Abstract: The positive influence of playing games with students has often been the subject of scientific papers, which is confirmed by articles by Z. K. Moldakhmedova, A. A. Kadieva, A. A. Shatilova and other researchers. However, the genesis of the game, which allows us to find the phenomenon's origins in the era of syncretism (A. N. Veselovsky), despite the work of L. S. Vygotsky, is still not fully understood. Meanwhile, understanding the essence of the game allows one to introduce it as a component of learning in the process of mastering a foreign language, including overcoming the border "friend-foe" (Y. M. Lotman) and to be able to feel freedom (J. Huizinga) to obtain and consolidate knowledge. Thus, the purpose of this work is to study the genesis of the game as a phenomenon rooted in the syncretic era (where it existed as part of a ritual) in identifying the possibilities of the game situation for the realization of creative (mimetic) activity of students, to overcome language barriers. In light of this approach, the game becomes not an element that can relieve the tension of "serious work" but a special optics that allows one to perceive cognitive activity differently. The main work method is the genetic method proposed by O. M. Freudenberg. The theoretical basis of the research is the works of Y. M. Lotman, A. N. Veselovsky, M. M. Bakhtin, O. M. Freudenberg, L. S. Vygotsky, and other scientists.

Abstract: The purpose of this article is to identify the role of collective (M. Halbwax) and cultural (Ya. Assman) of memory in the formation of the inner image of his "I" as a reflection of the perception of the "other", the spirit (der Geist), in a brilliant personality. The research material will be P. Suskind's novel "The Perfumer. The story of a murderer."
To achieve the purpose of the study, it is proposed to identify the spiritual and anatomical and physical foundations of genius, correlate them with types of memory, trace the influence of collective and cultural memory (or rather, the absence of this influence) on character formation. And also to determine the role of the memory phenomenon in the structure of the work. В  The study revealed the role of collective memory as a significant architectonic element in the novel "The Perfumer. The story of a murderer." Grenouille's separation from society and from himself is connected with the hero's inability to be attached to the historical and cultural heritage. It was also revealed that society itself, losing touch with its origins, inevitably degrades. However, the novel itself, which carries a complex cultural code, gives the attentive reader a holistic perception, sounds like a parable, offers a choice.
This work offers an analysis of the nature of genius as a phenomenon inextricably linked with memory. This approach allows not only to discover the reasons for the disunity of the main character of the novel with society, but also to penetrate deeper into the structure of the work itself. The appeal to collective memory makes it possible to understand the significance of direct and indirect references to other works of art as attempts at dialogue with cultures and epochs. This concept can be used for further research.

Abstract: The goal of this article consists in determination of the underlying concept and motif of the poem "The Nibelungenlied". For achieving the set goal, the author applies the strategy of "antiquarism" – refer to the values of the era of creation of the poem and substantiate its historical-cultural prerequisites. Leaning on the theoretical and historical poetics, the presence of the author is claimed as a category of text in the work of the eidetic era, which allows analyzing the artistic whole on the level of selection of lexical units, as well as comparing the characters based on the category of specularity as a structure-forming element. The conducted research reveals the pattern of the emergence and realization of the motive of struggle against arrogance as the underlying concept of the "The Nibelungenlied" common to all characters, which determines the plot and structure of the poem on different levels of artistic unity of the text. The strategy of "antiquarism" allowed analyzing "The Nibelungenlied" according to the views of the era of its creation, and extract the key motif of the poem as a significant aspect of human life of that time – the harmonious acceptance of the fate. “The Nibelungenlied” embodies the idea of struggle against haughtiness and arrogance, which is opposed to serving a noble calling and fulfilling a duty. Theoretical poetics indicates the shift in the mode of artistry (from heroic to tragic). The focus on historical poetics reveals the underlying concept of the poem, which is essential for structuring and completing the artistic whole in the eidetic era. Therefore, arrogance as the key motif of the poem is substantiated historically and textually.

Abstract: This article examines the problem of determining transculturalism as an independent supracultural phenomenon, the cognition of which requires the aesthetic subject adopt an attitude of outsideness and holistic consciousness. Transculturalism is described a specific cultural model that can represent transcultural symbols. Based on the image of the blue flower, the author examines transcultural symbol as a phenomenon with mythical basis, which is being formed through ceaseless process of cultural transfer. For determining transculturalism as an independent phenomenon, the author analyzes modern definitions presented in the scientific discourse and compares them with the definition of transculturalism given by M. N. Epstein. The formation of transcultural symbol is described via genetic method and from the perspective of the process of cultural transfer (M. Espagne). This article proves M. N. Epstein's theory on perception of transculturalism as a specific cultural model, a supracultural phenomenon. The author explores the peculiarities of development of transcultural symbol,  and provides the examples of variation of this symbol are given (using the image of the blue flower in the English-language literary discourse). This work contributes to the understanding of transculturalism as a supracultural, universal, national, and holistic phenomenon. In modern world, such definition of transculturism is essential for conducting cross-cultural dialogue and maintaining respectful attitude towards national code. Using the example of the blue flower, the author reviews the variations of transcultural symbol in the English-language literature; analyzes the contest of paradigms, peculiarities of the palimpsest of this image, overcoming the stereotypes of perception and transitioning through cultural space; finds the reflection of the idea of universality underlying the poetology of Novalis.