This article discusses the strategies of visual representation and the status of visual images in Mariam Petrosyan's novel The Gray House, originally published in Russian as The House in Which... The novel is an excellent example of magical realism in contemporary literature. Dispersed throughout the text, visual images have an important role in understanding the fictional world. The characters of the novel sketch animals or fantastic creatures, which become their signatures. The pattern is similar to that of a magical ritual. These drawings and graffiti help the characters to communicate with the mystical House, where they all live. The drawings represent someone or something, while being themselves the subject of representation, which complicates the structure of the novel and requires readers’ reflection. The allegorical nature of the drawings creates the semantic continuity of the House because the characters share the same way of self-expression. The images created by Smoker are special because this character belongs to the House only partially. Smoker’s drawings clearly demonstrate his alienness in the world of the House, but they provide a metaphorical understanding of the House and offer its artistic interpretation. They serve as an alternative key to deciphering the mystical nature of the space. Smoker’s drawings reveal the concept of time distorted by the House

The research objective was to identify the axiological values in uncensored free speech, i.e. natural written speech, of Soviet citizens. The axiological approach made it possible to identify individual life attitudes and values. The research featured a letter that the Kuzbass poet Mikhail A. Nebogatov wrote to the US President James Carter about the socio-political problem of dissidence. The author had no experience in professional journalism or in intercultural communication, which makes him a naive author. The text of the letter reflects the worldview and value system of the author himself rather than situational norms and pragmatic attitudes. M. A. Nebogatov represents himself not as a private person with a unique point of view, but as a speaker for the entire Soviet nation. He believed in the idea of the ideological and axiological unity of the Soviet society, hence the frequent use of the pronouns "we" and "our", as well as the general sense of self-righteousness. For him, Russian literature was the ultimate expression of the Soviet axiosphere, which resulted in numerous references to the authority of Russian writers. M. A. Nebogatov's expressive and appellative intention was to represent himself as a poet, which automatically made him the bearer of the national system of values, with Motherland and patriotism in its core. The axiological and conceptual analysis shows that natural written speech can help to identify the basic values of a social group, e.g., residents of a particular region.

The article discusses the phenomenon of Internet memes that are based on the works by F. M. Dostoevsky. The relevance of this material is due to the fact that memes reflect the events described in his novels as if they were real current events or phenomena of mass culture. The aim is to identify what idea of the life and work of F. M. Dostoevsky is formed among Internet users and what aspects of the writer's novels become the subject of ironic reinterpretation in Internet memes. The authors identified F. M. Dostoevsky himself often becomes the hero of Internet memes, which indicates the importance of his figure for mass consciousness. It is established that Internet memes actualize in the minds of users the following idea about the work of F. M. Dostoevsky: all his works are difficult to perceive, because they constantly demonstrate the suffering of the characters. Dostoevsky himself is presented as the author, first of all, of the novel "Crime and Punishment".The significant religious component of his work is also emphasized. The authors believe that the image of F. M. Dostoevsky formed on the basis of Internet memes may affect the reader's perception if the reader is not familiar with F. M. Dostoevsky's works.

The authors correlate and interpret the same plot in different types of art, i.e., painting and literature. Such a rapprochement is justified by the intertextual reference of Bakhyt Kenzheyev's poem Hunters in the Snow (1984) to the painting of the same name by Peter Brueghel the Elder (1665). The languages of the visual and the verbal are organized differently: the painting offers its viewer a direct contemplation, while the world of the poem gradually unfolds itself in the reader's imagination. The images in the painting are static, whereas textual images reveal themselves in a certain sequence, according to R. Ingarden. The authors believe that the images of the house and the forest are the key difference between the figurative system of the painting and the text. In the painting, the viewer sees the house and the forest from the outside only, while the text gives its reader an opportunity to see them from the inside. The images we see in Brueghel's painting differ from those we see in our mental eye when reading Kenzheyev's poem because the narrator shifts between the space of the painting, here he is one of the hunters, and the position of an outside observer. Therefore, one and the same plot can be translated from the language of painting into the language of poetry, but the change in the format of visibility is bound to cause various semantic changes.

This article introduces the phenomenon of videopoetry as a hybrid product of mass media whose popularity is based on intermediality, i.e., the cumulative effect on different perception channels. Videopoetry is a productive form of verbal creativity in the contemporary media culture with its active reception of art. The research featured poems by W. B. Yeats, T. S. Eliot, and W. H. Auden presented as videos and the way they respond to someone else's poetic word. The authors analyzed 15 videos by comparing the original text and the video sequence in line with the method developed by N. V. Barkovskaya and A. A. Zhitenev. The analysis revealed several options for relaying a poetic work as a music video. Three videos provided a direct illustration of the source text, suggesting a complete or partial visual duplication of the original poetic imagery. Five videos offered an indirect illustration of the source text by using associative images in relation to the central images of the poem. Five videos gave a minimal illustration: the picture did not dominate the text of the poem, but its choice implied a certain interpretation. Two videos featured the video maker as a reciter. The video makers did not try to transform the poetic text but used the video sequence as a way to enter into a dialogue with the original poem or resorted to indirect illustration to generate occasional meanings. Thus, video makers keep the original text unchanged and see the video sequence and musical accompaniment as their responsibility but maintain a dialogue between the original text and its game reinterpretation.