Снова о «жанрах речи и языке речи»: что дала жанроведению лингвистика?

The article formulates the subject and tasks of the future speech-genre discipline – the integral description of speech genres – which, in the author’s opinion, claims to be central to the general theory of speech genres. The main sources of the theory of speech genres integrality include the high level of a speech genre as a speech and language unit, the complex, multidimensional and multicomponent nature of the theory of speech genres, the multidisciplinarity of the theory of speech genres (it draws on data from almost all the humanities and partly non-humanities). The integral description of speech genres will include the following parameters: the cultural and historical context of the speech genre; typological characteristics of speech genre (including their place in various typologies); speech-genre variantology and recurrence, including new technogenic and Internet derivatives from primary, traditional genres; representation in the corps. The integral description of speech genres and its parameters are discussed in connection with the division of linguistics (partly – other sciences, for example, literary criticism). It is shown that the majority of divisions of linguistics that are significant for the integral description of speech genres go back to Saussure’s idea of opposing internal and external linguistics, and the main tasks of the theory of speech genres correspond to those three “eternal” problems of linguistics formulated by V. M. Alpatov: “How is language structured?”, “How does language function?” and “How does language develop?” The author discusses directions of the most important genre studies, from which the integral description of speech genres should be “composed”, and the criteria used for their selection: 1) the model is already integral (multi-component and interdisciplinary); 2) universal (applicable to many languages and national cultures, in different historical periods); 3) based on this model, the largest number of studies was carried out. The first criterion is met by the model of T. V. Shmeleva, the second – by the universalist model of A. Wierzbicka, the third – by traditional speech-genre models: lexical, syntactic and pragmatic. In conclusion, the author discusses the unresolved problems of speech genres, which can be logically solved on the basis of the integral description of speech genres: typology (integral bases for the classification of speech genres claim to be more reliable), variantology, applied and experimental aspects (vocabulary representation of speech genres and corpus aspect, including the analysis of key phrases of speech genres).

The article reflects the scientific fate of the main genre model – the “questionnaire of the speech genre” of T. V. Shmeleva. The author discusses the reasons for the high demand for the “questionnaire” in genre studies: the parameters of the “questionnaire” affect the most important aspects, the “pain points” of the genre; the formal simplicity and consistency of the “questionnaire”. Along with the advantages and achievements (the article gives their brief description), the author points to a few critical issues concerning the “questionnaire”: the lack of items of the “questionnaire” (the juxtaposition of primary and secondary speech genres, direct and indirect speech genres, speech and rhetorical genres, cultural characteristics of speech genres, etc. are not presented in it) and its crucial points which are not commonly recognized, i.e. the ranking points of the “questionnaire”. In relation to modern genre studies, the article deals with the items that either should be or can be, or have already been added to the “questionnaire”, as well as the theoretical justification of their relations, which, according to the author of the article, will allow to clarify some other items of the “questionnaire”. The emphasis is on those points that are less spelled out in the “canonical” “questionnaire”, but that should be used for a more adequate study of genres (especially new ones), and are already actually used. The discussion focuses on the following points: typological, including the stadial-typological and historical-etymological, features of speech genres; determination of the place of the genre in the structural-hierarchical typology; cultural, linguistic and linguocultural characteristics of speech genres; characteristics of the communicative concept, through which the genre is presented and interpreted, and its components; the ability of the genre to form its variants; corpus and quantitative characteristics of speech genre; online genres.

This article focuses on modern linguistics and its new promising direction, the anthropocentric theory of speech genres (TSG). The author of the article examines the importance of the theory of speech genres in the context of virtual communication and its impact on social content. The necessity of a multidimensional approach to the study of speech genres in modern genology and the virtual nature of social networks, their unstructured nature, pluralism and fragmentation are emphasized. It is concluded that the modern speech genre and the virtual speech genre are an information and communication environment based on written communication and using a wide range of linguistic means. The importance of distinguishing between speech genres on the web cannot be overstated, as it helps ensure effective communication and understanding among Internet users. Speech genres are varieties of texts or speech that have their own characteristics, style, and purpose. They are used to convey information, express thoughts, entertain, or create an emotional atmosphere. In the online space, recognizing speech genres has several crucial aspects: communication efficiency, avoiding misinterpretation, enhancing credibility, facilitating effective information seeking. In conclusion, the identifying speech genres on the web is of utmost importance as it enables effective communication, helps users find relevant content, prevents misinterpretation, enhances credibility, and fosters trust. By understanding and utilizing the appropriate speech genres, both content creators and consumers can engage in meaningful and productive online interactions.

