Abstract: The article is devoted to one of the episodes in the history of French revolutionary journalism — the polemical confrontation between the leader of the Girondists, J.-P. Brissot, and a supporter of the more radical Montagnard party, C. Desmoulins. The texts of periodicals such as The French Patriot and the Tribune of Patriots, pamphlets by Desmoulins and Brissot, as well as speeches by the Jacobin ideologue Robespierre, are considered. Brissot, attacking the far-left members of the Jacobin Club and the Convention, wrote about the existence among the revolutionaries of a disorganizing party that "wants to destroy everything and build nothing," "a society without a government and a government without power," "not constitutions, but revolutions." Desmoulins, like Robespierre, accused the Girondins of working for the English crown and wanting to create a "federal government", thus dismembering the country, which, in fact, constituted an accusation of high treason. The methodology of the research is complex, which uses general scientific methods of analysis and synthesis, the biographical method, comparative historical and descriptive methods, as well as the method of discursive analysis, which combines the study of linguistic features of the source text and various extralinguistic aspects. The article examines the relationship between legality and revolutionary legal awareness. The revolutionaries abolished the legal norms of the Old Regime and replaced them with an intuitive sense of the danger threatening the Revolution. The verdict was passed not on the basis of actual criminal activity, but on the basis of an inner conviction of the defendant's guilt before the Republic. In his texts against the Brissotines, Desmoulins did not rely on facts proving their guilt or on legal norms, but tried to emotionally arouse hatred of the enemies of the Revolution in his readers. The controversy between Desmoulins and Brissot was based not so much on ideological differences as on a desire to secure a leading position in the National Convention. In this sense, Desmoulins was an expression of the views and political ambitions of the entire Jacobin group, in whose hands Desmoulins' pamphlets were the strongest weapon and contributed to the fall and execution of the Girondists.

Keywords: History of the Brissotins, Brissot Unmasked, Robespierre, Desmoulins, Brissot, Montagnards, Girondins, French Revolution, polemics, Jacobin Club

Abstract: This article is devoted to the study of Telegram messenger functionality and tools for publishing content, increasing the audience of online media and the possibility of using chatbots for convenient and efficient interaction with readers. The subject of this study is the Telegram channel of the regional Internet edition Bel.ru. – the leader of the rating of the most quoted media in the Belgorod region for 2023 according to Medialogy research. The object of this study is modern media space. In the course of the analysis 549 publications on the Bel.ru channel were studied. In the article, the author pays special attention to the formats of publications used, their number, and also considers the features of the algorithm of publishing a message in messengers and social networks, which have significant differences. The author pays attention to the rapid growth rate of Telegram popularity and suggests further integration of Internet media with the messenger. The following methods of analysis are used in this paper: content analysis method, description method, structural-typological method. The results obtained in the course of the study may be useful for editors of online publications planning to create a channel in Telegram messenger or already having such a channel. The analysis allows us to conclude that a modern online publication uses many available tools to create a variety of content, interact with the audience and increase its reach. In turn, the messenger Telegram meets the requirements of online publications, in particular, offering a wide range of publication formats and the ability to customize chatbots. The author of the study concludes that editors of online publications seeking to expand their audience can use the messenger's capabilities to increase their presence in the information space, as well as to increase the reach of publications and additional monetization.

Keywords: regional online media, Internet, media, Telegram, social networks, media space, new media, messenger, Internet media, internet technologies

Abstract: The subject of the research is the telegram channels of sports media as a means of interacting with the target audience. The object of the study is the interaction of the media tone of the telegram channel with the content of the media itself, the website and the representation on social networks. The telegram channels of the three largest sports media in Russia were selected as the research material: the Match TV channel and the newspapers Sport-Express and Sovetsky Sport. The author examines in detail such aspects of the topic as the tone of information presentation, the speed of content placement, and the interaction of content from various information channels. Special attention is paid to the differences between the telegram channels of print media and the TV channel and the use of means of engaging the target audience in them, such as announcements, links to live broadcasts, visualization of the front page of the newspaper, the possibility of voting and feedback, etc. The study uses the method of continuous sampling of telegram channel posts, the method of content analysis of the content of posts, comparing the content of posts with other channels of interaction with the audience (the website and the media itself). The main conclusions of the study are to establish the position of the telegram channel in the media sphere of a particular media outlet, along with the primary channel of interaction with the audience (print, television). The emergence and development of the electronic format of text usage has led to the formation of each media outlet's own website, social media profile, and telegram channel (which has emerged recently as of today). A special contribution of the author to the research of the topic is the consideration of such a segment as the telegram channels of the mass media: telegram channels as such are mainly reflected in Russian science using the example of telegram channels of institutions, organizations and specific people, however, the issue of content diversification in the event that the organization leading the telegram channel is the media was not previously considered. The scientific novelty of the research lies in the appeal to the material of the telegram channels of the mass media using the example of sports media as actively interacting with fans and an engaged audience.

