This paper focuses on a study of Milan Kundera's vision of immortality as the possibility of overcoming death through one's creative activity and social work during a lifetime. Having analyzed Kundera's Immortality (1991), we argue that the novel is strongly aligned with the philosophical hypothesis that considers immortality as the everlasting influence of people's life and creative work upon the minds and actions of succeeding generations. Touching on the eternal questions about the essence of life and death, Kundera thus arrives at a conciliatory solution to the temporality of human nature: an individual's sociocultural contribution to the spiritual consciousness of humanity, according to which immortal personalities are divided into major and minor types-the artists or creators, and the statesmen or political figures. The scale of a contribution has a wide range and is not equal for different contributors. In the same way, immortality can be of a greater or smaller caliber. The aim of this article is to study what is immortality from the philosophical perspective of Milan Kundera, as it is reflected in his novel Immortality. Referring to philosophical, psychoneurological, psychological and physical concepts, classical literary works and personalities in the course of the interdisciplinary research, we argue that Milan Kundera's views on immortality could originate from Russian philosophical thought of the second half of the 19 th -the beginning of the 20 th century, particularly represented by Leo Tolstoy and Fyodor Dostoevsky. We also argue that Milan Kundera's novel Immortality could artistically illustrate a philosophical theory of one of the most prominent but unfairly forgotten pioneers in the subject, the Russian psychiatrist and neurologist Vladimir Bekhterev. Bekhterev founded the St. Petersburg Psychoneurological Research Institute in 1907 and presented his hypothesis of immortality in 1916 in a speech titled "Immortality from the Scientific Point of View" (1) .

The paper is devoted to the research of Vladimir Nabokov’s conception of theatricality in relation to drama as a literary form and stage performance. It presents the study of Nabokov’s understanding, artistic meaning and function of the conception, as well as the ways of its realization in all Nabokov’s plays. With regard to theatricality, the literary devices of the theatricalization of reality and ‘theatre within the theatre’, used by Nabokov for the purpose of emphasizing the content, expressing the author’s presence, and ironizing towards aesthetic and ethical phenomena, among others have been studied in the material of the plays The Tragedy of Mr. Morn, The Man from the USSR, The Event, and The Waltz Invention. These dramatic works include the whole range of attributes of the theatricalized reality and metatheatre: sporadically appearing scenes of an ‘internal’ play; duality of personages and performance of several roles by the same hero; heroes’ attempts to foretell the course of action, direct the play, and correct the ‘acting’ of another characters; personages using theatrical attributes and decorations.

The article researches the last and the least studied dramatic work by Vladimir Nabokov -the screenplay of the novel Lolita -from the perspective of the writer on what constitutes an aesthetically satisfying play. Using Nabokov's methodology and assessing compliance of the screenplay with Nabokov's content-and-form-related criteria of the perfect play, the author concludes that the screenplay contains the full range of his idiosyncratic concepts and artistic devices. The article scrutinizes each of them. Consequently, the research claims that Lolita stands not only as a remarkable play, but also as the culmination of the dramaturgic principles Nabokov employed as a writer and advocated as a theorist of drama.

ABSTRACT The paper is devoted to the research of Vladimir Nabokov’s conception of theatricality in relation to drama as a literary form and stage performance. It presents the study of Nabokov’s understanding, artistic meaning and function of the conception, as well as the ways of its realization in all Nabokov’s plays.  With regard to theatricality, the literary devices of the theatricalization of reality and ‘theatre within the theatre’, used by Nabokov for the purpose of emphasizing the content, expressing the author’s presence, and ironizing towards aesthetic and ethical phenomena, among others have been studied in the material of the plays The Tragedy of Mr. Morn, The Man from the USSR, The Event, and The Waltz Invention. These dramatic works include the whole range of attributes of the theatricalized reality and metatheatre: sporadically appearing scenes of an ‘internal’ play; duality of personages and performance of several roles by the same hero; heroes’ attempts to foretell the course of action, direct the play, and correct the ‘acting’ of another characters; personages using theatrical attributes and decorations. KEY WORDS: Drama, Theatricalization, Metatheatre, Artificiality, Duality.

Aim of this letter is to attract the attention of journal readers to the study of exosomes as an important direction in the development of Oncology, in particular, in the diagnosis and treatment of prostate cancer. Exosomes are produced by tumor cells and regulate proliferation, metastasis, and the development of chemoresistance. Their extraction from biological fluids allows further use of these vesicles as potential biomarkers of prostate cancer. In the future, exosomes can be successfully used in the delivery of drugs and other anti-tumor substances to cancer cells.