Based on the archival documents of the censorship committee, this article studies the factors that influenced the functioning and determined the suspension of the activities of the newspaper “Kavkazskie obyavleniya” (“Caucasian Advertisements”), as well as the policy and some characteristics of the newspaper.

The development of advertising and reference newspapers in Tiflis in the second half of the 19th century had the following characteristics: discreteness, short publication time, broadening content, and frequent name change of newspapers. All newspapers of such type were published mainly in Russian, although when compiling the section of advertisements, the editorial boards, for the most part, gave preference to the principle of multilingualism. It was inherent for the vast majority of private periodicals in Tiflis.

The newspaper “Kavkazskie obyavleniya” in some sense served as an accompaniment to the Tiflis newspapers and performed two functional roles: on the one hand, the newspaper work as an additional channel for the distribution of Tiflis press, on the other hand, the it accumulated advertising and reference information, and guaranteed the provision of this information to all readers of the Tiflis periodicals.

In 1890, the censorship dismissed the publisher’s request to broaden the newspaper's content, and eventually this decision caused the closure of the newspaper.

Despite the short period of existence, the newspaper “Kavkazskie obyavleniya” brought noticeable innovations to the advertising activities of the Tiflis periodicals: an endeavor to concentrate advertising and reference information in one information space and mutually beneficial cooperation with rival press. 

Purpose. The reputation of the satirical weekly Iskra is traditionally determined by the political context of the Russian Empire in 1860s. Despite the fact that in the first years of its existence, the publication attracted writers of various fractions, views, and convictions, Iskra was perceived as a radical magazine, “…another department of Sovremennik”. Moreover, Iskra’s defamations and attacks against provincial and capital officials, and writers have become an inte gral part of the everyday life of the 1860s. Individual articles and whole issues have been banned and censored, though this policy only promoted and strengthened the reputation of weekly. Later, reflecting the importance of the magazine, the Soviet literary criticism established a typological relationship between Iskra by Kurochkines brothers and the left-wing newspaper of the same name published by V. I. Lenin at the beginning of the 20th century. This article attempts to reinterpret Iskra, implying a “weakening” of the sociological and political aspects of interpretation in favor of the aesthetic ones.

Results. The article put forward a hypothesis that publications such as Charivari, Punch, and Iskra can be considered from perspective of modern discursive practices: post-folklore (the phenomenon of variable text and multiple authorship), post-modernity (discrediting the classical heritage or its carnival rethinking) and post-irony (deconstruction of modern leaders of opinion, self-exposure). Based on the study of prosaic and poetic parodies and satire, graphic texts - cartoons and serials (comics), the author analyzes the specificity of the construction and presentation of Russian reality as an anti-world. The article contains fragments of prose and poetic feuilletons by D. D. Minaev, V. P. Burenin, and M. Stopanovsky, many of which are published for the first time.

Conclusion. Iskra as a product of the polemical journalism of the Russian Empire in 1860s displayedan experience of a new aesthetics (a kind of anti-aesthetics), synthesizing schoolchildren (cartoons) and decadent subcultures (Baudelaire translations). Apparently, the 8000 subscribers included not only a radical and democratic reader but also a general audience, equally tired of the official tone of government periodicals and the moralizing of the progressive camp. Demonstrating Russian life as the so-called ‘antiworld’, Iskra proposed a version of “carnival liberation”, which was probably reflected in the poetics of many contemporaries: M. E. Saltykov-Shchedrin, N. S. Leskov, F. M. Dostoevsky. In this regard, the issue of post-folklore, post-modernism, post-truth, and post-irony on the pages of Iskra rather remained unresolved. However, the change in perspective, it seems to us, enables reinterpretation of the previously collected data, allowing us to give a new interpretation. 

Purpose. The purpose of the article is to find a suitable approach for the reconstruction of the creative biography of F. M. Dostoevsky presented in the opinion journalism of the Siberian poet, journalist, and publicist G. A. Vyatkin.

Results. This article is the first noticeable contribution proposed in studying opinion journalism of the Siberian poet and journalist G. A. Vyatkin about F. M. Dostoevsky. It considers Vyatkin’s works in the context of tragic events in Russian history of the 1910–1920 years. This perspective is especially meaningful and beneficial in the light of the fact that Dostoevsky was almost unknown to the soviet society until the 1970s. His works were not a part of a school or university educational program.

