Abstract: The subject of the study is the transformation of human subjectivity in the digital environment under the influence of the evolution of user interfaces, as well as the cultural practices that emerge in this process. The interface is considered not only as a technological solution, but above all as a cultural form of mediation that organizes everyday experience, directs user action, and consolidates reproducible patterns of participation in the digital environment. In this way, the interface is involved not only in providing access, but also in the redistribution of initiative, choice, patterns of attention, and everyday modes of action. Particular attention is paid to the ways in which the transition from instrumental forms of interfacing to algorithmized, agentic, and environmental formats of human–AI interaction alters the user’s status and the conditions of subjectivity. The study is conducted within the framework of a cultural approach, drawing on the comparative-historical method, the analysis of cultural practices, and the interpretation of the interface as a form of mediation. As a research tool, it employs a scheme of subjectivity transformation that makes it possible to correlate the stages in the evolution of the user interface with changes in human subjectivity. It has been established that, as the interface evolves, not only does the form of human interaction with the digital environment change, but also subjectivity itself: from being the source of action, it shifts toward guided, reactive, hybrid, and partially predetermined participation. As the interface becomes more deeply embedded in the environment, it becomes less visible to the individual as an autonomous form of mediation. A pattern has been identified according to which increasing algorithmization, personalization, and environmental embeddedness of the interface are accompanied by a weakening of the human reflexive distance and a redistribution of their capacity to initiate, sustain, and reconsider their own action. It is concluded that, within digital culture, the interface functions as one of the key forms of cultural regulation, shaping cultural practices and, through them, human subjectivity.

Keywords: user interface, cultural practices, subjectivity, erosion of subjectivity, digital environment, mediation, algorithmization, agency, personalization, cultural regulation

Abstract: The subject of the research is the speech registers "yunbai" (rhymed speech) and "jingbai" (speech close to the Beijing colloquial language) in Peking opera. The author examines in detail aspects of the topic such as phonetic parameters (tempo-rhythmic, intonational, segmental), the distribution of these registers depending on character types and communicative situations (using the play "Yuitanchun" as an example), as well as the mechanisms of their semiotic functioning. Special attention is given not only to the established correspondences between the register and social status but also to situational flexibility, including switches between registers and the phenomenon of divergence between the form and content of utterances. The object of the study is the system of stage speech in Peking opera as a holistic cultural text, within which yunbai and jingbai form a binary opposition that encodes social distance, the degree of institutionality, and the nature of interaction between characters. The methodological foundation of the research is social semiotics as interpreted by the Tartu-Moscow semiotic school (Y. M. Lotman), as well as methods of phonetic analysis and contextual analysis of theatrical text. The scientific novelty of the study lies in the fact that, unlike previous works focused on the formal-phonetic differences between yunbai and jingbai, this work conducts a systematic analysis of them as a semiotic system from the perspective of social semiotics. Three main mechanisms for the formation of social meaning have been identified: opposition, correlation, and variability. It is shown for the first time that the distribution of speech registers is determined not only by the character's social status but also by the communicative situation, which can redefine the normative choice of register (for example, in the case of the character Chun Gundao switching from jingbai to yunbai in a courtroom scene). Furthermore, the phenomenon of "functional permeability" of registers has been discovered: stylistic characteristics associated with jingbai (irony, freedom of expression) can manifest within the framework of yunbai without formal switching of registers. The conclusions of the research indicate that the system of speech registers in Peking opera represents a dynamic semiotic field in which meaning arises from the interaction of stable structures and their variable realizations. This system facilitates the transmission of socially significant information while maintaining the flexibility necessary for artistic expressiveness.

