Mass Culture Products Research Articles

The communicationpotential of the book as amass medium in the age of new communication technologies

The specificity of the book results from its dual, diametrically different gist because it is considered an art artifact and a mass medium. On the one hand, it is distinguished by the characteristics defined by media studies, and at the same time -in a different context -it takes an oppositional attitude towards them and tends to the characteristicsof an artistic artifact. We also find the mentioned opposites in the relationship between the book and the audience: due to thewidespectrum of genres, authorial approaches, and production procedures, the book could be perceived by the audience as a unique work of art and simultaneously as a product of mass culture. The communication potential of the book also corresponds to the aspects mentioned above, which essentially remain unchanged. It continues to be/can be a source of new information, knowledge, artistic experiences, entertainment, or relaxation. Still, the advent of new technologies has brought/is bringing a whole spectrum of changes. Thebiggestchange -by the advent of the Internet and smartphones -is the acceleration and simplification of communication in the production, distribution, and sale of booksprocess. These technological changes also significantly affect the mutual relationship between the book and the reading public. The reader is not just a passive recipient of its content and visual component but also an active participant in perception. In the article, we analyzed the specificities of the book as a mass medium in the cultural space, aswell as its communication prerequisites for the reader in the era of new communication technologies. The main aim of the survey was to find out how readers perceive new technologies or how new technologies affect the reading habits associated with book usage.The article has a summarizing character in the theoretical part and an overview in the practical part. It represents an introduction to more detailed research, the results of which will be presented in articles published in other issues of the journal Social Communications –Theory and Practice. We will focus on the book's impact on increasing media literacy and critical thinking among children and youth, as well as on various technologies facilitating the use of the book's potential in the mass media and artistic spheres.Keywords: book, communication technologies, culture, mass media,audience.

Modern Russia in collective consciousness of the country’s inhabitants

The article explores collective consciousness as a theoretical construct, a type of social consciousness and as real attitude of the population towards Russia at the emotional and rational levels. It shows that modern collective consciousness in Russia is a product of mass culture, which actualized during modernization of the Russian society in the economic, political, cultural and everyday spheres of life. Today, it is influenced by mass and high-tech communications, while also reflecting the life experience of different generations. The research methodology is based on the interpretation of collective consciousness as the averaged consciousness of the whole mass of individuals in social groups; it erases individual differences, human characteristics, which in any single case may not be the same as collective consciousness, but impart collective consciousness a qualitative diversity. Empirically, the research is based on representative mass surveys – the Seventh Wave of the Russian Values and Interests Monitoring (Summer 2023), Russian Survey of Young Russian Adults (June 2020), European Social Study (ESS 2018–2019). The research attempts to determine whether the Russian mentality is more emotional than rational towards their “lesser motherland” or birthplace, their oblast/republic/krai, Russia as a country and the author suggests that these properties of mentality constitute characteristics of such a complex psychological phenomenon as Russian patriotism. The article reveals a growing rational perception of the problems of society with outspoken criticism amid high levels of emo tional attitude of the respondents to the country and “lesser motherland”. Such is the evaluation of Russia’s attractive and unattractive characteristics and the importance of civil rights and liberties, among which the rights that ensure people’s basic modern life-supporting needs, such as employment, education, property, security and protection by law, were ranked first with more than 90% of respondents stating their support. There is also a cohort of young people aged 18–24, for whom political rights and democratic freedoms, enshrined in the Russian Constitution, become more important compared to other cohorts.

