Aim. The aim of the research is to compare Konstantin Levin’s function in the film Anna Karenina(2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Kareninaby Leo Tolstoy and to determine how much his figure was changed in the film adaptation under the influence of the scriptwriter’s and director’s stance. Methods. The subjects of the study were the film Anna Karenina (2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Karenina by Leo Tolstoy. They are analysed with the use of the theory of script writing, different types of character classifications and the text corpus analysis, taking into account the cultural, historical and economic features of scriptwriting and film production. Results. The analysis shows that Konstantin Levin’s function of the second protagonist that is characteristic for the novel is further developed in the screenplay but is omitted in the film. The discrepancies with the source book and the screenplay are caused by the influence of the film director during the film production. Conclusions. Even though the study considers the texts that are closely interrelated, the individual author’s stance influences the text of the screenplay so much that it gives us an opportunity to call Tom Stoppard, the scriptwriter, a writer in the full sense of the word.

The article deals with the stylistic peculiarities of the translations made by R. Pevear and L. Volokhonsky, L. and A. Maud, J. Carmichael of the novel Anna Karenina by L. Tolstoy on the basis of pragmastylistics and comparative analysis. It tries to analyze the text of the novel using the lingo-stylistic characteristics in accordance with the national bias in the way of thinking and individual creative preferences of every translator taking an attempt to introduce a foreign picture of the world to his countrymen. It underlines the impact of Tolstoy’s complicated attitude towards the customs and traditions of the Russian Orthodox church and the specific relationship of the author of the novel with God and its manifestation in the description of the heroes’ characters. In stresses how vital it may turn out to preserve the author’s ideostyle - lexis and syntax (the word order, the choice of them and the length of the sentences) for the successful interpretation of the writer’s views and stance by the reader.

The article deals with L. Tolstoy's novel "Anna Karenina" film adaptation, created in 2012 by director J.Wright and T. Stoppard, a world-famous postmodern playwright. The screenplay and numerous interviews are analysed, the four main tasks solved by the filmmakers are discussed; the basic principles of imagological analysis are determined, the influence of the book "Natasha's Dance" by O. Fidges on the filmmakers' reception of L. Tolstoy's novel and imagological myths about Russia is investigated. The article emphasizes the great impact of the book on the formation of such imagological myths about Russia as the lack of national identity among the Russian people. The difference in romantic "regimes" between Russia and Western countries is underlined. We argue that there is a special imagological myth of Russian love formed as the result of the "holy Russian literature" reception and interpretation in general and L. Tolstoy's novel in particular. The necessity of including the native literature, history and other liberal arts into the technical university academic curriculum is stressed, as they are part and parcel of creative scientific and technical specialist's education. The idea of integrating the film adaptation and translation analysis of Russian classics into the English language classes at technical universities is proposed.

The aim of the research is to compare the imagological myths found in the film adaptation "Anna Karenina" (2012) directed by Joe Wright, the script created by Tom Stoppard and the novel "Anna Karenina" written by Leo Tolstoy, to determine the impact of the British and Russian imagotypes and imagological myths on the cultural dialog between nations, the interconnection of science and art. The subjects of the study were the film adaptation "Anna Karenina" (2012) by Joe Wright, the script written by Tom Stoppard and the novel Anna Karenina by Leo Tolstoy. They are analysed with the use of the theory of imagology and comparative studies, literary analysis and the text corpus analysis. The analysis shows that there are lots of stereotypes, dating back to the past centuries and newly born. Some of them may coincide. The author's stance is influenced by them, on the one hand. The author's attitude towards the people and country depicted determines the choice of a myth, on the other hand. Conclusions. The metanarratives-free postmodern art demands extensive knowledge to understand all shades of its meaning, including the imagological myths. The ability to understand postmodern authors correctly contributes to cross-cultural communication.