Keywords: Peking opera, yunbai, jingbai, speech registers, social marking, semiotic system, phonetic variation, theatrical communication, role, communicative situation

Abstract: The article examines the theory and practice of the Chinese national theater movement (国剧运动) of the 1920s, initiated by Yu Shanyuán, Zhao Taimou, and their like-minded associates. It traces the formation of key aesthetic categories of the movement – the opposition of "xié yì" (写意, expressive abstraction) and "xiě shí" (写实, realistic representation) – in the context of the debate with the New Culture Movement and "Ibsenism" of the May Fourth period. The institutional efforts of the movement's participants and the publication of the weekly "Juyikan" are discussed. Special attention is given to the reasons for the practical failure of the movement and the subsequent reassessment of its theoretical legacy in the 21st century. The influence of the Irish cultural revival on the formation of the idea of "national theater" is analyzed, as well as the contemporary reinterpretation of the concept "Chinese represent Chinese content for a Chinese audience" in the context of global theatrical practices of the 21st century. The study relies on the historical-genetic method and textological analysis. The main source is Yu Shanyuán’s anthology "The National Theater Movement" (1927). The aesthetic concepts of the movement are examined in comparison with the ideas of the Irish theatrical revival and European director's theater. The novelty of the work lies in the comprehensive reconstruction of the theoretical core of the national theatrical movement through the lens of institutional and practical aspects, rather than merely theoretical declarations. It is demonstrated that Yu Shanyuán's concept of "national theater" is not a compromise between East and West, but a conscious synthesis in which the conditional-symbolic nature of the Chinese stage is preserved as a structuring principle, while elements of Western drama play a supportive role. It is established that the practical failure of the movement was caused not so much by its aesthetic conservatism, but by institutional immaturity and a mismatch with the dominant social agenda. The study's conclusions confirm that the ideas of the national theatrical movement, perceived as marginal in the 1920s, largely anticipated the mainstream explorations of Chinese theater a century later.

Keywords: national theatrical movement, Yu Shangyuan, xie yi, xie shi, Chengshihua, national theatre, Chinese traditional theatre, Zhao Taimou, Juyikan, intercultural dialogue

Abstract: The article is dedicated to the study of the creative evolution of V.I. Nemirovich-Danchenko (1858–1943), one of the greatest reformers of Russian theater at the turn of the 19th and 20th centuries. Unlike most works focused on his collaboration with K.S. Stanislavsky at the Moscow Art Theater, this study traces the cohesive trajectory of the master's development: from early literary and critical activities and dramaturgical experiments (1870s–1890s) through the creation and leadership of the MHAT (1898–1910s) to innovative work in musical theater (1919–1943) and pedagogical activities at GITIS. Special attention is given to the formation of key concepts of Nemirovich-Danchenko's school - "second plan," "subtext," "atmosphere," "ensemble," "conductor as co-director." The conclusion is drawn that Nemirovich-Danchenko's creative path represents not a change of stages but a consistent unfolding of a unified aesthetic program aimed at the synthesis of dramatic, musical, and pedagogical elements. The legacy of the master remains relevant for contemporary theater, particularly in the field of opera directing and directing pedagogy. The research relies on the historical-genetic method (tracing the evolution of Nemirovich-Danchenko's views), comparative analysis, and elements of intentional analysis (reconstructing the author's intent based on rehearsal transcripts, correspondence, and memoirs). The theoretical significance of the study lies in clarifying and deepening the understanding of Nemirovich-Danchenko's place in the history of Russian theater, overcoming the reductionist view of him as a "secondary figure" beside Stanislavsky. The practical significance is related to the possibility of using the research findings in courses on the history of directing, musical theater, and theater pedagogy, as well as in the practical work of contemporary opera and drama directors. Before becoming a world-renowned theatrical reformer, V.I. Nemirovich-Danchenko went through a significant path in literature. As I.N. Yudkin-Ripun rightly points out, "Nemirovich-Danchenko began as a writer, and his prose work deserves no less attention than his theatrical reforms." This early period (1870s–1890s) formed the toolkit for observing humans and characters, which would later become the foundation of his directing method.

