the main stages in the development of the musical poem and the characteristics of its perception in the Russian musical tradition. In the article, the author demonstrates that early fantasies and ballads anticipated the poem as a genre model. Particular attention is given to the replacement of the term "poem" with "picture" and "tale" in the Russian tradition, reflecting the desire for national stylistic independence. The symphonic poem is interpreted as a broad category of programmatic one-movement orchestral music. Three types of poem are distinguished—narrative, poetic (lyrical), and epic—corresponding to the main genres of literature. Despite this typology, each specific work may, to varying degrees, contain all three principles—dramatic, lyrical, and epic. However, the predominance of one of them allows us to speak of a dominant type of poem, which determines both the nature of the figurative sphere and the features of the compositional structure of the work. This understanding of the musical poem—not only as a genre but also as a form of thought—provides an opportunity to take a fresh look at the musical processes of the transition from Romanticism to Modernism.

This article examines the concept of color in the context of abstract painting in Russia in the early 20th century. The authors' goal is to identify the complete independence of color from its service function and to define it as a constitutive factor in the structure of fine art. The study provides a comparative analysis of the theory and practice of V.V. Kandinsky and K.S. Malevich. The article provides general prerequisites for the emergence and formation of a radical revision of the idea and function of painting, which led to the emergence of non-objective art, where color acquired autonomous artistic means against the background of the influence of spiritual and philosophical concepts on the art of the early 20th century. Theoretical and practical rethinking of color was manifested in Kandinsky and Malevich in absolutely opposite aspects. A comparative analysis of the work of these artists revealed fundamentally different views on the role and function of color, its conceptual essence in connection with form and space, understood in the context of the ontological status of color as current. The article traces the influence of the discoveries of Kandinsky and Malevich on the formation of many new trends in art and the manifestation of their concepts in the searches of modern artists. The authors come to the conclusion that color is an independent and most important means of expressiveness and potential in the conceptual and visual basis of artistic practices of the 20th and 21st centuries. The article formulates the basic laws and principles of working with color, draws parallels and identifies innovations in the use of color in order to achieve the greatest expressiveness of metamodernist painting.