Modern linguistics is characterized by the establishment and formation of a new promising direction, based on anthropocentric theory of speech genres (TSG). The popularity of this direction lies in the interest of the scientists in the phenomenon of virtual communication, which has a certain structure and differs in mechanisms of influence on the social content. The multidimensionality and richness of genre forms determine the need for a diverse approach to the study of speech genres in modern genology. The aim of the article is to study and analyze the theory of speech genres in modern linguistics. The author presents the basic theoretical foundations of the study of the theory of speech genres. Taking into account the achievements of modern studies, the concept of speech genres is analyzed, features and functions of the visual elements of the speech genre are described. It is proved that the modern speech genre and its variety the virtual speech genre are an informational and communicative environment in which there is a certain styling, sphere of communication, speech behavior. The speech genre and the virtual speech genre belong to the written communication and rely on the fullest use of lexical, grammatical, graphic, and media means of speech, which foresees certain adjustments, as well as it differs by the form of dialogue and monologue.

The article discusses the legitimacy and appropriateness of using the concept of genre sphere in modern genre studies, by analogy with other “spheres” used in many modern humanities, for example, in conceptology. The author concludes that the genre sphere objectively exists, but the use of the genre sphere as a concept in genre studies also has objective pros and cons. The paper analyzes the possible composition of the genre sphere: the totality of all speech genres/speechgenre space of a separate national culture in a given period and in dynamics; a separate intra-cultural subculture; a separate age subculture. The genre sphere does not include speech acts, tonalities, styles, strategies and tactics, types, precedent texts, as well as actual linguistic units of different types and levels. The paper focuses on the tasks of the “genre sphere theory” and the tasks of genre studies, the solution of which is facilitated by the use of the concept of the genre sphere: the ordering of ideas about the structure of communicative concepts and in their composition – speech genre, national genre sphere and national culture, genrogenic situations, anthology (encyclopedia, dictionary) of speech genres, typology of speech genres. A separate micro-study deals with the categories, scenarios, etc. of the Russian genre sphere (the significance of the concept of communication, communicative personality, greater and lesser elaboration of individual genres, intra-genre tonalities and values, such as iskrennost’ (≈‘sincerity’), spravedlivost’ (≈‘fairness’), pryamota (≈‘directness’), vezhlivost’ (≈‘politeness’), kompliment (≈‘compliment’)). The arguments “against” the use of the concept of genre sphere in genre studies include the insufficient development of the methodology of genre studies, the absence of new special methods and techniques that would be used in studying the genre sphere, as well as the fact that at the current stage of development of genre studies, this concept is perceived as largely redundant in relation to such actively and successfully developed concepts as the speech-genre picture of the modern era, speech-genre space, and near-genre space of speech.

The article focuses on the principal issues of studying speech genres at the lessons of Ukrainian Language. It provides with the description of the stages of the use of communicative situations in the study of speech genres. The existing classification of speech genres is analyzed. The conditions for the formation of genre competence of high school students,stimulation of external and internal motivation are determined. The nature of the speech genre as a category of system organization of speech is revealed. The author considers thecommunicative competence as the ability of students to effectively apply the knowledge of language, formed skills and own experience in order to harmonize all kinds of communication, achieve a communicative goal, gain experience in speech activity, and realize the value of language as it is. The concept of "speech genre" is regarded as alinguistic category, characterized by specificity that allows bringing language learning closer to the immediate needs of speech practice. In Language pedagogy, the genre is understood as "a determined by the speech situation type of texts that exists within the functional style and has a relatively stable commonality of content-compositional, linguistic and, in some cases, technical and implementation features; a dynamic structural model for the creation of such texts in accordance with the special rules of their production. Improving the knowledge about the speech situation, content-compositional and linguistic features of genres are proved to contribute to the formation of genre competence in students. It is revealed that on the basis of the development of complex exercises and tasks, the selection of which should be carried out according to the criteria of topicality and content, psychological criterion, and the criterion of adaptability, the appropriate methodology will be implemented taking into account the abovementioned aspects of work. On the basis of the analysis of research literature, the author comes to the conclusion on the relevance of the introduction and study of speech genres at the lessons of Ukrainian Language.