Keywords: Vladimir Nemirovich-Danchenko, Moscow Art Theatre, Musical theatre, stage direction, second plane, subtext, active analysis, theatre pedagogy, opera direction, history of Russian theatre

Abstract: This article uses the example of Professor Lin Gan (1925–2023) from the Central Academy of Fine Arts as a micro-case to examine the process of establishing a system of art education in New China. It analyzes how individual pedagogical practice responds to the dialectical tension between state will, borrowed foreign models (primarily the Soviet system of art education), and the ontology of art – the internal laws of artistic creation. It shows that the formation of the new Chinese oil painting system was not merely a simple copying of Soviet experience, but rather a complex process of constant negotiation between ideological requirements, academic standards, and national aesthetic traditions. The historical logic of the evolution of Chinese education in oil painting is revealed – from politically engaged instrumentalism, through the stage of normative-scientific assimilation of the Soviet realistic school, to subsequent pluralism and organic localization of Western and Soviet techniques in the Chinese cultural context. A micro-historical and archival analysis is combined with visual analysis of images, comparison of teaching methodology documents, and processing of oral historical sources; systematic interpretation and in-depth study of pedagogical archives, artworks, and materials on Lin Gan's curriculum reform. The scientific novelty lies in the introduction of a three-level analytical framework of "knowledge transmission – institutional rooting – subject adaptation," allowing for the overcoming of the limitations of a macro-political approach. The micro-case of Lin Gan systematically reveals the path of endogenous modernization of Chinese art education: the Soviet plastic system was not mechanically copied but transformed in dialogue with the Chinese aesthetic of free style and calligraphic line. New archival materials (curricula from the Fourth Studio, authors' reflections) are introduced into circulation. Conclusions: Lin Gan's pedagogical practice demonstrates that modernization does not require a break with tradition or blind westernization. The success of the Fourth Studio disproves the binary opposition between academicism and contemporary art. Lin Gan's experience serves as a historical reference for constructing an independent Chinese system of art education in the context of globalization.

Keywords: Lin Gang, Chinese art education, Chinese artistic traditions, system of creative workshops, localization, Sino-Soviet relations, Studio system, curriculum reform, St. Petersburg Academy of Arts, School of Art History

Abstract: The article examines the original architectural heritage of the Kathmandu Valley, created by representatives of the autochthonous ethnic group – Newar architects. The regional style, developed by local craftsmen, represents a continuous, sustainable building culture, manifested in a wide range of architectural forms, including religious ones. The subject of this research is the types of religious buildings of the Kathmandu Valley, generated in the context of the tradition of Newar architecture. The purpose of the article is to develop the typology of religious buildings of the Nepal Valley, employing a comprehensive approach. The work is based on a methodology of interdisciplinary analysis, integrating tools and results of research in the field of archaeology, cultural history, ethnography, religious studies, and art history. The author applies the methods of analysis of scientific literature and visual material, natural observation of architectural monuments, “participance-observation” in festivals and ritual practices, non-standardized interview. The classification of temple buildings and the description of their characteristics were carried out using the methods of typological modeling, compositional, comparative analysis, and iconographic analysis of facade décor. The study explicates the typology parameters of various religious buildings (genesis, symbolic conception, ritual functions, position in external space, planimetric and compositional design, decoration), on the basis of which the main types of architectural forms are identified: the temple-“pagoda” tallakara (dega), the temple in the form of a Newar dwelling dyochhe[n], the sanctuary pitha, the moveable chariot ratha. The article also defines mixed types (rectangular tiered temple for tantric deities, palace temple-tower), categories of buildings related to the main types (agamache[n], altars digu-dyo), compositional and planning variations of degas. The influence of the mountain landscape, the monsoon climate of the valley, the peculiarities of the organization of socio-religious life and urban planning inherited from the Kirata people, the Hindu-Buddhist religious syncretism, the traditions of tantrism and the role of the shakti cult, the active festival movement on the formation of the types of Newar sacred architecture has been emphasized. The scientific novelty of the research lies in the fact that this is the first experience of a comprehensive analysis of the typology of religious buildings in the Kathmandu Valley. The author expanded and systematized the list of architectural types to be characteristic for the regional building style, identified their origins, compositional, constructional, decorative and iconographic features, revealed functional peculiarities and interconnections. Specific architectural terminology has been also introduced into the scientific usage.