Keywords: print media, television, target audience, mediatone, new media, telegram channels, mass media, means of mass media, press, media sphere

Abstract: The subject of research is the intertextual connections between the text of Fyodor Sologub's novel "The Little Devil" and N.V. Gogol's play "Marriage", as well as with A.P. Chekhov's short story "The Man in the Case". The object of the research is images, motifs, and structural techniques that unite texts and serve as a means of building an intertextual dialogue. The authors consider in detail such aspects of the topic as the commonality of motifs, scenes, structural connections, elements of the subject world of the works, explicit and implicit quotation, the interaction of homological structures of the plots of the two texts. Special attention is paid to the semantic and structural transformation of the motives for choosing grooms/ brides, the interaction of the potential groom / potential bride with the matchmaker, fear of the upcoming wedding, as well as card divination / card anthropomorphization games. The research uses a method of comparing motifs and their transformation in an intertextual dialogue, comparing the structural elements of the text and the objective world of works. The main conclusions of the study are the proven elements of the intertextual dialogue between the two works, the clearly verified identification of another source of the text of Sologub's novel "The Little Devil", along with the already reflected works of classical Russian literature. A special contribution of the authors to the research of the topic is the systematization, verification and detailed description of the homological, borrowed and transformed elements of the artistic world of the work by the author. The scientific novelty of the research lies in the comparison of the text of the novel "The Little Demon" with the text of the drama "Marriage", the identification of intertextual connections, their stratification at various levels of the text organization, as well as the involvement in the comparison of the text "The Man in the case", whose connections with the "Little Demon" through the prism of common motives with "Marriage" N.V. Gogol has not been considered before.

Keywords: homology, motives, allusions, Chekhov, Gogol, Sologub, intertext dialogue, reminiscences, intertext, narrative

Abstract: The subject of research in this article is the hidden dialogue between the philosophical and literary theories of Mikhail Bakhtin and Gyorgy Lukacs, which unfolded against the background of the formation and development of socialist realism. The focus is on the analysis of how, by polemicizing with the teleological premises underlying Lukacs' system and the Socialist realist doctrine, Bakhtin forms his concept of the poetics of the novel in the perspective of "big time." The research focuses on contrasting approaches to understanding genre, where Lukacs, relying on the philosophy of history, builds a linear and teleological model of genre development, culminating in socialist realism, and Bakhtin, entering into a hidden polemic, develops anti-ideological, space-time poetics. Special attention is paid to how Bakhtin, shifting the focus from historical philosophy to the text level, offers a dialogic interpretation of genres in which each of them, including the novel and the epic, appears as a unique and eternal way of understanding the world, coexisting and interacting within the framework of the "big time", rather than striving for a historical conclusion.   The research methodology is based on the analysis of Lukacs and Bakhtin's texts, with an emphasis on revealing hidden dialogical connections between their theories, especially in the context of the formation and development of the literary theory of socialist realism. The article uses a comparative method, exploring various aspects of genre poetics (including chronotopes, genre types, and the roles of writers) in the works of both authors. The scientific novelty of this study lies in the identification and analysis of the hidden dialogue between Bakhtin and Lukacs, which is not limited to comparing their views on the novel and the epic, but reveals fundamental differences in their approaches to understanding the historical process and the role of the literary genre. In contrast to Lukacs' teleological concept, which considers the development of genres as a linear process aimed at a specific goal, the study demonstrates the innovative nature of Bakhtin's anti-ideological poetics, which asserts eternal coexistence and dialogue between genres. In particular, the work shows that in Bakhtin's concept of “big time,” a genre that is not tied to a specific historical epoch does not act as a means of expression, but as a way of discovering and understanding the world itself, gaining its significance in dialogue with other genres.

