South Ural State Institute of Arts named after P.I. Tchaikovsky

The article presents the results of cognitive, language-and-cultural and sociolinguistic analysis with the goal to distinguish the markers of regional identity in commemorative names, viewed as heroic ideologemes that help in actualizing ideological and axiological ideas of community. The empirical material, that was collected through upstanding sampling from regional web sites and survey, includes region commemorative names represented by nominations of outstanding people and historical events that took place in Chelyabinsk region. Considering cultural history of the territory, the commemorative names could remain in the regional consciousness for a long time without changing the original content. However, the original forms might either be simplified without losing the heroic sense or in the process of transonymization they might fail to keep it in folk naming, undergo renaming, or disappear from the local language landspace. Deglorification may be presented as complete or partial loss of heroic connotations in commemorative names. Heroic meaning of a toponym or microtoponym is kept on in cases of partial deglorification, though being specified by some positive connotations associated with the attitude of the local people to the commemorative name. Heroic meaning of commemorative nomination is faded out in cases of complete deglorification, thus reflecting ironical or contemptuous attitude of the South Ural people to transformed toponyms or microtoponyms. Commemorative toponyms and microtoponyms demonstrate reference to folk nomination; whereas recurrent usage of the same folk names in the answers to the survey is viewed as a reliable proof that regional place names and minor place names are markers of regional identity in the language consciousness of the South Ural people. The results of the study are supposed to be included in the Dictionary of Chelyabinsk regional lexicon.

The article considers the history of forming and developing a system of higher education institutions within the jurisdiction of the USSR People’s Commissariat of Finance in the years of the Great Patriotic War. The author covers the problems of the graduates’ enrolment and allocation, analyses the methods to train financial specialists. It is shown that before the Great Patriotic War, the higher education system of the USSR People’s Commissariat of Finance was being formed, and the exploded war led it to a deep crisis. The educational institutions reopened only after 1943, when the work of the evacuated higher education institutions was fully resumed and material and technical support of higher school was organized.

The study aims to identify the features peculiar to the heroic paradigm transformation in the modern media discourse using the material of the local media. Scientific novelty of the study lies in applying the systemic integral approach that allows for an analytical description of a hero’s image, which makes it possible to identify both specific and universal trends in representation of a hero’s image in the local media discourse. As a result of the study, the researchers have considered the notion of a media hero, determined features of the local media heroification, using the example of Chelyabinsk Oblast, demonstrated transformation of the heroic paradigm, which is underway in the mass media as relevant transmitters of images, patterns of behaviour and values.

This study identifies and analyzes the mechanisms and linguistic means of popularizing scientific knowledge in the regional media of the Chelyabinsk Oblast, based on a corpus of media texts dedicated to scientists and their work. The results demonstrate that regional media have developed an effective popularization model based on three key strategies: personalization (constructing the image of the scientist as a “hero-professional”), metaphorization (translating complex scientific terms into accessible language through analogies and metaphors), and localization (a specific emphasis on the scientist’s connection to the region). The article shows that science popularization in regional media constitutes a systematic effort to form a positive image of the “hero-professional” and to integrate science into the region’s linguocultural space.

In this article, the author examines the methodological foundations and conceptual provisions that reveal the specificity of the immersive in culture and immersiveness as a holistic cultural phenomenon. The approaches to the digitalization of culture as an understanding of the “medial turn” that generates a new form of post-digital art practices are highlighted. The perspectives of interpreting the concept of immersiveness are revealed. The attention of the study is also focused on the sound image as a zone of direct deployment of pre-, extra- or post-anthropomorphic ways of communication with the surrounding space.The author refers to the comprehension of the olfactory code, the inclusion of the world of smells in the virtual environment (virtualization of smell). It is concluded that the immersive spaces created actualize the potential of multisensory research in modern scientific knowledge.