Keywords: Nepal, Kathmandu Valley, traditional architecture, cult architecture, Newar architectural style, typology, deity house deochhe, pitha shrine, ratha wheel temple, tallakara pagoda temple

Abstract: This article comprehensively examines museification challenges for vernacular and outsider art environments—unique spatial settings created by self-taught artists beyond professional art systems, markets, and institutions. These sites synthesize material heritage (architecture, artifacts) and intangible elements (authorial mythologies, cultural codes), forming distinct cultural landscapes requiring specialized preservation approaches. The study aims to identify sociocultural, methodological, and legal barriers hindering the integration of such environments into cultural heritage frameworks while developing effective Russian museification models. Its scientific novelty lies in systematizing these complex phenomena as interdisciplinary subjects and proposing tailored legal preservation mechanisms for Russia’s context. Methodologically, the research employs case studies of successful international precedents (Ferdinand Cheval’s Ideal Palace in France; Howard Finster’s Paradise Garden in the USA), comparative analysis of Russian, Italian, and U.S. legislation, legal modeling techniques, and expert assessment of a Russian case study: artist Yuri Antonov’s apartment-studio in Vyritsa. Key findings reveal critical gaps in Russian heritage law, including the absence of a formal "vernacular heritage" definition and identification criteria, severely obstructing protection efforts. Legal conflicts emerge during residential property museification, particularly regarding status ambiguities (residential vs. non-residential) and owner obligations. Analysis confirms the efficacy of international funding models combining grants, tax incentives, cultural tourism revenues, and state subsidies. The study demonstrates the necessity of balancing public preservation interests with owner rights, evidenced through both restrictive measures (e.g., Italy’s heritage codes) and incentivizing mechanisms (e.g., tax relief under Russian Federal Law No. 73-FZ). Concrete regulatory proposals for Russia include: legislative recognition of "vernacular heritage," simplified property requalification procedures bypassing standard housing restrictions, tax benefits for owners, compulsory acquisition protocols for at-risk sites, and cultural cooperative frameworks. The practical significance targets enhancements to Russia’s heritage legislation (Federal Law No. 73-FZ), regional preservation programs for outsider art, and methodological guidelines for museums and cultural tourism. The Antonov case underscores local communities’ pivotal role in identifying vulnerable heritage and the urgent need for responsive legal safeguards enabling timely protection and museification.

Keywords: Contemporary art, Vernacular environment, Outsider art, marginal Culture, urban communities, legal system, museification, legal regulation, cultural heritage, culture

Abstract: The subject of the article is the role of Soviet literature in creating the image of the USSR in France during the 1960s. The author examines the stated topic in the context of the development of Franco-Soviet cultural relations. The aim of the work is to demonstrate the influence of culture, especially literature, in constructing the "image of the other" through the example of relations between states from different military-political blocs during the Cold War, under conditions of intense ideological confrontation between superpowers and the struggle for influence over European society. The article presents the most popular trends in the development of the book market in France during the specified period and determines the place allotted to Soviet literature within it. It emphasizes that translated works by authors from the USSR gained great popularity in the late 1950s, generating demand for new books and interest in Russian culture abroad. The research methodology involves the use of methods and approaches characteristic of historical imagology—a separate discipline that studies national stereotypes and the peculiarities of perceiving other cultures and peoples. The widespread distribution of Soviet literature in the Fifth Republic gives rise to several important trends: the construction of a certain image of the socialist state among French readers; the popularity of studying the Russian language; and the desire of French intellectuals to engage with Soviet writers and poets. The research is based on a wide range of sources, including archival documents, periodicals, and the memoirs of contemporaries of the era. The novelty of the work lies in the very formulation of the problem and the use of the latest approaches to its study. The article presents opinions from domestic and foreign historians on Soviet cultural diplomacy and its characteristics. The article is scientific in nature and can be used for familiarization with the discussed topic within the framework of the educational process and for conducting research.

