Abstract: The article is devoted to the analysis of the sound image as a structural component of cultural memory in the context of the problem of difficult heritage. The explication of the role of sound in the construction of collective memory of traumatic experience is carried out on the example of revealing sound patterns in films representing Stalinist repression. The subject of this study will be the soundscapes captured in film language, through which the experience of collective traumatisation is revealed to us. It is proposed to understand difficult heritage as a form of cultural memory generated by trauma, which is the battleground of two opposing forces: official rhetoric that displaces the memory of traumatic experiences as a threat to collective identity, and preservationist discourse that points to the dangers of forgetting. This paper is an attempt to identify how this contradictory nature of questioning the past is represented through sound. On the basis of comparative analysis, the author identifies key features that unite the soundscape of the films under consideration. Firstly, the stratification of the auditory field into dichotomous facets: musical harmonic organisation, embodying the unifying power rhetoric, and noisy disorganisation, embodying the refusal to obscure and erase the past. Secondly, the difference in the sonic representation of the theme of repression in the cinema of the perestroika era and contemporary films, due to the change of political orientation in relation to the events of the past. The author stresses that the presence of such features relies on the existing mechanisms of labelling power instances and subordinate groups with polar sound characteristics. The author concludes that through the examination of sound recordings of the past it is possible to discover those semantic nuances for which there is no place in visual and written sources that rely on reasoned articulation.

Keywords: memorial culture, sound semantics, representation, repression, cultural trauma, difficult heritage, cultural memory, sound image, sound, silence

Abstract: The article provides an analysis of diary discourse, focusing on the contrast between the narcissistic orientation of contemporary online diaries and the dialogic, reflective nature of Sufi spiritual diaries, written in the form of the letter to spiritual mentor according to Sufi tradition. Modern online diaries, characterized by self-exposure, often mirror digital narcissism, where the expression of thoughts and emotions may prioritize self-presentation over inner transformation. In contrast, Sufi spiritual diaries, written as letters to spiritual mentors, represent a means of deep self-reflection and psychocorrection, where the diarist seeks not only to express personal experiences but also to achieve a transformative dialogue with the metaphysical Other. The study examines the therapeutic effects of this diary practice, highlighting its potential to help individuals restore inner balance, overcome isolation, and reduce anxiety. The article explores such concepts as autocommunication, extimacy, and the communicative turn, analyzes how these theories contribute to understanding personal growth within this diary genre. Through citing of diary excerpts written in the Sufi communicative paradigm, the study shows how these texts foster a unique type of dialogic exchange aimed at personal and spiritual growth. The findings underscore that spiritual diaries offer an opportunity for profound self-therapy, allowing individuals to engage in a metaphysical dialogue that supports personal transformation and emotional resilience. This research underlines the value of spiritual diaries not only as psychotherapeutic tools but also as meaningful literary forms that encourage introspection and connect individuals to broader cultural and spiritual frameworks.

Keywords: digital narcissism, the other, Habermas, communication, Diary discourse, reflexion, metaphysical dialogue, self-therapy, narrative psychology, existential experiences

Abstract: The subject of the research is that the article attempts to create a summary portrait of the cultural and linguistic personality of a Chinese student in modern Russian universities. The connection of the Chinese cultural and linguistic personality with the archetypal elements of the national image of the world determines its constant components with all changes in individual properties and qualities. At the same time, existing explicit or implicit stereotypes may be only part of a generalized portrait. The Chinese cultural and linguistic personality is based on a property that is often formulated by Sinologists as vitalism. The vitality of the modern Chinese audience is explored in connection with such phenomena as "gelotocentrism" and "phagocentrism", dating back to the traditional Chinese worldview. "Gelotocentrism" allows us to understand why laughter becomes one of the dominants of the psychological atmosphere in the classroom, as well as to identify the effectiveness of "laughter didactics" at various stages of learning. Various methods were used in the course of the research, including observation, literature analysis, historical and literary research, comparative and discourse analysis. "Phagocentrism" is not just "filling the stomach", but a peculiar form of possession of higher knowledge, a mental "orientation in the space of Being". In addition, for Chinese living in Russia, food is one of the most effective ways to solve adaptation problems and relieve psychological stress. The relevance of the research is determined by the novelty of the approach, since the novelty shows that phage therapy and gelotherapy are considered as the most important modes of human existence, and their significant role in the philosophy of education is emphasized. Tracing the connection between the history of Chinese culture and its current state in the aspect of international education, the study demonstrates that associative-sympathetic thinking is directly related to the vitalistic perception of the world. Vitalism, in turn, presupposes "holism" as an integral form of mastering reality.

Keywords: Chinese audience, cultural-linguistic personality, laugh didactics, holism, phagology, gelotology, vitalism, cultureme, emic unit, overall portrait