Early Acquaintances with Modern Mass Culture in Late Ottoman Istanbul: The Experiences of Child Audiences at Direklerarası

AbstractDireklerarası, the core of Ramadan entertainment in late Ottoman Istanbul, rose to prominence toward the end of the nineteenth century at about the same time as entertainment hubs in Paris, Berlin, Tokyo, and New York. Thanks to the legitimacy provided by the Holy Ramadan, which played a positive role in reducing public suspicion and uneasiness among Muslim families towards the products of early mass culture, Direklerarası seems to draw a larger children's audience compared to Pera and Galata, the epicenter of European‐style entertainment and a location where non‐Muslims were heavily populated. As a result, many children were introduced to emerging modern mass culture at Direklerarası, which offers a large variety of shows and spectacles grouped under the name of lubiyat in the Ottoman world, including theater, musical plays, juggling, circus, concerts, shadow theater and cinema. This article focuses on childhood experiences at Direklerarası using a wide range of primary sources from archival documents and official regulations to Ottoman periodicals and memoirs. It aims to discuss the moral and aesthetic concerns arising from the fact that the spheres of adults and children were not yet clearly separated from each other, as well as how this experience at Direklerarası was remembered later as a childhood memory.

Anglo-American Fan Studies and Their Impact on the Development of Popular Culture in the Twenty-First Century

The aim of the article is to reveal the main stages of the research of fans in fan studies discourse and analyse the evolution of fan culture development that took place in the 21st century. Results. The article demonstrates that a separate scientific direction is dedicated to the study of fan communities in the Anglo-American academic environment — fan studies, which went through three distinct periods in their development: deviation, resistance (20th century), and mainstream (21st century). In the cultural aspect, the concepts of “fanatic/fanaticism” and “fan/ fandom” are distinguished. It is shown that Anglo-American fan studies define fan culture as an expressive lifestyle of fans of a certain cultural phenomenon or of a bearer of a certain cultural tradition, and in the last two decades, the fan studies direction, where fan culture is connected with fandom, has been intensively developing. It is stated that fandom is a self-organised community built around shared pleasure from a certain product of cultural industries in the digital media environment, and a fan is considered as a person who invests his time, energy, and money in interaction with a media product that is the object of his interests. The scientific novelty consists in determining the methodological status of the concept of “fan culture”, revealing the role of fan communities in the creation of popular culture in the 21st century. Conclusions. Fans began to play an active role in the processes of cultural creation, thanks to their creative work, there was a transition from passive consumption of mass culture products to active production of works of popular culture. Fan culture as a special community and environment of joint creative work among fans of literary works, television series, comics, and computer games, blurs the difference between consumption and production, becoming a vivid phenomenon of popular culture.

The Popularity of K-Pop Culture in Russia: Good or Evil? The Case of BTS

The export and consumption of mass culture products through social networks is practically uncontrollable through globalization. The Republic of Korea, which has made a bet on its creative industries, has achieved noticeable success in this area. The number of fans of the Korean wave (Hallyu) is growing all over the world, in Russia too. K-pop, the musical component of Hallyu, is the most interesting because most of its fans are young people. This actualizes the question about consequences of the k-pop passion on the individual and societal levels. The purpose of the study: to analyze the causes and consequences of Russians’ passion for k-pop, in particular, the BTS creativity. The theoretical basis is the theory of the cultural industry by M. Horkheimer — T. Adorno and the theory of social media by M. McLuhan — G. Jenkins. The online fandom BTS — ARMY is seen as an informal social institution of mass culture. Empirical base. Online survey of Russian BTS fans (N=2483), 13 personal fan essays, 5 focus groups with people of different ages who are not fans but know them well. results. Results. The passion for k-pop, in particular BTS, is a form of response to the challenges of modern society, in particular, the growth of loneliness, competition, the devaluation of moral values and the crisis of family relations. Positive effects are associated with the personal development of fans, broadening their horizons, increasing self-confidence and tolerance, the emergence of new forms of leisure and hobbies. Participation in a fandom creates a sense of group identity and solidarity, and social networks allow the development of a “culture of participation”. Negative effects are manifested in the idealization of South Korea, its people and culture, the desire to remain in the “beautiful fairy tale” created by the South Korean cultural industries. As a result, groups of female fans are self-isolating. Considering an idol, far from Russian realities, as a normative model of a man, leads to difficulties in building partnerships between female fans with the opposite sex. Non-aggressive behavior of ARMY forms a generally tolerant attitude towards them. K-pop fandom is perceived as a childhood disease that will eventually go away without much treatment. According to opinion of focus group participants, it does not pose a threat to national security and the national identity of the inhabitants of Russia. directions for further research are related to a more detailed analysis of the mechanisms of BTS psychological support for their fans, a comparison of the socio-demographic composition and main types of activity of Russian fans of male and female K-pop groups, an assessment of the meaning of the “complicity culture”, which BTS fans create, for their personal development.