Keywords: Franco-Soviet cultural relations, 1960s, France, USSR, literature, image of the other, soviet writers, cultural diplomacy, French publishing houses, Thaw

Abstract: This article examines the peculiarities and main elements that make up the national and cultural identity of Iranians, as well as the factors that ensure its preservation throughout history. Iranian identity has a multifaceted dimension and, like any other social phenomenon, is described through different and sometimes contradictory narratives and interpretations, it is difficult to find a single comprehensive definition for it. Some consider language and other territorial geography to be the main and fundamental factor of the national identity of Iranians, but other factors such as religion, traditions and customs, etc. cannot be ignored when describing such identity. The object of this study is the national and cultural identity of Iranians. The subject of the study are the main elements, factors of preservation and diverse narratives that shape Iranian identity in the context of its historical and geopolitical position. Through contextual and qualitative analysis, as well as the study of historical sources and literary works, it has been possible to understand how historical events have influenced the formation of Iranian identity. The scientific novelty of this study lies in the identification of key elements and factors that contribute to the preservation and formation of Iranian identity, as well as the diverse narratives that arise in the context of its historical and geopolitical position. Iran has experienced many upheavals throughout its history due to its special geopolitical situation. It can be admitted that the territory of Iran has been the most fundamental component in the unity and cohesion of Iranians of all nationalities and religions. This led to the fact that foreign tribes and peoples who attacked Iran have integrated and merged with the territorial features of the population of Iran over time. The Persian language is one of the most important sources in the formation of Iranian identity, uniting various ethnic groups across the territory of Iran.

Keywords: Iran, Identity, Geography, History, Culture, Nation, Value, Civilization, Ethnos, language

Abstract: The object of the research is the socio-political discourse on values in Western European countries from 2010 to 2025. The subject of the study includes narratives about "fundamental British values" and "republican values" respectively in modern Britain and France. The analysis, considering the evolving state-religion relations, directions of immigrant integration policy, and opposition to radical movements, examines existing texts on the topic in English and French, taking into account the opinions of foreign and domestic researchers. Special attention is given to the issue of teaching values in schools, as this is what attracts the most criticism from the public: overly general formulations lead to misunderstandings in the interpretation of values and conflicts. The research is comprehensive, utilizing methods of socio-cultural and comparative analysis to study published documents: official speeches by political and public figures, approved regulations, media publications, and academic articles. The novelty of the research lies in the comparative study of socio-political discourses on values in the context of migration and religious policy to identify common and distinctive features. The main findings of the study are: 1) the values proposed are based on the prioritization of state institutions, an appeal to established and commonly accepted secular "tradition," and a negative attitude towards attitudes that undermine the unity of the socio-cultural space and diminish the significance of secular law, 2) both discourses, despite their differences in approaches to religion (the multiculturalist British variant and the French laic model), are grounded in the ideas of secular democratic authority, the prohibition of any forms of discrimination, the supremacy of human rights, and state law, 3) "democratic" secular values are contrasted with "patriarchal" ones, primarily implying ethno-religious traditions of migrant communities, with the British model welcoming religious diversity, while the French model seeks to exclude it from the public space. The article demonstrates that the combination of factors such as negative sentiments in society towards migration policy, the authorities' failures in integrating newcomers, and the spread of radical religious ideologies led elites to turn to secular "tradition" as a worldview and educational tool, in which educational organizations play an important role.

