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The article analyzes the works of Vyacheslav Ivanov on Fyodor Dostoevsky. Using the material from the book "Dostoevsky: Tragedy — Myth — Mysticism" (1932), the research principles and interpretive strategies implemented by Vyacheslav Ivanov in interpreting the female characters in Dostoevsky's novels "Crime and Punishment," "The Devils," and "The Idiot" are identified. It is shown that Ivanov's conception of the artistic features of characters such as Sonya Marmeladova, Alena Ivanovna, Maria Timofeevna, and Nastasya Filippovna are revealed in the context of the "main myth" of the works. The mythopoetic and functional aspects are highlighted as the most significant in Ivanov's interpretations of the female characters. Additionally, it is argued that the psychological and spiritual characteristics of the heroines are not overlooked by the hermeneutist, as understanding the nuances of their inner world was necessary for him to reveal the mythopoetic functions. Through Ivanov's interpretations of Dostoevsky's female characters, it becomes evident that the poet-thinker's approach to the writer's works represents a synthesis of philosophical conceptualization and historical-literary perspective.

The problem of homeless children in Ukraine of the 21th century has been updated. The best practices of one of the first managers in the Poltava region, who initiated the re-education of young people on the principles of teamwork and cohesiveness of pupils around joint productive work, were analyzed by Fedor Danilovich Ivanov, the head of the children's agricultural colony named after V.G. Korolenko.The main achievements of the colony were identified: the creation of a system of children's self-governance, the structure that included general meetings, the organizational committee, the system of detachments, commissions (economic, sanitary, linen, club board, library, editorial); availability of Pioneer and Komsomol organization; clear organization of the labor process of the colonists; organization and provision of educational work for pupils; organization of cultural and educational life and improvement of children.The author notes that the organization of work's level has ensured its high effectiveness: the upbringing and returning to the full life of hundreds of pupils (together with the labor colony of A. S. Makarenko, about 2 thousand pupils were rescued by children's institutions, the cases of relapse were not recorded among them); the recognition of the colony of the People's Commissariat of Ukraine as a research and development institution, 1925; the abandonment of the posts of educators and the transition to self-governing colonial administration, from 1928 (colony named after M. Gorky, since 1930); the popularization of the experience of educational work in pedagogical journals, journals, methodical collections. There was concluded that the efficiency and high results in education had become possible due to the innovative, non- standard approach to work created by the personal convictions and views, efforts and desires of Theodore Danilovich Ivanov, his dedication and love for children. The specifics of work with children of preschool and junior school age have helped the children's institution become an innovative center for the development and validation of democratic, humane views on the education of young people.The author expresses the hope that the innovative experience of upbringing street children of Fyodor Ivanov will not only be a historical value, but will also be a real example for the formation of Ukrainian citizens and their return to full- fledged life. ; Проаналізовано передовий досвід одного з перших на Полтавщині завідувачів- вихователів, хто розпочав справу перевиховання молоді на принципах організованості колективу та згуртованості вихованців навколо спільної виробничої праці, – Федора Даниловича Іванова – очільника дитячої сільськогосподарської колонії ім. В.Г. Короленка.

The problem of homeless children in Ukraine of the 21th century has been updated. The best practices of one of the first managers in the Poltava region, who initiated the re-education of young people on the principles of teamwork and cohesiveness of pupils around joint productive work, were analyzed by Fedor Danilovich Ivanov, the head of the children's agricultural colony named after V.G. Korolenko.The main achievements of the colony were identified: the creation of a system of children's self-governance, the structure that included general meetings, the organizational committee, the system of detachments, commissions (economic, sanitary, linen, club board, library, editorial); availability of Pioneer and Komsomol organization; clear organization of the labor process of the colonists; organization and provision of educational work for pupils; organization of cultural and educational life and improvement of children.The author notes that the organization of work's level has ensured its high effectiveness: the upbringing and returning to the full life of hundreds of pupils (together with the labor colony of A. S. Makarenko, about 2 thousand pupils were rescued by children's institutions, the cases of relapse were not recorded among them); the recognition of the colony of the People's Commissariat of Ukraine as a research and development institution, 1925; the abandonment of the posts of educators and the transition to self-governing colonial administration, from 1928 (colony named after M. Gorky, since 1930); the popularization of the experience of educational work in pedagogical journals, journals, methodical collections. There was concluded that the efficiency and high results in education had become possible due to the innovative, non- standard approach to work created by the personal convictions and views, efforts and desires of Theodore Danilovich Ivanov, his dedication and love for children. The specifics of work with children of preschool and junior school age have helped the children's institution become an innovative center for the development and validation of democratic, humane views on the education of young people.The author expresses the hope that the innovative experience of upbringing street children of Fyodor Ivanov will not only be a historical value, but will also be a real example for the formation of Ukrainian citizens and their return to full- fledged life. ; Проаналізовано передовий досвід одного з перших на Полтавщині завідувачів- вихователів, хто розпочав справу перевиховання молоді на принципах організованості колективу та згуртованості вихованців навколо спільної виробничої праці, – Федора Даниловича Іванова – очільника дитячої сільськогосподарської колонії ім. В.Г. Короленка.

