Abstract: The subject of the study is the peculiarities of the formation of the canonical two-evening edition of S. S. Prokofiev's opera "War and Peace" and the influence on this process of the authors of the first production of the composition at the Maly Opera House in 1946 - the musical and stage version of conductor S. A. Samosud, director B. A. Pokrovsky and artist V. V. Dmitriev. The main purpose of the work is to identify the key aspects of the impact of the theater and the production process on the appearance of the legendary opera epic S. S. Prokofiev. The methodology of work is based on the principle of historicism in the study of musical drama and the stage fabric of the performance, developed by the domestic theater school. A study of the first edition of the 1943 opera, a detailed analysis of the rehearsal and staging process for preparing the premiere performance at the Maly Opera House, preserved letters and memoirs, periodicals, as well as a number of archival materials reveal a significant role for the authors of the production - conductor S. A. Samosud and director B. A. Pokrovsky - in a revision of the composer's originally created composition, explain the work of S. S. Prokofiev in order to create additional musical and dramatic episodes, which later became the climax of the canonical version of the opera. The author examines the little-known facts of the history of the creation of the opera "War and Peace" by S. S. Prokofiev - the influence of the theater on the appearance of the work formed as a result of work on the production of 1946-1947.

Keywords: Boris Aleksandrovich Pokrovsky, Samuel Abramovich Lynching, Maly Opera Theater, MALEGOT, the formation of the second edition, score, War and Peace, premiere, Sergei Sergeevich Prokofiev, Soviet Musical Theater

Abstract: The object of this study is the speech style of artists of the Bolshoi Drama Theater in the 1950s and 1960s. The subject of the study is the evolution of the speech style from the first to the second edition of G. Tovstonogov's performance "The Fox and the Grapes" ("Aesop"). The author of the article studies in detail two versions of the famous performance, analyzes the acting speech of N. Korn, V. Polizeimako, O. Basilashvili and S. Yursky from aesthetic and technological positions. The author pays special attention to the fundamental changes in the intonation-melodical architectonics of sounding speech in less than one decade. A change in speech style in the Bolshoi Drama Theater is included by the author in the wider context of changes in the art of the "thaw" era. The methodology of this study includes measurement (auditory analysis of the pace of speech, auditory analysis of diction and orthoepia, instrumental analysis of the intonation-melodic score), comparative analysis, induction, historical method. The novelty of the present study lies in the combined use of auditory and instrumental analysis tools for acting speech. The author clearly proves the subjectively obvious difference between the sound of speech in the first and second editions of the performance "The Fox and The Grapes" by conducting a detailed comparative analysis of acting speech in all main parameters: tempo, diction, orthoepia, melodics. From the study of a specific performance and specific acting works, the author goes to generalization, concluding about the powerful influence of screen (cinematic) speech on theatrical speech in the 1950s and 1960s, about the formation of a new standard of audience perception and a new idea of the naturalness of acting speech.

Keywords: intonation, speech style, Aesop, instrumental analysis, auditory analysis, theatre, Khrushchev thaw, scenic speech, Tovstonogov, naturalness

Abstract: The article analyzes the possibilities and limitations of artificial intelligence. The article considers the subjectivity of artificial intelligence, determines its necessity for solving intellectual problems depending on the possibility of representing the real world as a deterministic system. Methodological limitations of artificial intelligence, which is based on the use of big data technologies, are stated. These limitations cause the impossibility of forming a holistic representation of the objects of cognition and the world as a whole. As a tool for deterministic description of the universe it is proposed to use empirical-metaphysical general theory of systems, which is an extension of existing general theories of systems due to ontological justification of the phenomenon of isomorphism and definition of a limited set of laws, rules, patterns and primitives of forms and relations of objects in the universe. The distinction of natural (human) and artificial intelligence is considered, including the realization of multisystem integration of intelligence in physical, biological, social and spiritual systems. A philosophically grounded approach to ensuring the evolutionary properties of artificial intelligence is formulated, based on the inclusion of non-equilibrium mechanisms through which stability is realized.

Keywords: deterministic description, evolution, multisystems, nonequilibrium stability, general theory of systems, creativity, unity, intellectual tasks, subjectivity, intelligence

Abstract: This paper is focused on the ways of expressing trust and distrust in financial institutions represented in the language and speech culture of the population of the Lipetsk region. Based on 55 semi-structured interviews of three generations (centennials, millennials, elder generations) living in rural and urban settlements, issues of understanding and interpretation of financial institutions, features of trust, positive and negative experiences of interaction with various financial institutions were analyzed. The use of the constructivism made it possible to interpret trust as an internal component of the practices of an agent involved in the current financial situation. The study showed that in regions with an average standard of living, an average level of financial culture and the dominance of a conservative model of financial behaviour, the difference between generations is less noticeable against the backdrop of a significant difference between residents of rural and urban settlements. The analysis of interviews with three generations of residents of the region showed that the conservative model of financial behaviour continues to be reproduced in the speech culture of the informants, where banks and insurance organizations remain the most trustworthy. The images of financial institutions, represented in the language of the interviews, revealed a high level of resentment associated with the experience of past events (the collapse of the USSR, privatization). The content analysis revealed the image of the state as a “collector of payments”, and to a lesser extent, a “helper” supporting a person in his relationship with financial institutions.

Keywords: praxeological approach, frequency content analysis, speech culture, culture of trust, financial culture, trust in financial institutions, trust language, institutional trust, millennials, centennials