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Digital code as text. Can notions of text that were developed without electronic texts in mind be applied to digital code, and how does literature come into play here? My talk is based on the general (yet disputable) assumption that the theoretical debate of literature in digital networks has shifted, just as the poetic practices it is shaped after, from perceiving computer technology solely as an extension of conventional textuality (as manifest in such notions as 'hypertext', 'hyperfiction', 'hyper-/ multimedia') towards paying attention to the very codedness of digital systems themselves. Several phenomena may serve as empirical evidence: - The early focus of conceptualist Net.art on the aesthetics and politics of code; - in turn, the impact of Net.art aesthetics on experimental literature / poetry in the Internet; - the close affinity of Net.art with political activism in the Internet; - which itself increasingly affiliates itself with an older, technical 'hacker' culture (of Chaos Computer Club, 2600, etc.); - the strong interest for (a) Free/Open Source Software and (b) network protocol standardization in all these camps; - the fact that hacker aesthetics, Net.art aesthetics, code aesthetics and network protocol aesthetics have a tremendous impact on contemporary writing in the Internet. (See the work of mez, Alan Sondheim, Talan Memmott, Ted Warnell and others.) I wll discuss how "Codeworks" (Alan Sondheim) fit notions of text that were crafted without digital code (and most importantly: machine-executable digital code) in mind and vice versa. Is it a coincidence for example that, reflecting the low-level codes of the Internet aesthetically, codeworks ended up resembling concrete poetry? And, apart from aesthetic resemblances, how do computer programs relate to literature? Is that what is currently being discussed as "Software Art" a literary genre? Since many of these positions remain debatable, I would like to put up questions in my presentation rather than give answers.

The article presents the main theoretical prerequisites for studying the pragmatics of the literary text. Determining the functions of the text as a means of communication in all a variety of its manifestations refers to the fundamental problems of linguistics.The general problems of the theory of the text, the questions of the pragmatics of the literary text and the observables of its impact and perception are considered. The pragmatics of the text as a global category, which is a mandatory property of each text and reflects the attitude of the addressee to the object of communication, to the communicative act itself and through it to the address.

The article is devoted to the value-semantic space of a literary text in the implementation of emotive dominants that reflect the author's intention. The purpose of the study is to determine the functional status of emotives of different levels of text affiliation. The priority research methods are the methods of textual analysis and philological interpretation, which allows us to consider a literary text, including outside the explication of the author's assessment, as the realization of important value meanings of the character and the author, which have an emotional impact on the reader. During the analysis of the text of the story by A.P. Chekhov's "The Black Monk" it was revealed that the functional status of emotive dominants is generally limited by the functions of the character's emotional assessment and the pragmatic impact of emotive meanings on the reader. Textual emotiveness is capable of representing not only the momentary states of the characters associated with one or another episode of plot action. The author deliberately saturates the description of such situations with emotive markers, which correlate the emotional and spiritual experience of the reader and the character, which helps to activate the recipient's memories and a new experience of the events described in the literary text. Implicity of emotive meanings in the story by A.P. Chekhov's "The Black Monk" allows us to focus the reader's attention on the value meanings of the text, which are only indirectly determined in their formation by external plot events. Analysis of the emotive dominants of the text of the story "The Black Monk" helps to identify not only the functional-semantic nature of the category of emotiveness, but also its plot- and text-forming role in a literary text, which opens up broad prospects in the study of textual emotiveness.

This chapter uses reflection on the author's involvement in the movement known as 'language through literature' or 'pedagogical stylistics' as a way into describing how the field emerged, its relations with different theoretical positions in English Language Teaching (ELT), and its main achievements as regards syllabus reform and methodological innovation. Arguments now made in favour of incorporating the study of literary texts into second-language (L2) English programmes are assessed, as well as some arguments commonly made against. The chapter concludes by identifying present and future challenges, ranging from specifics of course design and pedagogy through to a need to respond to the political imperative of vocational relevance in nearly all fields of education. Each kind of issue, the chapter argues, must be a concern for teachers and others who believe that both a cultural and a professional dimension in English language education are essential, if linguistics is to be 'applied' in socially relevant ways.

This study starts from the assumption that intercultural training with literary texts should have a clearly defined position in foreign language teaching and learning, and that this could facilitate the deconstruction of orientalist perspectives in contemporary political and media discourse. However, the marginalisation of intercultural objectives, methodology and methods in curricula, teacher training and course books that themselves reveal orientalist features demonstrate a long-lasting practical negligence in an area that has been at the forefront of foreign language research in the last two decades. In the short and medium term, this enormous gap between theory and practice could partially be addressed by replacing inadequate sections in course books with literary work, using texts such as The Persian Dinner that have been successfully brought into a foreign language environment at Higher Education level in Cambridge. However, intercultural training in other subject areas than foreign languages will have to support this temporary solution until substantially revised curricula and teacher training programmes start guiding authors and publishers to develop more adequate teaching and learning material.

Abstract
Feuilleton is a hybrid genre. This genre is important for both literature and journalism because it has literary and journalistic characteristics. There are different opinions about the genre characteristics of feuilleton. So, in studies, it is sometimes characterized only as a journalistic genre. Although some of the studies pay attention to its literary peculiarities, they do not mention its journalistic peculiarities. There are also studies that examine the genre in both literary and journalistic contexts, and such a complex approach is of great importance to the analysis of the genre. Based on the ideas about the hybridity of the genre, our opinion on this matter is that when examining the feuilleton, it is important to thoroughly study it, taking into account the fact that it is a hybrid genre. When conducting research, all features should be studied, no feature should be left out of the study. The artistic colors of feuilleton are distinguished by their realistic and sharp lines. Here, the events are given in all their reality. This is one of the points that form the basis of journalistic works. In this article, the feuilleton genre is examined in the context of literary-journalistic genre; the history of feuilleton, its main features, and its literary and journalistic aspects are studied.