Conclusion. The article concludes by arguing that Vyatkin was one of the first to tell about Dostoevsky’s exile and hard life in the prison camp, about his compassion and worry for people. He recalled many forgotten facts of Dostoevsky’s biography, found and published quotes from official documents and literary critics.

The article considers papers and reviews by Saltykov-Shchedrin, criticizing novels about “new people”. The main focus is on the period 1868–1871 when Saltykov-Shchedrin was the main critic of the magazine “Notes of The Fatherland” (“Otechestvennye Zapiski”). The polemic between magazines “Notes of The Fatherland” and “Delo” continued the debate started by the predecessor magazines – Nekrasov’s “Sovremennik” and Blagvetlov’s “Russian word”.

The purpose of the article is to identify the main plot clichés in novels about “new people” presented in reviews.

Results. The main criticism expressed through the parody indicates the position of the critic towards the author. Parody is a crucial part of most reviews. The article describes the main techniques of parody: selection of plot elements that are repeated in novels about “new people”, schematization of their combinations. All this brings the plot to a common denominator with many similar plots. It also demonstrates an important point of the critic: the lack of artistry cannot be compensated for by any actual social ideas.

Conclusions. By the end of the 1860s, the repetition of plot patterns and hero types in novels about “new people” was a basic feature of any plot. In the reviews, Saltykov-Shchedrin drew a fairly complete picture of the plot clichés used both in democratic literature and in the anti-nihilist novel. Parody as a reflexive response to the processes taking place in literature can be considered as a symptom of a completed phenomenon. In this case, the parody marks the end of the intense but short life of the “new people” of the 1860s. 

The problem of publications made by students in the early 20th century recently became a matter of interest among scholars. The purpose of the article is to study one of them, “Soyuz” magazine, which was published by students of the theological seminary in Tomsk in 1907. The problem is that not a single issue of the magazine has survived to this day. Therefore, the research relies on the method of historical reconstruction based on the archival documents. The main achievements of this study are as follows. Based on the analyses of previously unknown archival sources, it reconstructs the history of the magazine, its team, printing equipment, and capacities, and the list of authors. It discovers a description of the magazine made by the Tomsk gendarme office. The article contains the contents of two issues of the magazine. It establishes that the magazine stuck to social-democratic ideas and was the structural element of the Tomsk branch of the All-Russian Seminary Union. It indicates the place of the magazine among other Tomsk periodicals. On the one hand, it fully fitted into the practice of the work of social-democratic organizations, on other hand, in terms of the methods of technical and organizational creation, it was a typical students self-published publication.

Purpose. The article studies the history of the magazine “Zolotoe runo” (“Golden Fleece”) that has been publishing in Moscow from 1906 till 1909. It was a project of the young art lover, millionaire N. P. Ryabushinsky, who decided to continue the mission of “miriskusniki” (members of the “World of Art” movement) and promote the aesthetic principles of symbolism, which he saw as the most promising style of art at the beginning of the 20th century.

Results. Based on the analysis of the memoirs written by contemporaries, correspondence between the representatives of the Russian cultural elite, publications in the periodical press, as well as outcomes of modern research, the author argues that the magazine “Zolotoe runo”, providing its pages to outstanding writers and publishing works of iconic artists and articles about their works, became one of the most influential periodicals about art in Russia.

Conclusion. This research shows that, having said a new word in art and journalism, the magazine “Zolotoe runo” became a worthy reflection of the artistic life of Russia at the beginning of the 20th century. 

The studies of the specialized military-political publications of the 1920s usually consider only approaches to organizing the political and educational work of commanders with personnel. Filling the gap, this article focuses on the media educational approach to the analysis of print media that examines the activities of newspapers and magazines as a kind of media platform for the training of regional workers and village correspondents (rabsel'cors), and military correspondents (voencors).

The article reveals the main methods of training military correspondents by the specialized magazine “Education and upbringing”. Voencors were supposed to participate in creating a mass press, perform information functions and be propagandists, agitators, and organizers of the movement of military correspondents.

Based on the analysis of the journal publications the author identifies the main approaches to rabsel'cors and voencors’ training: the introduction of special headings that attracted the Red Army soldiers to read periodicals and create wall newspapers; recommendations for establishing connections between military correspondents and village correspondents; publication of articles by the main authors of the journal on the organization of wall newspapers; analysis of military correspondents’ publications; responses to letters from readers.