Change of paradigms in popular culture on the example of the concepts of "maiden-in-distress" and "maiden-warrior"

The article deals with two popular concepts in modern mass culture - "maiden-in-distress" and "maiden-warrior". These concepts are basic in the construction and creation of a product of mass culture. Meanwhile, there is a greater interest in the "maiden-warrior" phenomenon than in its opposite, "maiden-in-distress". The author shows that the study of femininity, feminine, the woman and her role and place in modern society and its interpretation in modern popular and mass culture is of scientific interest for researchers in literary criticism, cultural studies, philosophy, and sociology. The article provides examples of mass culture products where these archetypal images are used, as well as film and television adaptations of modern female images. It is shown how their interpretation is influenced by public opinion and modern and mainstream trends, which, most often, offer a "different vision" for ordinary and traditional things. The materials of the article can be useful within the framework of areas related to philosophy, history, and cultural studies.

Language Tools in Boris Akunin's Novel «The Turkish Gambit»

This article attempts to trace the genre motivation of the choice of linguistic means of different levels (lexico-semantic, morphological, syntactic) to express information and plot collisions of a modern Russian detective novel based on the work of B. Akunin («Turkish Gambit»). The hypothesis of the study is that in literary discourse, the nature and structure of the narrative, as well as the choice of lexical units by the author are determined by the belonging of the work to a particular genre. It also attempts to prove that the writer's project about Erast Fandorin is a product of mass culture. The novel «Turkish Gambit» is analyzed in terms of the use of linguistic means in it, in particular, lexical-semantic and grammatical ones. Methods of linguistic observation and component analysis are used. It is concluded that the features of a detective novel motivate the author's choice of lexico-semantic (military terminology, archaic vocabulary, exoticisms, corporate vocabulary) and grammatical means (active use of various forms of the verb, prepositions of direction, specific nouns, the dominance of simple and complex sentences of minimal structure). The results of the study can be used in the school practice of in-depth program study of the novel «Turkish Gambit».

Beyond the Formula: Reappropriating Agatha Christie's Detective Fiction

Agatha Christie is one of the most popular and well-known detective fiction writers of all time. Her works have been adapted for stage, screen, and television, and her characters have become iconic cultural figures. However, despite the enduring popularity of her works, there is a tendency among readers and critics to view her writing as formulaic and lacking in literary sophistication. This reductionist approach overlooks the genuine experimental aspects of her writing, as well as the potential for critical engagement and reappropriation. This paper seeks to challenge the notion of Agatha Christie's detective fiction as formulaic and explore the possibilities for reappropriative criticism. In particular, the focus will be on the importance of re-reading her works as literary texts, rather than simply as examples of a popular genre. Through close analysis of specific novels, this paper will demonstrate the potential for reappropriation to reveal the complexities and experimental qualities of Christie's writing. Agatha Christie's works have been subjected to various interpretations and analyses over the years, ranging from biographical readings to formulaic analyses. The present paper argues the importance of reappropriative criticism and close reading in order to rediscover the literary value of Christie's works and resist the genre's textual authority. By examining Christie's novels as literary texts, rather than simply as puzzle-solving exercises or formulaic products of mass culture, we can appreciate the experimental and non-patterned aspects of her writing.