Keywords: antitheleology, teleology, dialogue, the poetics of the genre, big time, Bakhtin, Lukacs, social realism, chronotope, historicism

Abstract: The article is devoted to two romantic stories written by Ekaterina Maykova "Maria" (1835), and "Woman" (1850). The study is associated with biographical, comparative and typological methods. The article focuses on the prose of the owner of the literary house. Her prose bore the stamp of the transitional time in Russian literature of the 19th century. The time when the aesthetic foundations of Ivan Goncharov’s work were laid and developed. Goncharov was a close friend of the Maykov’s family. The early work of the writer and his first novel "The same old story" (1847) is an artistic reflection of the time, ideological problems and disputes regarding the development of Russian literature during the transition from romanticism to realism. The plot of the ultra-romantic story "Maria" has a connection with "Eugene Onegin" by Pushkin. The connection is in the image of Tatyana Larina and at the same time the connection with the romantic Alexander Aduev from "The same old story" by Goncharov. The three heroes are brought together by their passion for the English poet Byron. A decade and a half later, the writer published the story Woman, in which realistic features emerge more and more clearly. The text seems to repeat the plot of Pushkin's novel in verse in the love line. Realistic denouement of the story by Maykova turns out to be akin to the ending of "The same old story", the text of which was written by Goncharov in the Maykov’s literary house. Prose experiments of Maykova turn out to be extremely important for explaining Goncharov’s dialectical attitude towards romantic traditions throughout his work. The stories written by the head of the literary house reflect the movement towards realistic trends, psychologism inherent to the Russian classical novel.

Keywords: literary house, psychologism, novel, prose, artistic synthesis, realism, romanticism, Goncharov, Maykova, Pushkin

Abstract: The subject of this study is the history of the concept of "authorial commentary" in Russian literary criticism of the 1920s and 30s. The moment of the appearance of its actual word form, as well as its equivalent, "auto-commentary", is recorded. The key research method is historical semantics, which provides a methodological framework for combining the semantic, pragmatic analysis of the concept of "author's commentary", as well as the epistemological analysis of the associated representation system. Auxiliary methods are the epistemology of the humanities, which makes it possible to establish the essence of the literary concept. In the course of this study, a sketch of the periodization of the history of the concept of "authorial commentary" was given. The thesis was put forward that the period from 1921 to 1935 is central to its existence in literary discourse, during which the tradition of its dual use was established. This tradition is relevant to this day. An epistemological characteristic of this period was given. It shows the predominance of the psychological understanding of commentary over its understanding as the form of literary study. It was found out that in the context of the formation of textology, this concept denoted the connection of an artistic work with the non-fiction texts of the author accompanying its appearance. The equivalence of the word forms "authorial commentary" and "auto-commentary" was demonstrated, and the thesis was put forward that author's commentary was defined by literary critics of the 20s and 30s as a type of auto-criticism, and the very doctrine of auto-criticism was part of the psychology of creativity. The last was predominant and influential concept of the time due to complex relations between psychoanalysis and psychological criticism, and young soviet literature studies.

Keywords: the psychology of creativity, Soviet literary criticism, the history of literary criticism, historical semantics, the history of concepts, autocriticism, autocommentary, authorial commentary, literary theory, textology

Abstract: The subject of the research is the phenomenon of the "enemy" in the media discourses of Russian and British linguistic cultures. The relevance of the research subject is related to the increased confrontation in the media environment caused by the aggravation of world-class political and economic situations. At the same time, the Internet is gaining increasing popularity, the availability of public access to which allows politicians in many countries to increasingly use it as the main space for information influence on the public. The purpose of the study is to describe and compare the semantic components that define the image of the enemy in the two analyzed linguistic cultures, based on the media texts used. A comparative description of the phenomenon under study in different linguistic cultures allows it to be qualified as a culturally determined frame that shows the peculiarities of the worldview in the national linguistic environment that applies it. Research methods such as continuous sampling, conceptual analysis, classification and systematization of analyzed linguistic units into semantic components, and the comparative method were used in the work. According to the results of the study, two groups of components were identified that make up the meaning of the word "enemy" in the analyzed linguistic cultures, such as: slot components describing basic evaluative features, and terminals expressed by certain linguistic units in a presented communicative situation that mentions this phenomenon. According to observations, the components of the second named group cause the first. The selected slot components of the described phenomenon manifested a number of subframes that determine the subject of the study by two fundamental factors, such as: basic (manifesting intention and act) and additional. The latter point to various ways of evaluating a hostile act, including the following: legal, moral, emotional, or ideological criteria. The data obtained showed a number of common (regarded by representatives of both linguistic cultures) and specific (appreciated by representatives of one of the studied linguistic cultures) components of the phenomenon under study.