As a result, the author comes to the conclusion that the military-political magazine “Education and upbringing” should be considered not only as a means of ideologically educating the serviceman of a new type but as a necessary guide for novice correspondents of specialized and universal media.

The article is analyzes the images of the children's characteristics on illustrations for children’s magazines of the Soviet Union in the context of three periods: the period of experiments (1920–1930), military-sports period (1930–1950) and familytime (1950–1980). The characteristics of kids, in this case, are considered not only as certain features that are inherent for them on the images but also wider – as a child’s symbol that indicates the attitude towards childhood in certain social, cultural and political conditions. Since the visual children’s culture, and especially children’s media, are a matter of high interest now, this study and its main achievements, including contribution to the establishing correlation of the visual representation of children's characteristics and the cultural content of childhood of a certain era, have wide applicability. The article presents a cultural-semantic and socio-psychological explanation of the visual component of children’s illustrated periodicals in the conclusion section.

In the context of the globalization of academic communication and exchange in the field of social sciences and humanities, the question of the accuracy of the terms used is crucial. In particular, the difference in understanding of concepts tends to get worse in the theory of journalism. There are many examples of this, but this article studies the specific problem of confusion in terms and definitions. Namely, are the concepts “information flows”, “journalism”, “mass media”, “QMS” equal in volume, or are they multi-volume and different in meaning? Based on the chosen research methods – the use of a combination of analysis, comparison, induction, generalization – we came to the conclusion that the media concepts presented above cannot be considered as equivalents, synonymous or interchangeable terms. The scope and content of the considered concepts do not coincide. It will be beneficial to classify them as “interdependent”, since only in such a ratio is it possible to effectively study them.

The article presents the outcomes of studying the transformation of audiovisual content in a new technological environment, which is one of the stages of the research project conducted by the Department of Television and Radio Broadcasting of the Journalism Department of Lomonosov Moscow State University. This stage held in July 2019 aims to identify the technological features of the work of the cultural and educational TV channel portals – “Russia K” (domestic channel) and ARTE (French-German channel). Both “Russia K” and ARTE are important media players that have been setting trends in their field for more than 10 years. The reason for comparing these channels was their thematic focus and a certain similarity of projects. The TV channel “Russia K” is the only non-for-profit channel dedicated to the cultural and educational topics in R SMAI, and ARTE TV channel is one of the most popular media specialized in this subject in Europe. During this stage the total amount of analyzed materials is 251 (145 publications on the “Russia K” and 106 on ARTE websites). The analysis of materials published on the Internet is based on following criteria: the number of materials, the nature of the content (broadcast / special), thematic and genre.

The analysis of the amount of materials enables tracing the frequency of publication of new articles; data on the nature of the content helps to conclude which materials on the sites are more – on-air or special. Defining thematic and genre originality provides a complete picture of the content being posted.

The author concludes that nowadays the Internet versions of the channels have their own faces but are inseparably bound with their television counterparts. The website of the TV channel “Russia K” is a vibrant media with recognizable style and creative presentation. However, in order to strengthen its position, the editors of the site should increase the number of copyright off-air materials and use new interactive genres (tests, quizzes, etc.).

The site of the ARTE channel fits into the modern digital space while maintaining the classic presentation. Since most ARTE channel programs are timeless, they correlate very well with the consumer nature of the Internet and the need for educational content. Documentary films – the most common form of ARTE channel programs is in great demand by the audience in the digital environment that wants to quickly learn something important in a simple, vivid and understandable form.

The difference between the on-air and non-air versions is largely exaggerated, because sites and channels do not compete with each other but are adjacent and complement each other. Websites enable access to the channel’s content anytime, anywhere, by selecting the desired program. Sites act not only as electronic repositories but also as individual units in the media world providing unique information.

The importance of the study is due to the increasing role of the public pages of “VKontakte” in making daily agenda, in particular, related to urban life. New practices of “network communication” are the result of the development of the information infrastructure of the modern city-dwellers. The article “includes” urban and rural public pages to the current research agenda. It shows what place this phenomenon occupies on the conditional media map. The outcomes of the research contain identifying their prevalence in Novosibirsk and presenting quantitative indicators of audience in the most popular social network in Siberia. The article discusses, which theory is most suitable and effective regarding this “platformed” manifestation of sociality and what research topics may be covered by a more detailed analysis of these unorganized local media practices, reflecting social, including political, reality. 