Filmtext as a Product of Several Cultures: the Problem of Transferring Cultural Concepts (Based on Films about Mulan)

The problem of cultural transformations or transference remains a relevant object of research in film discourse. Of particular interest is the study of the representation of cultural concepts in films. It is noted that the film text is a complex linguistic product that can undergo primary, secondary and more transformations through comprehension by representatives of different cultures. There are many recipients have an opportunity for seeing a product of mass culture, therefore filmtext can also generate cultural transfers. There is a special position in the scheme of cultural transfer in the filmtext is occupied by the translator in the status of an intermediary and interpreter of culturally significant components of the original, responsible for the availability and maximally equivalent perception of information. This article examines the stages of cultural transfer and their influence on the final filmtext for the Russian viewer (final recipient); a classification and comparison of linguistic and cultural concepts are carried out based on the material of the films “Mulan” produced by Walt Disney Pictures (2020) and “Hua Mulan” (花木兰) produced by Beijing Film Company (PRC, 2019). The authors came to conclusion that the linguistic and cultural concepts selected in the course of the study have undergone several stages of cultural transformations during the transfer, contain “imprints” of this culture and therefore may not be understood by the final recipient.

REPREZENTACIJA ŽENA NA RAZGLEDNICAMA PRVE POLOVINE 20. VEKA

/ The paper deals with the postcards of the first half of the 20th century. The history of visual culture testifies to gender differences, the subordination of a woman, whose activities are mostly placed within the framework of “private”, closed, shaped by the virtues of love, intimacy and care for the family. Since visual media are powerful means of the social construction of reality, they are also indicators of prevailing social values. The creation and development of postcards coincides with the weakening of civil society, as a dominant social group, due to the penetration of socialist ideas. Accordingly, the averse of the maps show the cultural and moral values of the patriarchy, where man is the main figure in the family. These postcards belong to the collection of the National Museum in Leskovac and were chosen as one of the examples of simplicity and efficiency of circulating the meaning of Western European culture and analyzed in the context of the feminist theory in the era of the first wave of feminist activism (between 1848 and 1920) and its impact on a decade later. In southern Serbia, which was on the road to liberation from oriental cultural values at the time, torn between tradition and modernization, the products of mass culture from Western Europe could seem like something new and progressive, but in fact they were only another form of representation of gender differences through the constitution of stereotypes.

DIGITAL PRACTICES OF MEDIA FANDOM

The article explores the digital practices of media fandom and highlights how the development of information technologies and the emergence of new media have revolutionised cultural production. Since the mid-1990s, the widespread use of Internet technologies has led to significant changes in the circulation of information and various forms of cultural expression. Each community of individuals with similar interests now has the opportunity to create their own virtual universe, allowing representatives from various cultural groups to communicate about their shared hobbies, regardless of their location. In particular, online interactive communities such as fans of popular literature, TV series, and shows have experienced significant growth in numbers. It has been established in academic discourse that the notion of media fandom is employed to designate fan communities of the digital age. These communities are brought together by their dedication to particular mass culture products, and are active in the digital realm of new media, advancing specific digital practices. Members of a media fandom generate fresh cultural works, closely linked to a specific storyline of a popular mass culture product. Media fandom is a multifaceted and complex phenomenon within contemporary culture, which blurs the boundary between creator and consumer. It is a characteristic of digital culture that requires objective evaluation due to its subjective nature. Causal connections between statements are necessary to ensure comprehensibility and logical structure. Technical term abbreviations should always be explained when first used. Maintaining conventional structure, including regular formatting and factual, unambiguous titles, is vital. Clear, objective language should be used, avoiding biased, emotional, figurative, or ornamental language. The passive tone and impersonal construction should be employed, avoiding first-person perspectives unless necessary. Aim for a clear structure with precise word choice and balance without bias. Finally, maintain grammatical correctness, adhering to style guides, consistent citations, and formatting. It finds that fandom is a global platform for the creation and distribution of content on favourite topics, a type of participatory culture that involves a person who was previously only a consumer of cultural and social meanings in the state of producer. The author formulates the main characteristics of media fandom: it appears in the era of new media, it creatively rethinks the products of cultural industries, it represents the space of amateur production, it has a collective nature of activity, and the participants are engaged in creativity for their own development and enjoyment.