Keywords: migration, ethnocultural traditions, religious radicalism, multiculturalism, laicism, secular values, fundamental British values, French republican values, Great Britain, France

Abstract: The subject of the study is the body language of the gallant ethos. Since the 17th century, there has been a complete displacement of uncontrolled expressive behavior in aristocratic society, and the formula for success becomes directly linked to appearance and the refinement of manners. This article examines the sources (books on etiquette, public speaking, and dance), as well as the historical factors that influenced the formation of the body language of the gallant ethos. New social practices demonstrate that nonverbal communications affect people's perceptions of one another and the formation of relationships among participants in polite society. The gallant nonverbal standard was defined by a clear communicative goal—harmonious coexistence and pleasant socializing in the polite and courtly society of different social groups. The transformation of the feudal lord into a courtier and the emergence of salon spaces lead to the rise of polite etiquette. As the development of the problem required the study of a significant number of sources, the author applied a comprehensive approach, including analysis of authentic texts, as well as descriptive and comparative analysis in the study of iconographic material. The axiological approach was used in analyzing socio-cultural phenomena in the French courtly and polite society of the 17th century. Today, when the culture of nonverbal communication is coming to the forefront and discussions about nonverbal standards are ongoing, it seems relevant to return to the origins of the formation of the modern understanding of the nonverbal elite standard, which was established in the 17th to early 18th century. The scientific novelty of the research lies in the extensive source base, which helps reconstruct the formation and evolution of the nonverbal code. The study analyzes the direct connection between nonverbal behavior and the spatio-temporal organization of French elites (the space of the court and salons), as well as the value-normative and cognitive manifestations of the nonverbal. The article discusses the increasing role of the nonverbal in the 17th century in the context of social and cultural changes related to the social transformation of the ruling class. The nonverbal language of the gallant ethos addresses the issue of intercultural correspondence of gestures, as it becomes common to all European elites under the influence of the gallant model. This nonverbal code is preserved in modern consciousness as an aristocratic model of behavior.

Keywords: Body language, nonverbal semiotics, nonverbal communication, nonverbal standard, gallant ethos, France in the XVII th century., the Age of Gallantry, the philosophy of Descartes, everyday culture, history of the gesture

Abstract: The article addresses the problem of corruption in the security system of the Russian Empire in the 19th and early 20th centuries. The author, noting the unevenness of research attention to different territories of the empire, thoroughly investigates characteristic examples of police officials’ abuses, primarily in the Transbaikal region. Special attention is paid to the analysis of specific cases of corruption and their consequences for the local population. The importance of historical context in assessing the activities of police authorities of that time is emphasized. The author notes that abuses stemmed not only from the imperfection of the imperial governance system; a significant role in this process was played by the fact that many police officials in the outskirts of the empire had criminal pasts, often being quite high-ranking officials: commandants, police masters, etc. The research methodology is based on the study of previously unpublished archival sources. The introduced materials are interpreted with regard to a historical-genetic approach, allowing for the establishment of causal relationships and linking individual facts to systemic events in the process of formation and development. The systemic approach enables considering the specified issues as a holistic system, rather than just isolated facts. The complication of social life processes without changing the political and institutional structure inevitably led to the managerial class, endowed with every conceivable right and lacking any control except for intra-elite oversight, abusing their powers. The author insists on attributing the key factors of abuses to: insufficient material support for police officials, especially in the outskirts of the empire, and the lack of effective oversight from central authorities and local self-governing bodies. Among the factors that exacerbated this phenomenon are the low levels of education and professional training of officials, as well as the peculiarities of local mentality and traditions regarding authority. Furthermore, significant influence was exerted by the socio-economic conditions of the region and the overall political situation in the country. The study allows for a better understanding of the mechanisms of the functioning of the law enforcement system of the Russian Empire and identifies the main reasons for the spread of corruption within its structure.