The article examines the specifics of the development of Telegram-channels in Russian regions as a whole, which is possible since in small towns they evolve in approximately the same way. However, the main focus of the study is the Republic of Mordovia. The outcomes include the presentation of specificity and characteristics of Telegram-channels, the definition of a news Telegram-channel. Based on the results of analysis, the author not only describes the advantages of these media in the regions but also the typical mistakes of the content creators. Despite the increasing number of channels, there is no reason to predict a massive growth of users due to Telegram’s orientation towards elitism and respectability of the target audience. The author also finds out that public attention is attracted more by texts belonging to the style of gonzo journalism and thrash writing than neutral ones.

Personal data is a complex and multi-component term that reflects all the contradictions in the development of information technologies and their impact on the lives of citizens. In the current circumstances, the activities of the media are influenced by the changing personal data regulation, and the work of journalists in the field of getting, processing, and dissemination of information is complicated. The article analyzes the specifics of the use of personal data in media materials. An analysis of judicial practice shows that in the conditions of legislation on personal data, the media is able to carry out professional activities and protect their rights, however for effective work, editorial staff needs legal knowledge in the field of working with personal data.

New legal expertise is required from journalists. Firstly, it is necessary to correctly understand the essence of the term personal data as a collection of information identifying a particular person. At the same time, it is important to take into account possible combinations and security of personal data.

Secondly, the nature of the information to publish is important. For example, if the dissemination of personal data is carried out when highlighting a problem of public interest. This principle avoids depersonalization of important information but requires conscientiousness and good faith in the preparation of material. However, the reality is that in each case the understanding of the public interest of journalists does not always coincide with the understanding of the courts.

Thirdly, it is crucially important to know how information was obtained and to assess the validity of the actions of journalists and sources in obtaining and transmitting information adequately. If the information is placed on public information resources following the current legislation, it is a legitimate source of information. This applies to information prepared by the press services of state organizations and departments, press releases posted on the websites of state authorities, information, disclosure, and publication of which is carried out in accordance with federal laws. Obtaining consent to disseminate information about a person from this person is also one of the most important rules that journalists, especially beginners, often forget about. Sometimes this is enough to avoid possible legal claims. The identity of the personal data subject who has become the object of journalistic material and its socio-professional status are also significant facts.

Purpose. The article presents the results of the analysis of the podcasting market in Russia. It highlights the main problems of the industry, the types of podcast producers, and their monetization models developed in the Russian market. The revenues and expenses of podcast studios are also in focus of study.

Results. The research is based on the study of the platforms themselves, scientific papers in the field of podcasting, Internet resources, company reporting, and expert interviews conducted by the authors. The authors have carried out the study in the autumn-winter of 2020.

Conclusion. The authors identify five main industry monetization models (which can be combined): advertising, podcasts for companies, podcasts for streaming platforms, donations, and subscriptions. The authors come to the conclusion that despite the main modern problems of Russian podcasting – the absence of regular audience measurements, a single platform, and, as a result, difficulties with monetization – the conditions for launching a podcast studio in the Russian market are favorable. 

The article considers nostalgic representations of the most relevant historical past for modern Russia – the Soviet period in social networks. It is noticeable that the so-called post-memory can be absolutely not identical, and often the opposite of “real” events, that there are as many varied recollections as there are social groups. Moreover, memory may be embodied and preserved in objects and things, and the modern myth is shaped primarily by the mass culture, absorbing the most orthodox stereotypes. The article discussed such socio-cultural and psychological phenomenon as retrotopia. Based on the analysis of some visual and textual materials, it argues that the discourse of retrotopia manifests itself at different levels of linguistic and cultural components. The opposite “anti-Soviet” discourse, on the contrary, is extremely ironic, and may be defined as network kitsch. This article analyzes materials about Soviet realities produced by the Belarusian blogger Maksim Mirovich. As a result, it concludes that the blogger aims not so much to deconstruct myths, but the fight against the illusions of “uncomfortable” consciousness, with the narrow-minded view of the world, thus, the reverse is true. Furthermore, Maxim Mirovich and the USSR fans create the narrative in the context of the so-called post-truth: each of the opponents constructs his own model of the world, in which the “truth/false” opposition has secondary importance. Generally, Internet materials about Soviets can be presented as a semantic game, juggling with mass concepts, filling the Internet space with meanings, rather than an ideological confrontation. 