INFORMATION TERRORISM AS A TOOL OF HYBRID WARFARE AND A DESTRUCTIVE FACTOR OF THE MEDIA SPACE

The article analyzes the phenomenon of information terrorism, which has acquired new features in the context of globalization and the development of modern information technologies. The specifics of this concept are outlined. The fundamental differences between information, media and cyberterrorism are determined. The author emphasizes that the full-scale invasion of the Russian Federation on the territory of Ukraine, the outbreak of hybrid warfare, large-scale information and psychological special operations, disinformation campaigns and cyber-attacks have become part of the modern information space. All this requires a new approach to the analysis of information terrorism. The article presents the main tools and principles of information terrorism. It defines the characteristic features of information terrorism and its manifestations in the conditions of the Russian-Ukrainian hybrid warfare. Two key points of intersection between media and terrorism are emphasized. The first is mass media broadcasting of acts of terror; the second is the use of mass media, social networks and other communication tools by terrorists for their purposes. Information terrorism destroys the media system and causes powerful psychological pressure in combination with disinformation campaigns, the spread of fakes and deepfakes, the spread of information viruses, the use of manipulative technologies, the strengthening of psychological pressure with the help of the media, the broadcast of the enemy’s ideas with the help of mass culture products, and the use of new propaganda tools. Information terrorism introduces an imbalance in the work of the media industry, which cannot continue to function according to the old rules. An important question arises in this context – the country’s and its citizens’ media security level. Media terrorism gains new opportunities in the virtual world - a world in which people seek to escape from the brutal reality. Instead, they enter the world of manipulation and propaganda, where the tools of «soft power» combined with manipulative technologies, disinformation campaigns, intimidation, and the use of the whip and gingerbread method, form a distorted reality.

Symbolic and Cultural Codes of Military Realities in Ukraine

Modern ways of verbalizing a long-ago sacred concept, such as the deliberate killing of an enemy, who has threatened the existence of a kin or a tribe are investigated in the article. Such a murder in ancient times has been considered as a sacred act, sanctified by the necessity of survival, and therefore heroized. It is considered so now, but there is an unwritten taboo on direct statements on it because of the moral principles and remorse. The source material for this paper includes the published works of three well-known Ukrainian Telegram-channels and internet meme, promulgated from February 24, 2022, i.e. during the period of Russian-Ukrainian war. Four cultural-symbolic codes to express the concept of murder have become the most popular in wartime, namely obscene, spectacular, agrarian-industrial and culinary. They are used to create new euphemisms and paremias. The obscene code uses a fairly significant layer of vocabulary related to the lower body. The spectacular code is an indisputable product of modern mass culture. The agrarian and industrial codes also belong to the military mainstream, and some imaginary strategies for the use of war prisoners and enemy corpses are detailed with their help. The culinary code, in which the destruction of enemy troops is described as the process of cooking various meat and vegetable dishes with the help of fire or grinding, has gained particular popularity. New cultural-symbolic codes (except the spectacular) have a mythological basis, creatively reinterpreting and playing with ancient mythologemes. In particular, the mythological ideas about life as a vegetation cycle, about the eternally hungry death-devourer and about the culinary treatment of raw products with fire as a way of their civilizing have served as the foundation for the formation of new euphemisms, and ritual vituperation is used as a way of humiliating and morally destroying the enemies.

