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Based on the results of the analysis of narrative interviews of three generations of residents of Lipetsk, this article identifies and comprehends the features of the representation of family time, the main types of events in family history and the forms of continuity of family traditions. The methods of constructing time and eventfulness were analyzed in the context of cultural practices of everyday life, perceived as traditions of work, everyday life and leisure. On the basis of the biographical method of Fritz Schütze, positive and negative curves of biographical stories were identified, which were compared with the “family scenarios” represented in the narratives of the people of Lipetsk. The combination of F. Schütze's biographical method and S. Jaeger's critical discourse analysis allowed us to identify and compare general tendencies that, on the one hand, turned out to be dominant in the family memory narratives of three generations of Lipetsk residents, and on the other hand, were clearly represented in the media discourse of public commemorations. The first trend was the unconditional growth of the meaningfulness of family history as the age of our respondents increased. The second most important trend was the use by respondents of the events of the Great Patriotic War of 1941–1945 as a kind of "worldview" framework for interpreting the events of family history and its basic meanings. The third trend was the pronounced desire to avoid comprehending the tragic events of family history and the uncritical perception of the biographies of family members during the era of repression in the 1930s. The fourth trend was the absolute dominance of a strong type of continuity in relation to family traditions. It was revealed that the deployment of family temporality appears as a process of constant and dynamic interaction with the semantic space of the historical culture of the region and its practices of using the past.

The article analyzes theoretical models of historical responsibility and the peculiarities of their application in the context of modern media presentations. A comparative analysis of the models of historical responsibility in modern foreign philosophy and social and humanitarian knowledge clearly indicates the dominance of the universalist and constructivist approaches in understanding historical responsibility. In the latter case, it is viewed as a social practice that develops within a certain community and is focused on appropriation or participation in the distribution of symbolic capital. Historical responsibility is a “tense” relationship of the emerging sociocultural situation, where the discursive practices of historical responsibility (imparting guilt; identifying victims, criminals, participants, observers) turn out to be a kind of a mechanism of symbolic dominance in the political space. This state of affairs cannot escape the influence of, first of all, the media. They turn out to be an environment for the actualization and transformation of historical responsibility discourses that begin to obey the media's logic, goals and objectives. Based on the methodological ideas of Pierre Bourdieu's theory of symbolic struggle and sociophilosophical analysis, the scientist, instrumentalist and pluralistic media strategies in relation to the discourse of historical responsibility were identified and analyzed. The main criterion for highlighting these media strategies was the role of the history researchers' professional community. Each of them was presented in the context of opportunities and risks. The analysis shows that, in the modern symbolic space, these strategies are blended, as a result of which various subjects of historical responsibility not only contribute to the fragmentation of space, but also create potentially conflict-prone clusters. In the context of works by A. Rigney, A. Erll, M. Rothberg, L. Bond, and R. Crownshaw, the article demonstrates that the blending of media strategies is especially noticeable in the context of new transcultural and cross-border ways of collective memory dynamics, when the familiar images of the victim, the criminal, the participant, and the observer find themselves in new interpretative contexts of the host culture, the historical politics of the host society, and the dynamics of its transgenerational values.

This article is devoted to the analysis of the mythology of the future and its modalities in the series "Black Mirror" as a tool of cultural orientation in the modern temporal situation. Based on the works of J. Urry, B. Bevernage, H. Lübbe, the article reveals the specifics of the modern temporal situation and current strategies for forming the image of the future. Based on the methodology of critical discourse analysis, the author analyzes three selected episodes, showing the specifics of the mythology of the future and its modalities (the upcoming future, the future of the present and the future materialized), as strategies of cultural orientation in the modern temporal situation. It was shown that the «Black Mirror» series refers to the mythology of the future, which simultaneously problematizes the future, making it the subject of satire and irony (postmodernist discourse), but at the same time normalizes images of an unstable and contigent future (metamodernist discourse). The main method of representing the future is the extrapolation of the present. The analysis of discursive strands shows that the series reproduces the idea of the future as a fragmentary, asynchronous progress of individual technologies that change interpersonal relations and the social order to varying degrees. Doing this, the series reinforces the already comprehensive sense of the contingency of what is happening, pointing not to the person’s need to choose his future actively, but to the possibility of consuming various modalities of the future, depending on the current social agenda and personal preferences.