The issues of media concentration have currently been quite often the topic of public discussion and the subject of study of many analysts and publicists. The fact that the processes of concentration in recent decades are beginning to acquire a global character is first of all evidenced by the creation of large transnational media corporations, which are already showing a desire for international domination in a particular area of the media business. In addition, media owners from developed countries are actively expanding into the information markets of developing countries. Given the global impact of information technology on the entire socio-economic space, it seems necessary to define the concept of information globalization, to assess the scale of information shifts in the modern media economy. The relevance of this study is due to the need for a scientific understanding of concentration and diversification as forms of organizing media business in the context of globalization. Researchers identify globalization, convergence, glocalization, demassification, and diversification as the main trends characterizing the development of modern mass media.

The purpose of this article is to characterize the processes of globalization in the communication industry that have influenced changes in the structure of the media market to describe the models of diversification and mutual integration of holding media.

The theoretical and methodological basis of the work was formed by conceptual provisions, recommendations, and conclusions presented in the fundamental scientific works of domestic researchers on history, theory, typology, research methods of the Russian media industry (E. L. Vartanova, S. M. Gurevich, E. Ch. Andrunas, S. I. Beglov, S. S. Smirnov). When writing this article, we used the methods of system analysis, as well as expert analytical, descriptive, historical and theoretical methods.

Conclusions. Globalization of information space, as an inevitable and extremely important phenomenon, affects all spheres of the socio-economic life of society, changing the motivation of economic actors at the micro level and modifying the macroeconomics in general. 

The coronavirus pandemic has had a significant impact on the Russian media, which, regardless of their format, have been broadcasting news about the infection since the beginning of the outbreak on a regular basis. The main purpose of the research is to establish a connection between the epidemiological situation in Russia during the first wave and the nature of the change in the information agenda on the air of the entertainment “Radio Dacha”. To reach this goal the author, using the method of inclusive observation, analyzes 1 219 episodes of the news program, aired from January 2020, when radio hosts first mentioned the COVID-19, to July 2020, when the main restrictions were lifted in Russia. The article shows that depending on the epidemiological state, the number of notes about the coronavirus increased. The maximum quantity of news about the disease was noted in April and May when the country had the highest amount of cases and announced a lockdown. Meanwhile, the content analysis indicated that there was direct and indirect news coverage of the coronavirus. Their ratio is 97 to 3 % in favor of direct news. It means that despite the format of the radio station, the radio hosts only talked about political and social news with little or no entertain ment content. Thus, the epidemic dynamic changed the information agenda, and the worst it was, the more news about the coronavirus went on the air. The news about the infection became the longest discussed subject on the air of “Radio Dacha”. 

In the social transformations that shape the situation of “postmodernity”, media communication plays a leading role. At the first stages of its formation, theorists made a number of predictions about a new sociality: the implementation of the principles of equality and freedom; the ability to participate in significant decision-making; inclusion of all in social integrity and participation in events; consolidation of rationality, ethics, and freedom in reaching a universal consensus; convergence of values and worldviews.

Accordingly, the purpose of this study is to investigate how and in what forms these forecasts have been carried out; what are the trends of modern media communication.

Research methods: comparative analysis, system-structural and structural-functional analysis.

The main results of the study are as follows. The forecasts of the leading theorists about the prospects of media communication and the digital society have been reached, at best, only partially. In a real situation, which many authors call “postmodernity”, one can see the following contradictory tendencies: real boundaries, which were expected to become “transparent”, are now reproduced in virtual form; communication processes stimulated consolidation, but at the same time exacerbated ideological, national, socio-cultural divisions. Moreover, the government and business structures that are increasing their influence (“post-democracy”) are competing with new actors for leadership in media communication. The phenomenon of “post-truth” show itself through rejection of the objectivity principle, reliability, rationality. The immersion of communicants in a virtual environment has number of negative consequences for the personality, including “erosion” of basic moral and social norms (“posthumanism”). Furthermore, basic functions of journalism are replaced by dysfunctions (“post-journalism”). Thus, the Internet has served as a kind of catalyst that enhances both positive and negative social trends. 