Keywords: concept, media image, subframe, communitive situation, frame, recipient, slot, audience, enemy, terminal

Abstract: The study primarily focuses on identifying the limitations and inadequacies of media linguistics and internet linguistics, which can no longer comprehensively address the specifics of the modern informational landscape due to outdated scientific and theoretical frameworks. There arises a need for clear delineation of the conceptual boundaries of the aforementioned disciplines to prevent methodological ambivalence. Additionally, in response to these challenges, the development of a distinct discipline – newslinguistics, exclusively dedicated to the study of the news landscape – is proposed. Within this framework, its specialised subdiscipline, newsdiscourseology, is introduced to encompass the exploration of all aspects of digital news discourse. A central construct of this subdiscipline is the concept of the hypernews – a type of inclusive text characteristic exclusively of next-generation news platforms. Consequently, the establishment of newsdiscourseology is regarded as a critical response to the demands of the contemporary informational paradigm, characterised by hypertextual, interactive, polycoded, and multimodal structures. Further investigation of this issue entails the creation of a new scientific and practical foundation, including the identification and structured representation of implicit linguistic patterns embedded within contemporary digital news platforms. Assigning these patterns explicitness and specificity will contribute to enhancing users’ cultural and intellectual levels, fostering their critical thinking, and advancing related scientific practices. These developments will also enable the creation of sophisticated software utilities, integrated into browser-based linguistic applications and automated analytical-statistical linguistic databases. These innovations will furnish the foundation for the synchronous and automated analysis of hypernews, the formulation of strategies for optimising news content consumption, and ensure accessibility for a broad spectrum of users, ranging from system administrators to the general public. Pursuant to the proposed paradigm shift, continued exploration within the domain of digital informational communications offers significant transformative potential for addressing the complex challenges of the information age.

Keywords: multimodal text, polycode text, hypertext, hypernews, genre ambiguity, media linguistics, internet linguistics, digital newsdiscourseology, newslinguistics, information bubble

Abstract: The subject of this article is the "floral" symbolism involved in the lyrics of Arseny Tarkovsky (a poet belonging to the "secondary current" of the Silver Age). In particular, the symbolism of roses and lilacs in his works is especially closely examined. The object of painstaking analysis are selected poems by Arseny Tarkovsky, Taffy and Igor Severyanin. The intertextual connections of A. Tarkovsky's lyrics with individual poems by Taffy and I. Severyanin (poets who are dissimilar, but united by the era of modernism in which they had to live and create) are noted. The purpose of this study is to find certain patterns in the references to floral symbols by Arseny Tarkovsky and other poets of the Silver Age, to establish intertextual links between them, and to study individual features characteristic of the mentality of this period. In this article, which explores the "floral" symbolism of Arseny Tarkovsky's lyrics, comparative historical, intertextual and motivic research methods are used. The novelty of the research lies in the establishment of intertextual links between the lyrics of A. Tarkovsky, which mention "floral" symbolism, with the poems of Taffy and I. Severyanin. It is concluded that Tarkovsky's poetry frequently mentions roses and lilacs. They are mentioned in connection with the phenomenon of recollection, sometimes even "false" recollection, traditionally expressing feelings of a loving nature. Roses are usually a symbol of earthly and heavenly love, fullness of life, very rarely witnessing the last farewell of the lyrical hero with his beloved. Lilac by A. Tarkovsky and I. Severyanin is also a guide to the chronotope of the past, while remaining a very specific sensual image, which is revealed in all its splendor, in all its tangibility, as well as a symbol of first love. Among other things, lilac has unexpectedly similar "light" associations in A. Tarkovsky and Taffy. The "floral" references to roses and lilacs have a dual nature in all these authors art: palpably sensual, acmeistic and symbolic.