The author of this article applies the theory of speech genres of M. M. Bakhtin, developed by A. D. Stepanov, to analyze the plays of A. N. Ostrovsky. In particular, she considers the tyrannical characters through the prism of primary speech genres. According to the author’s point of view, a completely definite and stable set of primary speech genres defines such characters. There prevail imperative speech genres, which are associated with influencing the will of another person, namely, an order, a demand or a threat. The article briefly describes each of these genres showing that they are used by the tyrannical characters to impose their own whims on the interlocutors. The author confirms this conclusion by the examples (the behavior of Bruskov, Akhov, Karkunov). What is more, the tyrannical characters resort to didactic speech genres, which mainly demonstrates their opinion of themselves as “knowledgeable” (this distinguishes, for example, Kabanikha). At the same time, the tyrannical characters often use the speech genre of complain, which shows the weakness of their nature and lack of strength when facing resistance (for example, Bolshov, Akhov). The author makes a conclusion that there are wide possibilities of applying the theory of speech genres in the study of Ostrovsky’s plays.

The article deals with genrogenic situations (GgS), i.e. situations marked by speech genres, indicative of the representation of a particular speech genre in a given national culture. The G gS as a cognitive image corresponding to a speech genre in the human mind includes, on the one hand, a set of components of a communication situation, necessary and sufficient for the generation of this genre, and, on the other hand, the memory of the GgS, real or reconstructed (by writers, psychologists), in which this genre was generated and developed. These factors determine the theory and practice of speech genres methodology based on GgS: it, unlike the theory of speech genres in general, has a more distinct applied focus: namely, it is focused on GgS and the compilation of an anthology/encyclopedia of GgS. This technique includes two aspects: firstly, a model according to which GgS are isolated from the speech continuum and systematized (GgS as a model of article structure); secondly, a model according to which speech genres are studied using the material of the GgS and taking into account their characteristics (model of filling the «body» of articles with the material). Much attention is paid to reflection (by communication specialists, word artists, journalists, bloggers) on G gS and genres themselves. The article also considers more general aspects of the GgS, their place in speech genres theory and linguistic pragmatics in general: GgS and the integral description of speech genres, GgS and genre role scenes, G gS and speech genre primary-secondary nature, GgS and the relationship between invariant and prototype approaches to the study of text and genre, GgS and speech genre variantology. As an illustration of the discussed approach the author offers GgS for speech genre boltovnya ‘≈chatter’.

The study is devoted to the analysis of the speech genre of the webinar related to the educational field – the field of teaching children and adults. The relevance of the study is due to the lack of genre studies of webinars as such, conducted for educational purposes. The webinar genre is currently a highly demanded speech genre, formed on the basis of the seminar genre, taking into account its use in the Internet space. The objectives of the study were to identify the basic and variable genre features of an educational webinar in terms of its communicative goal, addresser and addressee, the image of the past and the image of the future, dictum (event) content, linguistic embodiment. As a result, a basic model of the speech genre of the webinar was built and the variability of this model was noted. The basic model also includes speech strategies and tactics used in this speech genre; their potential variability is revealed. The scientific novelty of the study lies in a comprehensive analysis of the genre features of the webinar in accordance with the questionnaire of the speech genre, focused on the analysis of the speech genre in the pragmalinguistic aspect. This aspect involves the analysis of the speech genre body of content, their goals and objectives, the social roles of the communicants, their speech expectations and the way they are implemented in the process of communication. It is noted that almost every element of the webinar structure allows for significant variability, which indicates the constant development of this genre, the continuation of the process of its formation. The least variable elements of the webinar speech genre model are the image of the past and the image of the future.