The author analyses the features of media coverage of the new coronavirus infection (Covid-19) in Russia based on the material published from March 1, 2020, to May 15, 2020, in the Spanish high-quality press – daily social-political newspapers El País, El Mundo, and ABC. These papers are most read and influential in the modern media space not only in Spain but in the international market, and in particular in Latin America. The main goal of the study is to show how the image of Russia in the international media space affects the presentation of the pandemic in Russia in Spanish mass media. The author also studies the “quality press” concept and analyses this through the prism of Russian and foreign approaches. The analysis of the publications (152 articles), selected using the keywords “Russia”, “Moscow”, “Putin”, “Covid-19”, showed that some newspapers, being of high-quality and most read, do not reflect the pandemic situation in Russia widely (El País), or represent the sanitary situation in Russia partly and in the context of the domestic politics focused on the figure of the President (El Mundo). Another newspaper ABC corresponds to all the requirements for the status of quality press and covers the current situation of the pandemic in Russia objectively; 75 materials published during the analysed period draw the readers’ attention to the situation with the pandemic and not on the political situation in Russia.

Russian science knows the limited number of studies dedicated to the media of the Czech Republic. The article identifies the features of coverage of Russian-Czech relations by the Czech online media iDnes TV and Televize Seznam. This study aims to find out how the Russian-Czech relations are reported by iDnes TV and Televize Seznam. We apply such methods as comparative and quantitative analysis, data systematization, description, and content analysis. The paper examines some theoretical studies and 1,173 video news of iDnes TV and Televize Seznam. Based on the conducted research, we conclude that Czechs consider modern Russia as a threat to world security, and look at the era of communism in the Czech Republic negatively. At the same time, Russia remains an important part of the international agenda of the Czech media: the most popular themes in the coverage of the relations between Russia and the Czech Republic are politics and history. The findings illustrate that online media tend to use simpler forms and genres. To understand the trends of transformation of Russian-Czech relations in recent years, we need to continue our research. 

The situation of uncertainty, which became a consequence of the pandemic, forced the audience to actively interact with the media. This effect is especially noticeable in the field of video information. Because of this, the ability to check the quality of such information and to detect a video fake is especially in high demand. Meanwhile, the researchers' interest is focused primarily on the verbal component of media content. In our study, we are trying to fill this gap and concretize the models of generating video fakes, their types, and reasons for their appearance.

Based on the analysis of fake audiovisual content distributed in the media sphere in 2020 we identify two models of its appearance - synchronous and asynchronous. In the first case, fake is a result of distorting the video and audio of the work. In the second case, only one of the rows broadcasts a false idea. The latter case is dangerous in that the series of works that do not contain false information inspires confidence in the audience and makes it accept the media message as a whole.

Also, in the study, we single out the most common types of fakes based on such characteristics as the degree of information distortion, the degree of reliability of spatial and temporal characteristics, and the degree of reliability of the source. We determine the most frequent markers of fakes in video works, namely: distortion of the shooting angle, concealment of the staged nature of filming, the use of animation and animation technologies that imitate newsreel footage, placement of inaccurate infographics in video work, fake news announcement, and publication.

Among the most common reasons for the formation of video fakes, we note the desire to increase ratings, discriminate against specific individuals or organizations, draw attention to a real problem, and to entertain the audience.

In the analysis of fake as a global phenomenon using the example of deepfake technology, we show how it can be used in constructively and destructively and emphasize the importance of developing media education to neutralize the negative consequences of the spread of fakes.

Nowadays the study of media text pragmatics is one of the research priorities in media linguistics. The pragmatic potential of a media text is actualized through the symbiosis of its verbal, nonverbal, and multimedia components, which are equally capable of having a powerful impact on mass consciousness. The article focuses on the linguovisual pragmatics of the so-called “pulled-out” elements in English-language Internet media texts, which have not been studied so far. A pulled-out element is a graphically emphasized construction within a media text, containing a very short summary of the topic covered in the article, or quotations with different references describing the position of the journalist, participants of the event or experts towards the topic, or containing additional information. Following their functional orientation and type of graphical display, the pulled-out elements are divided into three main types: callouts, pull quotes, block quotes. At the graphic level, all three types are represented by a font and font size different from the article itself; they are often located to the left or in the center of the article and can be highlighted with a colored background. The linguistic representation of the pulled-out elements is determined by their functional nature: a simple but pragmatically effective syntactic and semantic structure of the included sentences is used, in most cases implementing the “clickbait” principle. The type, content, and quantity of the pulled-out elements used depend on the genre specifics and linguistic properties of the media text. The pulled-out elements of the media text perform a number of functions, the main of which are informative, attractive, affective, integrative, and ideological. It is stated that the pulled-out elements, being an integral attribute of the modern media text and one of the ways of its creolization, effectively incorporate verbal and nonverbal (graphic) components to have a multi-layered pragmatic impact on the recipient. A comprehensive study of the nature of this phenomenon, regarding its actualization at the structural and semantic levels, is necessary and relevant for media linguistics at the present stage of its development. 

