Abstract: The actuality of the research is connected with the problem of “translation” of a classical literature piece by a director-interpreter. The subject of the study is the story by V. G. Korolenko “In a Bad Society” (1885) and its film adaptation by K. G. Muratova – “Among the Gray Stones” (1983). It is demonstrated that on the basis of the story and symbolic images of V.G. Korolenko – the garden, the apple, the flowers, the portarait, the birds and others, K.G. Muratova provides them with additional characteristics, concordant with the new cultural context. The portrait of the mother performs a plot-forming function in the film, and flowers are the main symbol associated with Marusya. K. G. Muratova uses symbols of animal masks - tiger, lion, wolf, with their help Vasya tries to build relationships with others.
In the analysis a complex literature study approach is applied that combines historical and cultiral, biographical, comparative-typological methods that make it possible to determine the specific implementation of symbolic imagery in “texts” of various kinds.
The substantive dominants of a classic work of Russian literature of the XIX th century are clarified and supplemented in the metalanguage of Russian cinema. The film uses Pushkin's tales ('The tale of the dead princess and seven knights, 'Winter evening'), fairy story of birds, symbolism of colors as specifying elements of cinematic speech. The language of a film is made more complicated with the introduction of musical accompaniment, sound symbols (sound of steps, dripping water and others).
The analysis of the “new reading” of symbolic images of V.G. Korolenko's short story “In bad society” in the film “Among the grey rocks” by K.G. Muratova reveals the hidden meanings of a classical piece of Russian literature.

Abstract: The topicality of the research refers to the problem of national identity, national code, embodied among other spheres of spiritual life and in literature. Romantics' worldview was composed on the foundation of folklore, myth and literary tradition. The system of symbolic motifs of 'infancy' and 'pre-earth life', affinity of souls, joining in death and others became significant elements of the works in the Romanticism period. The study object is the collection of writings connected to natural-philosophic ideas of Nature as a living creature. The subject-matter of the research is national identity of Romanticism, manifested in the peculiarities of Nature perception.
In the process of analysis, a comprehensive literary approach was used, combining historical-literary, historical-genetic, comparative-typological methods, which made it possible to establish the specifics of the embodiment of ideas about Nature by writers of Russia and Germany of the Romantic era.
Presenting the natural-philosophic system of life conception, the writers relied on F. Schelling's philosophy. It is demonstrated that Russian romantics associate the origin of ideal female images with Heaven (angel-woman) and German romanticists – with the Earth (flower woman). Angel woman and flower woman help the characters to understand the essence of the existence. Natural symbols used in the works (sky, earth, flower atc.) and other symbolic images (melody, kiss, icon etc.) convey the specific mystic world understanding of the authors. Novelty of the research lies in the analysis of dominant images, that makes it possible to determine 'the independence of the face' of romantics in Russia and Germany, basing on the idea of a man dependent on Nature that existed in the developed national tradition. This approach makes it possible to specify the understanding of the particular characteristics of archetypic female images presented in ethnic-cultural sphere.

Abstract: The relevance of the research lies in the scientific significance of the problem of studying the main plot in the works of E. T. A. Hoffman, manifested at the level of a group of works in which demonological personalities (ghosts / ghosts, vampires, magnetizers) act. The general invariant plot-thematic scheme of short stories ("Magnetizer", "Ignaz Denner", "Ghost Story", "Entail", etc.) is associated with the image of the intervention of otherworldly forces in real life, which is given the character of ghostliness.
The object of the study is the short story "The Sinister Guest" ("Der unheimliche Gast", 1819), the plot of which tells about the impact of a "hostile beginning" on a person. The subject of the study is one of the artistic embodiments of Hoffmann's "alien spiritual principle". It is shown that the "sinister guest", the hero of the novel of the same name, is a product of Nature, avenging a crime and an attempt to interfere in its secrets; people are also punished for their unwillingness to live in harmony with it. At the same time, the right moral choice helps the heroes of this novel to avoid the destructive power of the "sinister guest". The novelty of the study is seen in the fact that when analyzing the story of a villain endowed with mysterious knowledge, a deviation from the main plot associated with the specific situation of the novel "The Sinister Guest" is considered.
This approach made it possible to clarify the understanding of the duality of being by E. T. A. Hoffman, expressed through motifs (sound, portrait, dream, mystery, affinity of souls) and natural symbols (lightning / thunderstorms, spider, elder), as well as the idea of universal dependence of people on each other and on Nature.