Contents of No. 31, 2025
- Anna P. Naumova, Veronika D. Borisova. INTERACTION BETWEEN THE TRANSLATOR AND THE PUBLISHING HOUSE
- Lyudmila V. Sirenko, Dmitry A. Astafiev. TIME AND MEMORY IN THE POETRY OF I. BRODSKY: LEXICAL AND SEMANTIC ANALYSIS OF THE CYCLE OF POEMS “THE VIEW FROM THE HILL”
- Galina I. Chepeleva, Dmitry A. Astafiev. THOMAS LIGOTTI'S “THE SPECTRAL LINK”: DREAM MANIFESTATIONS OF METAPHYSICAL MUTANTS
- Karina E. Biksultanova, Anna E. Belkova. FORMS AND TECHNIQUES OF VISUALIZATION, EFFICIENCY AND EFFECTIVENESS: THE IDEAL VIDEO IMAGE
- Anastasiya N. Borodina, Svetlana V. Rudakova. ‘EVERY STANZA NEEDS VOICES AND EARS’: TRANSFORMATION OF A POETIC TEXT INTO A SCREENPLAY FOR FILM ADAPTATION
- Zoya V. Golubeva. PEDAGOGICAL POTENTIAL OF VIDEOPOETRY AS A METHODOLOGICAL MATERIAL FOR SPECIAL VOCATIONAL EDUCATION. STAGES. TECHNOLOGIES. PERSPECTIVES
- Maria S. Zhavnerovich. M. I. TSVETAEVA’S POEM ARCHETYPES OF “THE FIRST VERSE THAT I REPEAT...” IN THE VIDEO POETRY
- Tatiana B. Zaitseva, Viktor V. Parshutin. SEMIOSIS OF VIDEO POETRY:AN INVITATION TO POLEMICS (scholarly essay)
- Yekaterina G. Postnikova. LIFE AND DEATH: DIALOGUE THROUGH ETERNITY (BASED ON THE POETRY AND DIARIES OF FRONT-LINE SUBMARINERS A. LEBEDEV, G. SENNIKOV AND THE POETIC VIDEO ‘ELEGY TO A POET’ BY A. YURGAITIS)
- Maria V. Yudina, Veronika V. Tsurkan. FROM “THE LAND OF GOOD CHILDREN” TO “THE CREATURE”: CINEMA AND FEAR IN THE SCREENWRITING OF A. STAROBINETZ