Purpose. The article examines the methods of building dialogue in interviews conducted by the popular video blogger and journalist Yury Dud, who is named the main hero of Russian cultural life in 2020 by Forbes Life. To determine his individual style, the author analyzes strategies of communicative behavior. The following parameters are the most significant for the description of interviewing strategies: thematic repertoire and thematic dominants of the conversation; methods of requesting/extracting information; methods of interpreting and evaluating what the interlocutor said; the choice of language code. The empirical basis of the study contains interviews by Yu. Dud with various interlocutors – journalists, TV presenters, cultural and show business figures, politicians, and other public figures, uploaded on the YouTube video hosting service in the period of 2017–2020. The analysis of more than 40 programs allows observing a wide range of techniques of a journalist, depending on the “addressee factor”.

Results. The key topics that are regularly discussed in interviews are identified, including those that violate ethical taboos (about sex, bad behavior, and bad habits, judgments and hot takes on colleagues and senior officials, etc.). The thematic repertoire is considered as a deliberate communicative choice of a journalist, conditioned by the dramaturgy of public dialogue addressed to a mass audience and the tasks of portrayal.

The author reveals the distinctive methods of requesting information and eliciting facts, which is inherent to the journalistic style of Yu. Dud: illocutionary forcing reasoning (“why-questions”), clarifying questions, reformulating, role modeling of relations with a guest, where the journalist often pretends being dilettante. Interpretation and evaluation of the interlocutor's statements are based on the clearest identification of their position for the mass addressee by an explication of ideas expressed by the guest implicitly, “delegation of opinion”, and the effects of “insight”.

The choice of the language code indicates the “discursive adaptation” of the journalist to his interlocutor and allows the journalist to reveal to the mass audience their personality, including their speech characteristics. The dynamism of the dialogue is due to the setting to dramatize the conversation scenario: this is manifested not only in the choice of somewhat unexpected topics of conversation, but also in the expression of one's attitude to the statements of the interlocutor, explicit/implicit assessments, and the choice of the speech code.

Conclusion. It is concluded that Dud’s interviews are a vivid example of the trends of modern Internet journalism, and the communicative strategies he implements allow us to see the prospects for the development of the genre. Given the popularity of the genre in traditional and new media, the author notices that the interview not only reflects the features of social communications of the 21st century but is also a powerful factor of shaping modern mass culture.

The article justifies the advantages of using the additional criterion of “respectable precedence” for an objective assessment of the linguistic form used in the media discourse, according to the parameter “decent / indecent”. The authors, referring to the data of modern research, notice the lack of a common understanding and unambiguous definition of indecent vocabulary, highlight the objective and subjective factors that complicate the solution of this problem, emphasize those features of the media text that make the concept of “(not) decent” linguistic form very relative. The criterion proposed by the authors takes into account the practice of using a controversial linguistic unit in respectable public communication and relies on representative data of electronic text corpora, which makes it possible to verify the results of linguistic analysis. The article presents the outcomes of expert assessment of vocabulary with negative connotation using the above-mentioned criterion. 

The article presents the outcomes of narrative, discourse and frames analyses of messages of Internet media of Siberian cities about the results of the vote Internet media in the Regional legislatures of federal subjects. We identify three ways of presenting the material, constructing problems, and interpreting what is happening, which allows us to talk about “a split” and different, rather non-overlapping target audiences and communities. This allows us to put forward the hypothesis of “parallel existence”, the absence of common themes and language between “power” and “society”. 

The article studies the methods of deconstructing the image of the hero in journalistic texts of the 21st century from the metamodernism perspective. Based on the works of the main theorists of metamodernism R. Akker and T. Vermeulen, the author of the article focuses on the reception of post-irony, which due to the oscillation (fluctuation of sense) blurs the line between irony and seriousness. Being a universal culture phenomenon, post-irony as means of deconstruction has penetrated various types of art and has dominated certain sectors of the modern media space. Based on the exam ples of two genres of modern journalism – newspaper obituary and interview – the author identifies the main rhetorical devices of deconstruction, which mainly rely on post-irony.