The article presents the study of axiologemes in the Russian- language media discourse dealing with the issues of digitalization and information technology. Based on the analysis of the texts of Russian media (published in 2020–2025), a justification is given on how key concepts and neologisms (such as progress, remote work, information security, AI) acquire evaluative meaning and form public opinion. The study provides a clarifi cation of an axiologeme as a concept compared with the related term “keyword of current moment” (T. V. Shmeleva) and demonstrates the dependence of the axiological modus on context and social and cultural factors. As a result of the study, it is concluded that axiologemes can have both unambiguously positive or negative connotations, as well as ambivalent ones, refl ecting the complexity and inconsistency of the perception of digital transformations in modern language culture.

The purpose of this work lies in characterizing "suggestion" as a quality of theatrical nature of a human being with highlighting a viral potential of theatricality. The author believes that theatricality, as a tool for personal adaptation, is used by people everywhere. However, except some examples of description theatricalization a human being behavior and some societal examples of theatricality it is hard to find any other information about theatrical nature of a human being, something that could explain the "Homo Theatrical" as the phenomenon.

В статье освещена проблема терминологической работы над понятиями. The article deals with the problem of terminology work on concepts.

The article describes the definitions of the concepts of “ability”, “creative ability”, “acting ability”. The analysis of the interpretation of these concepts in psychological, pedagogical and theatrical literature is given. The author gives his own definition of the concepts of “creative ability” and “acting ability”

The work comprehends the dialectical connection between the phenomena of appearance and everyday theatricality, the ontological nature of their alleged interaction. The thesis is voiced about the existential status of theatrical nature as a given, intrinsic property of a human being before experience. Three arguments are being developed to substantiate a stable dialectical connection between appearance and everyday theatricality. According to the argument from conditioning, material conditioning is characteristic of both appearance and everyday theatricality, since it manifests potential being and theatrical nature in their material interpretation and has the phenomenological force of adaptation necessary for manifestation in matter. According to the argument from causality, being materially conditioned, a human being is not free from causality, he is its bearer. When interacting with other people, causality needs a "dramatic cover" to adapt to the proposed circumstances of everyday life. In this context, causality acts as a dramatic principle of everyday interaction. According to the argument from "presence", the theatrical nature of a human being can be interpreted as a kind of existential, manifesting itself through the phenomenon of everyday theatricality. "Presence" is inherent in the adaptive nature of a human being and outwardly looks like dramatic behavior, thereby determining a person's ability to appear to himself, "be for himself and another," and manifest himself through dramatic "presence."

The article examines unoffi cial or folk place names and minor place names in Chelyabinsk residents’ speech as a means of representing their identity. Based on the comments of the Internet portal 74.ru users, unofficial names of Chelyabinsk toponymic objects were revealed, their main functions were defi ned, word-building means used in the formation of folk place names and minor place names including suffi xation, abbreviation and acronymy were analyzed. The analysis of the empirical material showed that suffi xation is characteristic mainly of unoffi cial godonyms, abbreviations are frequently found in unoffi cial names of cities, districts and derivatives of generalized folk names of the residents. Abbreviation in folk place names and minor place names is used without their mea-ning transformation, while suffi xation and reduction are often applied to form emotive unoffi cial place names and minor place names with negative connotations. Chelyabinsk unoffi cial minor place names are characterized by transonymization and partial or complete deheroization of offi cial commemorative names. Folk place names refl ect creativity of the portal users, actualize the opposition "our own" — "foreign", the recognition and suffi cient fi xa-tion of unoffi cial place names and minor place names in the linguistic consciousness of Chelyabinsk residents and mainly the negative attitude to the urban landscape in general.