РОЛЬ ЭМОЦИОНАЛЬНЫХ ТРИГГЕРОВ В ЭКРАННОЙ КУЛЬТУРЕ

The relevance of the research is connected with the need to explain the mechanisms and strategies of the screen's influence on modern man. The problem of emotional perception of screen culture by a person through the prism of "emotional triggers" is considered, some of their types are analyzed and examples of embedding in screen culture are given. A certain vision of the role of emotional triggers is also formulated and the prospects for further development of screen culture in which they will play a key role are described. Emotional triggers contribute to maintaining the process of endless consumption of mass culture products. The maintenance of this process occurs due to the formation of a sense of emotional closeness and deep, in the opinion of the viewer, emotional contact with the products and phenomena of modern mass culture. Triggers become a form of representation of reality in the consciousness of the subject, creating instead of real reality a new form of its representation filled with visualized images and phantoms, which brings a certain emotional load into the viewer's consciousness. In this sense, screen culture can be considered as a global tool that exerts an artificial influence on both the individual viewer and the public consciousness as a whole. Emotional triggers, influencing the thoughts and behavior of the viewer, form secondary ways of describing the world for him, set the coordinates of orientation in the world of screen culture, simulating the immediacy of personal experiences and feelings, creating the illusion of belonging, integrity to a certain informational whole, thus building their own identity. The role, or rather the power of the impact of emotional triggers in modern screen culture is due to the fact that they are always visualized, and emotions most vividly affect it through visual images.

Leisure industries as a phenomenon mass culture

The purpose of the work is to investigate the peculiarities of the emergence and development of modern cultural industries, which are the product of mass culture. The research methodology combines a systematic approach with structural methods - to identify the role and place of mass culture in the general system and structure of culture, as well as to clarify the structure of cultural leisure industries mediated by technological substrate and mass culture as a set of technologies and communications. Culturological and semantic methods led to the definition of the study of the cultural-semantic field of mass culture and its influence on the phenomena produced by it. The scientific novelty of the work is to expand the understanding of the system of cultural leisure industries as a phenomenon of mass culture, which increases their potential through a modern communicative and information environment. Conclusions. As a result of the study, it was found that the socio-cultural space of modern Ukrainian society, which due to information and communication networks is part of the global information space, reflects global trends in the leisure industry, the main features of which are multimedia, interactivity, and virtuality. Considering the socio-cultural space in which the modern Ukrainian is, it is necessary to note the full integration of his cultural and spiritual life into the world entertainment industry in its highest technological manifestation - the media space. Leisure needs are met mainly through the consumption of information and entertainment content, which is currently a social problem on a global scale. Ukraine is integrated into the world mass culture and, accordingly, into the media space, hence the multidimensionality of cultural needs caused by the multilayered society, which looks like a heterogeneous system that includes people of different ages, different levels of education, different interests and values. Key words: mass culture, leisure practices, socio-cultural space, leisure industry, information technologies, media space.

Ukraine's Quest for Identity: Embracing Cultural Hybridity in Literary Imagination, 1911–2011

Ukraine's Quest for Identity: Embracing Cultural Hybridity in Literary Imagination, 1911–2011

SOCIAL AND CULTURAL PHENOMENON OF «NEW SINCERITY»

