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• Culture and Normative Sociable Systems in a Period of Crisis: Issues of Theory and Practice

  Evgeniya Yuzhina

  Elizaveta Zatsepa

  Views:

  216

  This article is devoted to the analysis of topical questions of the development of culture and normative sociable systems in a period of crisis. People faced new concept of reality in the third decade of 21st century. In the era of a brittle, anxious, nonlinear, incomprehensible world the question of responsibility for the state of culture and normative sociable systems is most acute. As representatives of culture, education and science, researchers can create the space of clean, healthy, favorable opportunities for  the development in the post crisis period.

• The abnormal “new normal”: The concept of the “new normal” as a framing structure in social media discourse: A cognitive-discursive analysis

  Nava Vanda Sahverdova

  Views:

  417

  This study is devoted to the analysis of the concept of the "new normal" and the description of its frame structure in everyday usage within social media discourse. Based on a cognitive-discursive approach, the study examines the transformation of the meaning of the expression "the new normal" from its original economic-political term into a polysemous linguistic tool for expressing evaluation, anxiety, and rejection. Using comments from social media platforms (such as Facebook, Telegram, and LiveJournal), the study identifies frames and thematic groups in which this concept is actualized: the moral and value devaluation, the cultural-civilizational crisis, ideological pressure, the normalization of violence, the mediatization of tragedies, and the social adaptation to post-COVID realities. The analysis shows that the "new normal" functions in media discourse as a marker of normative transformation and a cognitive representation of crisis phenomena. The concept serves as an ironic label, a means of stigmatization, emotional evaluation, and as a tool for expressing identity and describing the "other" amid global and local changes.

• Metaphors in Lyudmila Ulitskaya’s Short Story ”The Queen of Spades”

  8 p.

  Angelika Molnár

  Views:

  461

  In this paper it opens up how Lyudmila Ulitskaya in her short story “The Queen of Spades”develops the crisis situation whichher heroes getsinto. So, the problems of the crisis should beanalysed also from a broader perspective, however, we will confine ourselves to only one rather narrow aspect of the analysis of poetic utterance, namely the tropological one.The chosen (mechanical and animalistic) metaphors are connected with the figure of the main heroine and also her revolting daughter.

• Moscow Everyday Life in Soviet Film Comedies of the 1960s–1980s

  Anel Kozhabergenova

  Views:

  82

  The paper addresses the representation of everyday life in Soviet film comedies of the 1960s–1980s. The object of analysis is a corpus of nine films: Vzroslye deti [Adult children] (1961),  Legkaya zhizn [Easy life] (1964), Daite zhalobnuyu knigu [Give me a book for complaints] (1965), Uroki literatury [Literature lessons] (1968), Ironiya sudby, ili S legkim parom! [The irony of fate, or Enjoy your bath!] (1975), Mimino (1977), Po semeynym obstoyatelstvam [Due to family circumstances] (1977), Sluzhebny roman [Office romance] (1977), and Samaya obayatelnaya i privlekatelnaya [The most charming and attractive] (1985). The research methodology combines two complementary approaches: Michel de Certeau’s sociology of everyday life and Gaston Bachelard’s phenomenological poetics of space. De Certeau’s concept of tactics and strategies helps describe the mechanisms by which the Soviet urban citizen adapted themselves to systemic structures, while Bachelard’s ideas on poetics enable the reading of interiors, material objects, and living spaces as symbolic images rooted in memory and imagination. The article demonstrates that the Soviet film comedy of this period was not a degraded genre but a distinct aesthetic form linked to Italian Neorealism that developed its own language for representing the everyday. In the analyzed films, Moscow appears not as a neutral topographical backdrop but as a meaning-making space that captures the profound transformations of late Soviet society: the conflict of generations, the crisis of public and private spheres, and the paradoxes of urban space unification. Film comedy is treated both as an archive of social tactics and as a text-space where the social and the symbolic are inseparably intertwined.