Methodological principles in the field of philology of modern European methods of teaching a foreign language

The relevance of the research lies in the fact that at the current stage of the development of human civilization, in the conditions of life in a digital society and the introduction of information and communication technologies, learning a foreign language is not only an advantage of a separate circle of specialists in a certain direction, but also a daily need of every person in everyday life. A correctly chosen method of teaching a foreign language, and, as a result, its effective learning by students. In the article, the authors considered the topical issues of foreign language teaching methods that are currently tested and widely used in the European educational space for teaching a foreign language. In the article investigated the main trends observed in the outlined field, and also singled out the general principles of foreign language teaching methods. The purpose of the article is to analyze the main modern European methods of teaching a foreign language. The task of the research was to highlight the general trends that exist in the European educational space at the current stage, as well as to highlight their specific features. When conducting the research, the authors used general scientific methods of cognition

A. Losev and Russian Symbolists

The object of study is a little-known aspect of the famous Russian philosopher A. F. Losev’s works, namely, his fiction. Losev's works are considered in comparison with Romanticism and Symbolism. Having a lot of philosophical commonalities, sharing their basic ideas, Losev disagrees with the Symbolists in determining consequences the idealization of man. Any kind of art, and even music, are not capable, according to Losev, of overcoming the egoistic restrictions of human individuality. In Losev’s works one of the central themes of Symbolism finds its continuation – the struggle of man against the dark forces. The writer shows that they can take possession of a person and arouses in him an irresistible desire for destruction. The analysis shows that Losev has a dialectical approach to the nature of any phenomena, including belles-lettres. Based on the artistic traditions of his predecessors – Romantics and Symbolists, combined with the achievements of Russian and European classical literature of the 19th century, Losev offers his own solution to the problems of good and evil, life and death, heaven and earth. Warning the reader about the dangers of individualism and worship of the idols of science and technological progress, he maintains the idea that a soul that has fallen away from God and is trying to realize its creative intentions as a demiurge will inevitably succumb to temptations leading it into the realm of eternal dust and decay. An alternative way of the soul that has fallen from God may be selfless service to the Motherland. The theme of “heavenly Motherland” continues to be voiced in Losev’s works with particular strength, while preserving the hope of the Symbolists for the coming transformation of the world

Genre transformation in Simone de Beauvoir’s work “Force of Circumstance”

The publicity dominance is the characteristic of memoirs “Force of Circumstance” by Simone de Beauvoir. The idea of S. de Beauvoir influences the genre transformation. The scientific problem is to clarify the specifics of a genre. The aim of the article is to highlight the features of the genres in the novels, diaries, memoirs, interludes, tragedies, comedies as genre memoirs, to understand better the ideas of the writer. The methodology is represented by a biographical method in the study. The most important findings are as follows. The result is to interpret systematic, structured, orderly procedural writing activities. The attention is drawn to the writing process. Writing is a passion, mania, which is causing an addiction. The meaning of creativity is the knowledge of people, culture, history, progress. Genre transformations are the basis for explaining the problem in the work: the artist's activity and her place in the history. The existential fear of death is a central part of literary existentialism. The writer embodied the death fear in her own works

Падение Римской империи в романе-мифе Валерия Брюсова «Алтарь Победы»

The article considers the antique motifs in Bryusov’s novel-myth The Altar of Victory (1913). We found that there is a complex multi-level hierarchical system of the different motifs. The division of them into three large groups was carried out on the basis of religious beliefs. There are pagans, heretics and Christians. The struggle between them determines the main conflict of the novel. The protagonist, against his will, is involved in historical collisions of a universal significance. Heretic teachings play the leading role among them, which is explained by the enormous influence of Vladimir Solovyov’s work devoted to this topic. Furthermore, the novel reflected Bryusov’s deep interest in the history of ancient Rome, his activity as a translator of Latin poets and his fascination with mysticism and spiritualism. We deduce that Bryusov’s neomythologism has determined the ways of the embodiment of the ancient myth in The Altar of Victory. The author tried to establish correlates between the fall of the Roman empire and a pre-revolutionary era that preceded the October Revolution in Russia (1917) and the Soviet Union (USSR). It gives us grounds for the genre definition of Bryusov’s work as a neomythological novel.El artículo discute motivos antiguos en la novela de mitos “Altar de la Victoria” de Bryusov (1913). Determinamos que la novela creó un complejo sistema jerárquico multinivel que incluye varios motivos. Dependiendo de las creencias religiosas de los personajes, todos los motivos se dividen en tres grandes grupos: paganos, heréticos y cristianos. La lucha entre paganos, herejes y cristianos determina el principal conflicto de la novela. El protagonista de la novela, en contra de su voluntad, está involucrado en enfrentamientos históricos de importancia universal. El liderazgo hereje lo juegan las enseñanzas heréticas, lo que se explica por la enorme influencia de los trabajos de Vladimir Solovyov sobre este tema en Bryusov. Además, la novela reflejaba el profundo interés del escritor ruso en la historia de la antigua Roma, su actividad como traductor de poetas latinos y su pasión por el misticismo y el espiritismo. Llegamos a la conclusión de que las intenciones no mitológicas de Bryusov determinaron las formas de traducir el antiguo mito en la novela “Altar of Victory”. El autor intentó establecer correlaciones entre la caída del Imperio Romano y la era prerrevolucionaria que precedió a la Revolución de Octubre en Rusia (1917) y la Unión Soviética (URSS). Esto nos da la base para la definición de género del trabajo de Bryusov como una novela neo-mitológica.В статье рассматриваются античные мотивы в романе-мифе В.Я. Брюсова «Алтарь Победы» (1913). Мы определили, что в романе создана сложная многоуровневая иерархическая система, включающая в себя различные мотивы. В зависимости от религиозных убеждений персонажей все мотивы делятся на три большие группы: языческие, еретические и христианские. Борьба между язычниками, еретиками и христианами определяет основной конфликт романа. Главный герой романа, против своей воли, вовлечен в исторические столкновения универсального значения. Среди них ведущую роль играют еретические учения, что объясняется огромным влиянием на Брюсова работ Владимира Соловьева, посвященных этой теме. Кроме того, роман отражал глубокий интерес русского писателя к истории древнего Рима, его деятельность в качестве переводчика латинских поэтов и его увлечение мистикой и спиритизмом. Мы пришли к выводу, что неомифологические интенции Брюсова обусловили способы воплощения древнего мифа в романе «Алтарь Победы». Автор попытался установить корреляции между падением Римской империи и дореволюционной эпохой, предшествовавшей Октябрьской революции в России (1917) и Советском Союзе (СССР). Это дает нам основание для жанрового определения произведения Брюсова как неомифологического романа