The article describes the interpretation of the image of garden, presented in the first collection of poems "Embarcation for
Cythera" by Georgy Ivanov. It is proved that in the context of this artistic unity, the garden archetype is a cross-cutting symbol
and acts as one of its axiological dominants. It is shown that the semantics and poetics of Georgy Ivanov's image of a garden
is very multifaceted and is motivated by the author's dialogue with the literary and mythological ancient tradition, refracted
through the influence on the poet of the works by Antoine Watteau, Konstantin Somov, Alexandre Benoîs, Paul-Marie
Verlaine, Innokenty Annensky, Mikhail Kuzmin, Igor Severyanin, Fyodor Sologub. The article notes that the structure of
the image of the garden, created in the debut collection of Georgy Ivanov, includes both the archetype of the Water, inherited
from East Slavic mythology, and the apocalyptic symbol of the "bloody moon". For the semantic filling of the image of
garden the motif of languor (tenderness), often found in the lyrics of poets of the turn of the century (I.Annensky, F.Sologub,
M.Kuzmin, Nikolai Gumilyov), is of great importance. The semantic evolution of the garden archetype represents the idea
of the path, which is significant for the examined poet, which is key for the artistic consciousness of not only the authors of
the Fin de Siècle, but also for Russian literature as a whole. Getting used to the time and space of different and at the same
time somewhat similar "gardens", Georgy Ivanov outlines the vector of his own creative development, predicts the movement
towards the collection "Gardens". He outlines the concept of "wanderings" through different mythologies and cultures, which
is relevant both for the aesthetics of Russian symbolists and acmeists.

The subject of research in this article includes Fyodor Dostoevsky's image created in works of Russian 19th – 20th century poets (Konstantin Sluchevsky, Dmitry Merezhkovsky, Valery Bryusov, Sasha Chorny, Max Voloshin, Georgy Ivanov, Vladimir Mayakovsky, Nikolai Aseyev, Pavel Antokolsky, Boris Slutsky, Мikhail A. Svetlov, Yevgeny Rein, Yevgeny Yevtushenko, etc.). The genius image has not been examined by scientists in the aforesaid contexts so far. This determines the novelty of this research. Analysis of lyric texts, in which Fyodor Dostoevsky is mentioned, has allowed to identify the aspects of perception of the writer's personality and works significant for the Russian culture, and to analyse the surname of Dostoevsky as a linguocultureme. The author set an aim to analyse the writer's image components, to reveal their causes, to separate the stereotypic from the individual. Intertextual analysis, biographic, comparative, hermeneutical, imagological methods and continuous sampling are used in the work. As a result of the research the author comes to the following conclusions; Fyodor Dostoevsky's image in the Russian lyrics of the 19th – 20th centuries includes the following elements: allusions to his works, references to the writer's biography, inclusion of Fyodor Dostoevsky into a number of other Russian writers and his perception in the worldwide context, general description of his creative work and stylistic features. Specific traits of Fyodor Dostoevsky's image in the Russian lyrics include usage of the hodonym Nevsky and epithet резкий (sharp, strongly-worded) as rhymes to the writer's surname. It is also noteworthy that Fyodor Dostoevsky's surname is used as a qualitative adjective in some contexts and describes properties of other images.

Editorial office publishes the summary of a joint seminar, held by the Russian International Affairs Council (RIAC), the Primakov National Research Institute of World Economy and International Relations (IMEMO RAS) and the World Economy and International Relations journal and dedicated to the impact of the Ukrainian crisis on the international relations. The event hosted such prominent experts as Igor Ivanov, RIAC President, Minister for Foreign Affairs of the Russian Federation (1998–2004) and RAS Correspondent Member; Fyodor Voitolovsky, IMEMO RAS Director, RAS Correspondent Member; Andrey Kortunov, RIAC Director General; Vladimir Baranovsky, Scientific Director of the Center of Situational Analysis, IMEMO RAS, RAS Academician; Alexey Gromyko, Director of the RAS Institute of Europe, RAS Correspondent Member; Oxana Gaman-Golutvina, President of the Russian Political Science Association, RAS Correspondent Member; Victor Kuvaldin, Head of the Department of Social and Human Arts, Lomonosov State University; Alexey Bogaturov, Distinguished Scholar; and Igor Istomin, Senior Research Fellow of the Center for Perspective American Studies, MGIMO University. Vladimir Baranovsky presented his new monograph at the seminar.

Being a part of the astronomical, temporal, anthropomorphic linguocultural codes, Venus as a celestial body has a significant place in the Russian verbal culture. This statement can be proved not only when analysing linguistic units, but also when referring to literary works, in particular to Russian lyric poetry. Twenty four poetic contexts, which include the image of Venus, have been analysed in the article (the works by Alexander Pushkin, Georgy Adamovich, Pavel Antokolsky, Leonid Martynov, Mikhail Zenkevich, Alexander Blok, Vyacheslav Ivanov, Nikolay Gumilyov, Marina Tsvetaeva, Fyodor Sologub, Mikhail Kuzmin, Georgy Shengeli, Ilya Selvinsky, Konstantin Simonov, Anatoliy Demyanov). The authors focus on the Russian 20th century lyric poetry because it is there that Venus appears as a star rather than a planet, and this corresponds to the archaic notions of this celestial body. Mercury and Mars are also called 'stars' in the 20th century poetry, but in a much smaller number of contexts than Venus. The authors come to the conclusion that Venus in Russian poets' works can symbolise the onset of morning / evening, love, paradise, loneliness, fate, youth, old age, life journey. Moreover, Venus is included into poetic conceptions (it corresponds to the image of the Beautiful Lady in Alexander Blok's poetry). The set of the above-mentioned symbolic meanings correlates with the archaic notions of Venus, widens them and makes the image of this celestial body mythopoetic.