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The article addresses the issue of collective reflection on various manifestations of reality. The aim of the study is to confirm the existence of cultural modality as a linguocultural category. This objective was achieved through the methods of description, componential and pragmatic analysis, and linguocultural interpretation. Using L. N. Tolstoy’s story “Polikushka” as material, the study examines the reactions of representatives of the 19th-century peasant world to different aspects of reality. The hypothesis of Y. M. Lotman regarding the cultural significance of the emotions of shame and fear is confirmed. The concept of cultural modality is introduced, defined as a semantic-pragmatic category determined by cultural factors and manifested in typical collective responses to reality. The semantic-cognitive core of this category consists of cultural norms, which serve as the basis for reflection of a particular type. These norms are expressed through cognitive operators such as “must” vs. “must not,” “may” vs. “may not,” and “necessary” vs. “unnecessary.” Norms vary in their degree of obligatoriness and are adjus­ted by cultural attitudes and ideas about social life. It is established that cultural modality has a collective character, which underscores its objectivity. A cultural norm manifests itself in behavioral standards within its relevant environment, thereby objectifying the actional nature of cultural modality. The study demonstrates that cultural modality is formed at an archetypal level. Analysis reveals that a text, as a model of reality, reflects numerous specific cultural modalities generated by its characters. Plot development is determined by the challenges of reality, to which the hero responds either by following or rejecting the norms. The study shows that cultural modality employs both verbal and nonverbal means of expression, whose consideration on a single analytical plane is made possible by a semiotic approach.

This article provides a brief overview of key aspects of discourse studies, addressing the definition and typology of discourse, as well as the difference between the terms “text” and “discourse.” The historical background and contemporary approaches to the study of ecological discourse were examined, and its place within general discourse theory was determined. A qualitative-quantitative content analysis of texts within the media ecological discourse was carried out, using articles from the authoritative online news outlet The Ecologist as empirical material. Six key content analysis categories for media ecological discourse were formulated: “Environmental Initiatives,” “Global Environmental Issues,” “Politics,” “Consequences of the Ecological Crisis for Humans,” “Reviews of Books, Films, and Podcasts on Environmental Topics,” and “Investments.” Subcategories corresponding to the themes of the articles were identified for each of the main categories. Conclusions were drawn regarding the intentional attitudes of the authors of the analyzed texts, highlighting the primary role of calls and motivation for readers to engage in active nature conservation. The study also assessed the feasibility of applying content analysis methods within linguo-pragmatic research.

The phenomenon of verbal charms in Russian linguoculture is examined through the lens of speech act theory, one of the key directions of contemporary pragmalinguistics. The relevance of the study is determined by the need for an in-depth investigation of culturally conditioned speech genres functioning within sacred discourse, as well as their role in shaping the linguistic worldview. The aim of the research is to identify the pragmatic characteristics of verbal charms as a distinct class of performative utterances in the context of speech act theory and to determine their place within the system of speech genres in Russian linguoculture. The methodological framework of the study is based on an integrative approach combining speech act theory, linguocultural analysis, structural-semantic and pragmatic interpretation of texts, as well as elements of typological and contextual analysis. The contextual approach allows for consideration of extralinguistic parameters influencing the interpretation and functioning of sacred texts. The analysis revealed key pragmatic characteristics of verbal charms: ontological duality (simultaneous presence in both profane and sacred dimensions), ritual conditioning, imperative form, presence of an indirect addressee, syncretism of illocutionary forces, and a unique form of performativity oriented toward sacred influence. A typology of charms based on dominant illocutionary force is proposed, including directive-, declarative-, commissive-, expressive-, and assertive-dominant types. The results demonstrate that verbal charms are complex linguocultural mechanisms that provide not only protection but also psychological stability in traditional society. The developed approach can be productively applied to further study the functional mechanisms of sacred texts and verbal protective strategies in different cultures, as well as to analyze other linguistic phenomena representing sacred experience in folklore.

