Since Vatican II there have been issued many Church documents of different rank, which are explicitly devoted to dialogue with non-Christian religions or contain statements on the matter; there is also a very comprehensive bibliography on interreligious dialogue. The article presents three issues which occupy a signifcant place in these works. The frst is the theological bases for dialogue. They have been expressed in the trinitarian structure. At the heart of the dialogue is faith in God, the creator and father of all people, in the Son, through whom universal salvation took place and the Spirit, which everywhere personifes the salvation work of God in three persons. The second issue, which is the content of the article, expresses a unique position of Judaism in dialogue of Christianity with other religions. The importance of Israel for the emergence and existence of the Church, and at the same time for her salvation role for the entire Jewish people, is an important spur to the refection on the salvation relationship of christianity to other religions. The dialogue is diffcult to operate without a proper spiritual attitude. This issue is the subject of interest of the third point in the article. Spirituality shaped by attitudes of conversion and submission to the will of God, especially in the prayerful elation of the human heart, becomes a source of behaviours which are conducive to dialogue.

The article studies the problem of the Yekaterinoslav urban text formation in Russian literature. The image of the city in the poem by Alexander Pushkin Brothers‑Robbers is analysed; the real (historical) image of Yekaterinoslav is considered in correlation with the image depicted in the poem, determined are the functions of romanticist topoi in the creation of the Yekaterinoslav text, while revealed are the peculiar features of the formation of the urban myth within the Yekaterinoslav text itself. The process of shift from the image of a real Yekaterinoslav city to the image of the ideal (non‑material) one, from a “physical” image to the “metaphysical” is investigated. There is a process of poeticizing a small city in the work of art, representing the primary stage of forming a myth about the city. After analysing the correlation of the Yekaterinoslav myth with the aesthetic constants of romanticism (the motif of freedom and predatory liberty, images of the noble robber and rebellious character, the motif of rejection, correlation with the utopian tradition) we may conclude that within the poetics of the urban text Alexander Pushkin reinterprets and transforms the traditional categories of romanticist poetics. The author’s characterization of the robber character diminishes the romantic ideal, revealing the other, “trivial” nature and interpreting rebellion not as a rejection or desire for freedom, but as a crime. Such a twist in depicting the image of a rebellious character stipulates a different interpretation of the theme of freedom, transforming it into the theme of guilt and punishment. Thus, the motifs of rejection, rebellion and repentance, compositionally uniting the development and understanding of the theme of predatory liberty in the poem, are interpreted in the metaphysical image of the city. Such a function of the city image determines the peculiar narrative structure of the poem at the level of plot, composition and style.