In the late ХХth and early ХХІst century new cultural paradigms were declared, in particular, metamodernism and «new sincerity». Estimates of the latter are ambiguous: some see it as the dominant mood of the modern era, others – only as the marketing or artistic strategy. The author believes that the social and cultural potential of postmodern irony has not been exhausted yet. In the information society, irony is an anti-repressive mechanism, as well as the way of constituting personal space in a manipulative environment. So it is still premature and even dangerous to devalue it. Irony is born of disappointment and coexists with sensuality and romanticism. In fact, T. Vermeulen and R. van den Akker, characterizing metamodernism as a combination of irony and sincerity, only pointed out to another neo-romantic turn in art. However, adherents of different versions of post-postmodernism refer to the objective socio-economic and technological factors that led to the transformation of culture. These include the digital revolution, globalization and the victory of consumerism, global risks and disasters. Although it is doubtful that commercialization and fear contribute to the deepening of the inner life and its sincere manifestation. The socio-cultural character of the digital age really has such features as spontaneity and enthusiasm. If irony is the desire for independence, then «new sincerity» indicates addiction to something. Unlike the ironist, the «new sincere» does not avoid making choice, but to talk about the revival of existence is to ignore the dependency on manipulative influences. Despite the autism attributed to the new character, he or she is a collectivist who is actively involved in projects not only in virtual space but also in real life. Sharing practices make them accustomed to trust others. They consume any product of mass culture, appropriate any ideas. Being infantile and uneducated, in contradiction to the ironists, they are not ashamed of it, not least because they are not alone in their hobbies. At the same time, the socio-cultural context devalues direct judgments and generates meta-irony. It arises from an atmosphere of total venality, demonstrativeness, standardness, which does not confirm sincerity. As a result, in addition to or instead of accusations of banality and naivety, which were initially envisioned by the adherents of the «new sincerity», it provokes accusations of artificiality and cynicism.

A Forgivable Enthusiasm

A Forgivable Enthusiasm

Structural features and communication potential of modern serials

Introduction. The mythological structure of the series is determined by structural, semantic and symbolic elements embedded in the communicative process; they represent a kind of filter that depends on all the formal and content components of the series, as well as the cultural field in which it functions. This allows the series to be an active translator of various messages, which, in turn, requires the active participation of the viewer in assigning contents and messages. Relevance of research. The scientific novelty consists in the analysis of the modern TV series as a communicative phenomenon in modern media culture. Based on the analysis of various sources, we tried to describe the structure and identify different communicative strategies of modern serials, a specific serial paradigm that allows satisfying all categories of viewers. The research methodology: we use interdisciplinary approaches to understanding the communication potential of modern TV series: cultural-historical, communication, structural and cultural analysis. Results and discussion. The study of TV series allows us to understand how communicative connections are recreated in the modern socio-cultural environment, what ideological tasks they can fulfill and how they influence the formation of identity. In the series, we can find certain revelations about the norms and dominant ideas of a specific cultural-historical discourse, which in their date allow us to reveal the closed elements of norming, subtexts and contexts, discrimination and inclusion, dominance and subordination, which are organically woven into the structure of the series as a product of mass culture. Conclusions and prospects. In the article, we found out that the increase in the influence and popularity of TV series as a specific cultural form of communication is related to their ability to be an effective sphere of communication space. The communication potential of serials is determined by the structural and content elements, which proved to be capable of structuring the everyday life and identity of a person. The description and analysis of the structural and content elements of the series made it possible to reveal the specific communicative potential of the modern series – to be an active translator of various messages, to form a communicative space, which, in turn, requires the active participation of the viewer in assigning contents and messages.

РОЛЬ ЧЁРТА В ДЕТЕКТИВНОМ РАССЛЕДОВАНИИ: «БРАТЬЯ КАРАМАЗОВЫ» И СЕРИАЛ «ЛЮЦИФЕР» НЕТФЛИКСА

The paper is devoted to the analysis of similar images of the traits in Dostoevsky's novel ''The Brothers Karamazov'' and in Fox – Netflix's series ''Lucifer''. At the same time, the elements that make up the detective layer of the verbal and the visual work are demonstrated. The basis for comparing the products of high and mass culture is created not only by the forms of murder investigations, but also by their transformation into self-reflection. Devilish figures in both cases become humanized, which allows to look at them from a new point of view. They are hereby considered in the context of the conceptualization of sinfulness, the commission of a crime. The author of the paper also touches upon both the issue of moving the fantastic layer into reality, and the presentation of deep philosophical problems in the form of criminal investigation. It turns out that both in a literary work and in a television / streaming production, the techniques of the detective novel are promoted to the background due to the predominance of Christian ideology and creative poetization.