The study addresses the problem of prototypes for the central figure of P. I. Melnikov-Pechersky’s dilogy “In the Woods” and “On the Mountains” — the Old Believer merchant Patap Chapurin. The analysis examines established theories regarding the genesis of literary characters within scholarly discourse. Biographical details, religious beliefs, and social connections of historical figures are compared with the characteristics of Melnikov’s character. Particular attention is given to arguments supporting or refuting each hypothesis. It is established that, despite a significant similarity between Chapurin and P. E. Bugrov (trade in salt and bread, contracts for paving streets, loyalty to the official church while maintaining Old Believer identity), several traits (age, guardianship of a fugitive-priest chapel) correspond more closely to the biography of Bugrov’s son, A. P. Bugrov. The influence of autobiographical elements is also noted: Chapurin’s irony toward the Old Believer clergy primarily reflects Melnikov’s own views. Additionally, the potential influence of the Saratov merchant L. S. Maslennikov on Chapurin’s image is considered, as his biography (visiting Irgiz monasteries, involvement with the ideas of Edinoverie, extensive charitable activity) also parallels aspects of Chapurin’s character. The study proposes the hypothesis that Melnikov used elements of Maslennikov’s life in “constructing” the images of three Old Believer merchants represented in the dilogy: Patap Chapurin, Makar Maslyannikov, and Danilo Snezhkov. The research is based on a comparative analysis of literary texts, epistolary materials, and documentary evidence. The study concludes that Chapurin’s character has a polygenetic nature, combining traits of several real individuals with the author’s creative design.

The article examines musical motifs in the poetry of N. P. Gronsky, a representative of the first wave of the Russian diaspora, drawing on mythopoetic and hermeneutic approaches. It identifies the connection of his works with the concept of Pythagoreanism and the idea, characteristic of world art, of dividing the cosmos into Musica Mundana, Musica Humana, and Musica Instrumentalis, a concept particularly prevalent in Silver Age lyric poetry. In Gronsky’s lyrics, music is primarily associated with ancient motifs, as well as pagan and Christian themes. The poet-singer figure is considered separately; in Gronsky’s émigré poetry, this figure appears in the archetypal images of David and Orpheus, with the former serving as a hero bridging biblical and archaic epochs, while the latter represents the pagan singer. In Gronsky’s poetry, however, both poles are united within a single Cosmos, and Christian motifs coexist organically with ancient ones, manifested in the integration of multiple musical motifs within a single poem or lyric. The article also examines the most common musical symbols in Gronsky’s work, including bells, trumpets, brass instruments, and “singing luminaries.” Special attention is given to the analysis of the poem “Alla,” where, alongside musical symbolism related to the theme of the creator’s vocation, the musicality of the poem itself is explored, expressed at the levels of phonetic composition, rhythm, and syntax.

The article analyzes the final plays from the surviving repertoire of the Neues Schauspielhaus (New Dramatic Theater) in Königsberg, staged in April 1944, four months before the destruction of the city’s historic center due to Anglo-American bombing. The aim of the study is to identify the specifics of the theater’s dramaturgical repertoire selection during the Nazi era in a frontline city, in the context of its historical fate. The plays of Hermann Sudermann — “Teya,” “Fritzchen,” and “The Last Visit” — as well as Johan Braun’s comedy “Through My Eyes” are examined. A comparative analysis of the works is conducted, and a hermeneutic interpretation of their imagery and semantic features is provided. The study reveals the ambiguity of the chosen repertoire, which combines Sudermann’s propagandistic plays with Braun’s entertaining comedy that reflects mythological motifs. The selection of plays is shown to be symptomatic, conveying the eschatological moods of society in Nazi Germany against the backdrop of the city’s impending catastrophe.

