Vol 6, No 3 (2025)

The analysis of the reception of F. Nietzsche’s doctrine in K.G. Jung’s analytical psychology makes it possible to tell about the origins of the crisis of Christian culture in the modern world. The article provides a brief overview of K.G. Jung’s theological views and substantiates the thesis according to which, in a situation of crisis of traditional Christianity, Nietzsche’s attempt to return to the traditions of apophatic theology failed due to the erroneous identification of the divine and the human in the doctrine of the overman. It is revealed that, on the one hand, in the doctrine of the overman, an attempt was made to revive Christian symbolism, and on the other, there was a substitution of the question of the divine in man with the idea of deification of man.

A memorial metaphor is a kind of metaphor originated from the semantic, symbolic, structural, visual content of a memorial object. This kind of metaphor can be either an artificial (pre-planned), a natural (spontaneously originated) or a complex one. The present study presents a cultural conceptualization of the memorial metaphor. Its nature, typological diversity and functional potential are revealed. The author identifies various types of the memorial metaphor: spatial-static and spatial-temporal, simple and hidden, stable and variable ones. Arguments are presented which prove that regardless of the type of affiliation, a metaphor performs the most important functions of establishing an effective interaction between the memorial object and its recipient (mnemonic, reducing, manipulative and narrativization functions).

The process of forming the cultural identity of young people in the new regions of Russia is associated with the influence of various factors of an axiological nature (regional and all-Russian, mass and individual, sociocultural and pre-professional ones). The study has detected such manifestations of young people’s values as orientation to the family, the desire for well-being, the oscillation between the socially significant and individual, traditional and modern, rigoristic and adaptive. Comparing the data of the regional (2025) and federal (2024) questionnaires, the authors have come to the conclusion that the current axiological status of the youth of the Donetsk and Lugansk People’s Republics, Zaporozhye and Kherson regions, on the one hand, and the youth of other constituent entities of the Russian Federation, on the other, is in many ways identical.

The collective adventure-science fiction novels Three Letters (1911) and The Devil’s Dozen (1918) started the history of bouts-rimés prose in Russian fiction. The current article presents the first attempt in Russian literary criticism to interpret this phenomenon in the sociocultural context of the era and reveal its phenomenology, the main features (including the genre ones) of each of the novels. An unusual experiment combined very different writers: classical (or almost classical) ones – A. Kuprin, A. Averchenko, F. Sologub; “tough professionals” - I. Yasinsky, N. Teffi, A. Izmailov and others, and those writers who are considered to be suppliers of “tabloid fiction” – P. Gnedich, A. Zarin and others. The article focuses on the history of the creation of works, the authors’ intentions, the contribution of each of the co-authors, the reasons for the failure of the projects.

The study presents a structural and functional analysis of the pictorial activity of the predecessors of expressionism. It is shown that this direction of art is not limited to traditionally recognizedhistorical frameworks. Many contemporary artists continue to develop expressionism traditions. The understanding of the aesthetic impact of expressionists’ works is based on the concept of the emotional effect of the perception of traces of active pictorial action in combination with the color impact. The individuality of images in the work of expressionists is based on the peculiarities of the artist’s pictorial “handwriting”. The author notes the difference between the extent of popularity the works of a particular expressionist artist and demand for them, on the one hand, and the real aesthetic value of such works, on the other.

The festival of collaborative laboratories Own Territory. The Territory of Co-creation has been held in Omsk since 2022 and involves the joint work of playwrights, teachers, psychologists and schoolchildren. Basing on the analysis of plays created within the framework of this project, relevant material for teenage drama is presented in the article. Specifics of reader/viewer expectations and author’s strategies for interacting with recipients are indicated. The genesis of modern teenage drama, dating back to the traditions of the play for adults of the late XIX^th century and the turn of the XX^th-XXI^st centuries, as well as the transformation of its traditions in the field of organizing a dialogue with the viewer, are especially considered.

The reader and the reading process are widely represented in works of fine art, in particular in painting and graphics. Particular attention is paid to the history of the formation of the reader’s image from symbolic to realistic ones. The main stages of the transformation of the reading process in images of different eras are shown, from Antiquity and Early Christianity to modern times inclusive. The author analyzes works depicting family reading, makes an attempt to trace the way its understanding has changed in the visual arts. In general, the article is an overview of pictorial and graphic images of the reader in European art with an emphasis on Russian art from the Middle Ages to the beginning of the XX^th century.

A unique collection of foreign works about Russia in the Imperial Public Library (now the Russian National Library), which went down in history under the name Rossika, was collected with the direct participation of senior librarian K.F. Fetterlein (1836-1902). This study has recreated for the first time the devotee’s life and analyzed his 40-year work as head of the Rossika branch. The study gives characteristics of the complete catalog of the collection compiled by K.F. Fetterlein under supervision of M.A. Korf and published in 1873. The contribution of the scientist to historical science and bibliography has been revealed.