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The research is aimed at studying cultural and social tendencies of Chelyabinsk street names. It has been stated that linguistic landscape of the city is influenced by a number of general tendencies of nomination including cultural, ideological and historical processes taking place in the country, on the one hand, and peculiarities characterizing a concrete city language landscape, on the other hand. The authors suggest a typology of Chelyabinsk godonyms taking into account not only not only their division into characterizing and orienting according to T.V. Shmeleva but the existence of generalizing and specifying street names. Integral approach in analyzing local god-onyms is used in the article. Renaming of local godonyms is not present in Chelyabinsk city onomasticon, even if the existing godonyms are repetitive, not positively connoted. The tendency to use various thematic often not realistically reflecting the city landscape godonyms has been revealed necessitating the ordering of the language policy in godonym naming. Commemorative street names are viewed by the authors as heroic ideologemes constituting an open heroic paradigm. Personal and general commemorative names have been outlined. Commemorative godonyms naming and renaming tendencies study is argued to be relevant for the period of cultural values rethinking and formation taking place parallel to the process of preserving historical memory. Godonyms renaming is not typical, while commemoration of local historical events and outstanding personalities is often registered in Chelyabinsk onomasticon. Local commemorative place names reveal general for all languages and cultures tendencies of commemoration including naming after the outstanding people, important historical events, etc. Unique commemorative place names appearance in the local linguistic landscape is conditioned by the city contribution to heroic paradigm formation including naming after outstanding writers, factory directors, constructors, war and labor heroes, scientists, etc.

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The article is devoted to representation of domestic jazz in the Soviet feature silent and sound cinema in the period from 1926 to 1990. The author notes that jazz was becoming part of the plot of documentaries and feature films since its emergence in the USSR, but the accents in its image changed, and the genre nature of the movies evolved. There was a traceable shift from musical comedy to satirical pamphlet, from lyrical comedy to melodrama. Based on several dozens of examples of films where jazz sounds, the article shows the relationship between the ideological course of the Soviet state, the perception of the jazz performance specifics at different historical milestones, and the nature of its reflection on the screen. Thus, in the 1930s, jazz was synonymous with popular music and had a clear shade of humour and entertainment; in the late 1940s, it symbolized the ideological opponents of the country; and after the Khrushchev Thaw, it was considered an art, a kind of intellectual activity. In addition to the periodization of jazz cinema, the article provides a typology of films about jazz. The author presents a classification based on a set of qualities, such as maximum or minimum correlation of the plot of the film with jazz, participation of jazz musicians in it, and presence of a jazz soundtrack.

The article presents an analysis of the associative responses of residents of Chelyabinsk and guests of the city, associated with the perception of the urban environment, urban objects, well-known places, famous personalities, the image of the city and its residents in general. It is important to find out the associative core and peripheral meanings of the city image because it can be used to solve the problems of socio-cultural adaptation when introduced into the school educational system. Acquaintance with famous places and people, knowledge of historical facts and unique features of the city and region can have a positive impact on the formation of the image of a Russian citizen in the linguistic consciousness of the younger generation. The material presented in this study shows a complex, contrasting attitude towards the city, primarily due to the fact that current generations do not perceive Chelyabinsk as a city of labour merit, as one of the key elements of the stronghold of the country, but note serious environmental problems and an unfavorable external environment for human life (two sides of the same coin). This study can form the basis for identifying specific unique regional lexical components associated with Chelyabinsk and the Chelyabinsk Region, which can contribute to the formation of a positive image of this location.

The author of the article presents the main provisions of the developed methodology for the formation of value-semantic perception of music in children of preschool age.

СОДЕРЖАНИЕ И СТРУКТУРА МЕТАПРЕДМЕТНЫХ АНАЛИТИКО-ИСПОЛНИТЕЛЬСКИХ УМЕНИЙ У СТУДЕНТОВ МУЗЫКАЛЬНОГО ВУЗА Белобородова В.В.ГБОУ ВО «Южно-Уральский государственный институт искусств имени П

The purpose of this article is to identify the significance of the synthesis of East and West in the operatic work of V. A. Usovich. The main content of the study is the musicological analysis of the operas “Medea” and “Night Dies at Dawn”. The article provides a general overview of the composer’s operas, indicates the place of the studied works in the author’s work, gives a description of the structure and content of the works, and reveals the musical characteristics of the characters. The scientific novelty of the study lies in the study of the composer's opera music from the point of view of the “East and West” dialogue. As a result of the study, it has been established that the synthesis of East and West in the operatic work of V. A. Usovich is a means of concretizing the place of action.

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