Jean Anouilh’s play “La Grotte” (“The Basement”) is examined as an example of “theater within theater,” where different levels of fiction overlap: there is no clear separation between the main play and the embedded play, and they intertwine throughout the action. At the center of the analysis is the figure of the Author, who functions simultaneously as a character and narrator, elevated above the other characters. However, his position is unstable, as, being the creator of the embedded play, he cannot fully control it and struggles to manage his characters. This duality highlights the central theme of the play — a conflict between the author and his creation, inherently metatheatrical. The play has a complex structure, developing two main threads: one concerns the murder of a cook in a mansion in the Saint-Germain suburb, and the other follows the Author’s attempts to keep his play afloat without losing face before the audience. These threads intertwine, connecting different levels of fiction. The study emphasizes the metatheatrical conflict, linked to self-reflection and the search for authorial identity. Another indication of metadrama is intertextuality: Anouilh references other metaplay works, explicitly and elegantly situating himself and his text within the metatheatrical tradition. The article demonstrates Anouilh’s virtuosity in using theatrical techniques to create a profound philosophical subtext that explores the nature of theater and the relationship between the author and his creation.

The article is devoted to the development and integration of animated educational materials into the curriculum of the course Human Anatomy to enhance students’ comprehension of academic content and improve learning outcomes. During the study, new learning tools were created — animated materials for students of the General Medicine program, covering the section “Veins of the Abdominal Organs” within the working syllabus of the Cardiovascular System. These animated materials were integrated into the educational process and the EIOS electronic learning environment as video lessons and as graphic-based tests derived from them, including matching exercises, fill-in-the-blank tasks, and drag-and-drop tests. The creation of the animations involved converting images from JPEG format to scalable PNG vectors and sequentially animating the vector elements, after which the learning materials were uploaded to the university’s electronic information and educational environment. A survey of 76 first-year students in the General Medicine program at Immanuel Kant Baltic Federal University was conducted to assess the effectiveness of the materials and the students’ adaptation to the educational process. The results indicate the necessity of developing and integrating animated learning tools into the Human Anatomy curriculum.

The relevance of this study is underscored by the current deficiencies in the content of teacher education regarding anthropological and axiological issues. The aim of the article is to justify the necessity of adopting a strategy for preparing teachers as transmitters of traditions, values, and meanings. The research methodology is based on axiological, anthropological, and cultural approaches. The analysis of the current educational context and associated risks — including information accessibility, the adoption of distance learning technologies, the focus of teacher training on instrumental knowledge and skills, and the digital transformation of the socio-cultural space—leads the author to argue for strengthening the humanitarian component in the content of teacher education. A special role in fostering students’ orientation toward accepting and following traditional spiritual and moral values is attributed to the creation of a unified socio-cultural environment of like-minded individuals within the educational institution, offering students elective exposure to religious and cultural directions, anthropology, and pedagogy, and emphasizing dialogue in discussions of axiological and anthropological issues in teaching, upbringing, and personal development. Using the example of teacher training in a confessional higher education institution, the article demonstrates the logic by which students identify and internalize values and meanings both in psychological and pedagogical knowledge and in the content of natural sciences.

The study investigates the feedback of faculty members regarding the necessity of using interactive teaching methods, as well as their readiness to transform the most preferred methods employed at the Russian Guard military university. The survey involved 126 faculty members from the Saratov Military Zhukov Red Banner Institute of the National Guard Forces. A sample of specialists (faculty members) teaching various disciplines was formed to obtain a comprehensive view of opinions and analyze teachers’ readiness to integrate interactive methods into the educational process. A questionnaire was developed to analyze the collected data. The scientific novelty of the article lies in the systematization of faculty opinions, highlighting the importance of interactive methods, including in identifying factors influencing readiness for future transformations in education. The study data demonstrate faculty preferences in applying interactive methods and approaches for military and specialized disciplines, which can serve as a basis for designing professional development programs for faculty, creating methodological materials, and integrating these methods into course plans at Rosgvardiya military universities.