Keywords: rose, Igor Severyanin, Taffy, flowers, Symbolism, Acmeism, intertextuality, Silver Age, Arseny Tarkovsky, lilac

Abstract: The works of the famous Brazilian literary critic Irlemar Chiampi have been chosen as the object of scientific consideration. The subject of the study is the periodization of Latin American Baroque concepts proposed by I. Chiampi. In the middle of the twentieth century, writers of Spanish- and Portuguese-speaking America became widely known in Europe and the United States and were perceived as representatives of a different non-European-centric worldview. Three relatively structured cultural concepts (X The forests of Lima, A. Carpentier and S. Sarduya) arose on the basis of understanding the special role of the Baroque in Latin American soil. By the end of the twentieth century, there was a need to periodize and structure Latin American Baroque theories themselves. I. Chiampi analyzed not only the Baroque theories themselves, but also the entire evolution of the views of Latin American intellectuals, in which one could find a connection with the Baroque worldview with a timeless interpretation of this concept. Her periodization became, as shown in the article, a convincing panorama of "proto-Baroque" approaches, Baroque and non-Baroque concepts. This study of the reinterpretation of I.Chiampi's Baroque concepts was carried out on the basis of historical, literary and comparative methods. The scientific novelty of the work lies in the fact that for the first time it fully presents the historical and philosophical basis of the periodization of Latin American Baroque theories in the works of I. Chiampi. In addition, some of the Brazilian researcher's works are being introduced into domestic scientific circulation. Based on the analysis of Chiampi's works and studies related to the problem of Latin American Baroque, a conclusion is drawn about the special status of this phenomenon for the formation of a model of cultural self-identification of Latin America. The practical significance of the work is seen in the fact that the questions posed in it and their coverage contribute to the systematization of ideas about the Baroque theories of Latin America and help clarify the functioning of the term "baroque" in the space of Latin American literary criticism and, more broadly, Latin American culture. The results of the research can be used in teaching disciplines related to the study of Latin American literature and culture, as well as in relevant sections of literary theory research.

Keywords: Latin American literature proto-Baroque, a non-eurocentric worldview America, neo-baroque Baroque Brazilian, Americanization of the Baroque timeless, Latin American literature historical, periodization of Baroque concepts article, Chiampi Irlemar, Sarduy Severo, Carpentier Alejo, Lezama Lima

Abstract: The object of the study is A.P. Chekhov's drama "Three Sisters" – one of the most popular and at the same time mysterious plays. For several months, Chekhov scrupulously worked on the text of this work, making edits even during rehearsals of the theatrical production, striving for a more accurate correspondence of the play to the original idea. Interpretations that reduce Chekhov's plan to a certain idea, as a rule, seem extremely one-sided, while the drama "Three Sisters" is complex and multi-layered. It can be assumed that by saturating the play with random, at a superficial glance, but significant details in a holistic perception, Chekhov forms a super-ideological meaning, thanks to which the work acquires deep psychologism and does not lose its relevance. The supersense that stands above other ideas and attitudes is the archetype – the image of the collective unconscious, which even before the emergence of fiction was embodied in myths and fairy tales. If we consider the drama "Three Sisters" from the standpoint of archetypal analysis, then much of what seems strange in the play gets a fairly clear explanation, and the details that seem "accidental" occupy an important place in the overall structure of the work. Archetypal analysis also provides an answer to the question of why the author himself called the drama "Three Sisters" "vaudeville" and "funny comedy". The comic in the play goes back to the theory of inconsistency formulated in the works of I. Kant and G.V.F. Hegel. Chekhov creates a phantasmagoric world, a half-tale, in which the problem of man's collision with mortality and the temporary nature of all things is comprehended: all the experiences and troubles of the heroes eventually devalue, turn into nothing.

Keywords: magical realism, random detail, fairy tale, the theme of death, drama, archetypal analysis, the nature of the comic, the theory of inconsistency, Anton Chekhov, the archetype of the sister