Keywords: corruption, abuse, police, Asian suburbs, Eastern Siberia, Transbaikal region, Siberia, Transbaikal, police officials, a bribe

Abstract: The subject of the research is the topic of Roerich's teaching legacy, which has become a key topic in research, exhibition and publishing projects of scientific, museum, public and educational institutions. At the beginning of the twentieth century, the IOPH Drawing School was very popular among creative youth. The school was an educational institution of artistic and industrial direction. The principles that set the direction for the development of the Drawing School during the period of N.K. Roerich's directorship (1906–1917), and the progressive guidelines of the bright pedagogical and creative personality of the master largely predetermined the diversity of the works of his students. The beginning of the 20th century was marked by the search for a synthesis of artistic images and plastic forms in the field of Russian decorative and applied art. In addition to purely decorative and applied art, the masters focused their attention on the possibility of using ceramic art on architectural and decorative elements. The publishing activities of the Drawing School have been thoroughly analyzed. The research methodology was based on the consideration of specific historical events using the comparative historical method. The analysis of the documentary, source and archival base in the context of the artistic and historical situation was assisted by the historical and genetic method. The partially developed topic determined the need to use the content analysis method, which made it possible to fulfill the set goal. The novelty of the work is to examine the history of the development of porcelain art as an element of the unified process of the formation of Russian art at the beginning of the 20th century. The introduction of new material based on archival sources into scientific circulation allowed the author to consider the methodology of teaching decorative and applied arts in a Drawing school. The purpose of the publication is to systematize the disparate material about artists and sculptors found in the scientific literature, supplementing it with information obtained in the process of working with archival sources. The main conclusions are to study the creativity of the students of the graphic and ceramic workshops of the School. Thanks to the bright pedagogical personality of the head of the School, Nicholas Roerich, who made a huge contribution to Russian culture by training talented students, the talents of M.V. Lebedeva, A.V. Shchekatikhina—Pototskaya, R.R. O'Connell-Mikhailovskaya, A.A. Gromov and some others were discovered.

Keywords: Roerich, Drawing School ISEA, Bilibin, Shchekatikhina-Pototskaya, Connell-Mikhailovskaya, Lebedeva, Bruschetti-Mitrokhina, Putsillo, Timorev, Gromov

Abstract: The subject of the research is the architecture of video games as an artistic tool for constructing the game world and organizing user experience. The work assumes that architectural space in a digital game cannot be perceived merely as a background; the author emphasizes its significance in the structure of the artistic work. The relevance of the research is substantiated by the growing academic interest in game studies and the recognition of video games as an independent form of art, which necessitates a deeper analysis of the role of architecture among the expressive means of the game. The focus is on architectural images in action video games, their functions, ways of representing cultural and historical codes, as well as their involvement in the formation of immersion, spatial narration, and the artistic integrity of the game world. The methods used include stylistic analysis of architectural forms, narrative analysis of game space, and a comparative approach that allows for the juxtaposition of game locations with historical prototypes to reveal the features of artistic reinterpretation. The scientific novelty of the research lies in the development of a classification of functions and strategies for the use of architectural images in action video games. Architecture is presented not only as visual decoration but also as a complex artistic language that facilitates immersion, serves as a narrative tool, and sets the cultural and historical context of the game space. Based on the analysis of popular projects of the 21st century, including the Assassin’s Creed series, Bloodborne, BioShock, Deus Ex: Mankind Divided, and others, the main techniques of dealing with architectural heritage are identified: reconstruction with gaming assumptions, stylization, hyperbolization, hybridization, and citation/pastiche. It is noted that the key elements of the recognizability of monuments—silhouette, dominant features, decorative details—are usually preserved, but proportions, routes, and spatial logic undergo transformations according to the requirements of game design. In conclusion, it is stated that architecture in video games functions as an interface to the world and a means of cultural representation, expanding the semantic layer of the narrative and creating an artistically credible space.

Keywords: game design, architecture, virtual spaces, architectural heritage, spatial narrative, immersion, cultural-historical code, level design, video games, architectural monuments