The article is devoted to the place of research on speech genres in the paradigm of discourse analysis. Focus is brought to bear on the directions of discourse analysis which have much in common with the theory of speech genre problems, categorical apparatus or set of base units, as well as using speech genre methodology to solve their problems. It is shown that the main problem, combining discourse analysis and theory of speech genres, is structuring and parameterization of speech communication, and thus - search for basic models of structuring, which organize a production of speech and its interpretation. In this regard, discourse units as well as their location with respect to the genres in the general speech space are discussed. The communicative and cognitive aspects of these units are analyzed, the chain links are constructed, which correspond to the components of communicative concepts that have clear compositional, thematic and stylistic content: the standard structure of the communicative concept is a chain of “action/act ~ process / manner ~ role / type ~ genre ~ communicative tonality”, while in most chains the main components are speech genres. Much attention is paid to the discursive classification of speech genres: genres are discussed in different types of discourse.

Speech Genres in Cultural Practice

The article defines the methodological problems of constructing a model of the speech genre and suggests the way of solving them. The existing models of Text – Text components – Genre type are recognized as the main tool for the study and description of speech genres. It is argued that the speech genre description methodology in modern linguistics should be focused on the ideas of systematic construction. The principles of text analysis in the aspect of speech genre studies are determined and some errors of scientifically employed approaches are identified. The elimination of these errors will allow genre studies to shift to a new methodological principle of constructing a genre model that has a diagnostic potential. The current problematic issues of genre studies are formulated. As a productive technology for describing a speech genre, we propose a universal method of functional modelling, which will enable designing genres and their modules on the basis of regularity, obligation, and oppositional character. In order to solve the problem of genre description in the attributive aspect, that is, to determine its units, it is productive to analyze the genre applying the so-called communicative semiotic model, as well as the method of transformational-and-oppositional analysis. The proposed principle of genre description is postulated as a method of objective modelling. Thus, within the framework of this study, the analysis of the theoretical problems of modern genre studies is carried out, the objectives of speech genres investigation are formulated and the approaches to their achieving are presented in an overview.

The article addresses the issue of systematic study of speech genres in the Russian language. The work is dedicated to the phenomenon of such a widespread speech genre of the Soviet era as the slogan. The study investigates the origin of the Soviet slogan as a primary speech genre in Russian linguoculture. The format and genre-forming characteristics of the Soviet slogan are explored, and similarities and differences between the genre of the slogan and such speech phenomena as the motto, poster inscription, call to action, and tagline are outlined. The aim of the research is to establish correlations between the genre and format characteristics of the Soviet slogan. The article demonstrates that the genre of the Soviet slogan had a set of typical formats for its functioning. In the case of using the same formats by different speech genres, the differentiating feature is the function of the text. The scientific novelty lies in introducing such a discourse characteristic as format into the analysis of speech genres, which opens up additional opportunities for systematic study of speech genres, as well as for comparative study of similar speech phenomena (especially slogans and taglines). As a result, the author concludes that the specificity of the speech genre of the Soviet slogan is due, among other things, to discourse conditions such as format, as well as the communicative function of the text.

The article is devoted to the analysis of gratitude as a speech genre of ritual political communication. The purpose of the article – to analyze the genre features of gratitude as a kind of political text; which envisaged the formulation of such tasks: to define the concept of the speech genre and to outline the degree of his study in linguistics; to consider the specifics of ritual speech genres of political communication; to analyze the speech genre of gratitude in the Ukrainian ritual political discourse. Object of research – ritual displays of Ukrainian political discourse; subject - a speech genre of gratitude in the Ukrainian political discourse. The main issues of the theory of speech genres are considered, the views on the typology of Ukrainian ritual speech genres in political discourse are presented and the genre of gratitude is described. The genre and language specificity of gratitude in Ukrainian political discourse is compared with other ritual genres. The language genre is a communicative phenomenon, the type of organization of discourse, which involves a specific pragmatic method of the speaker, the selection of special expressions and lexical means, the expression of the individual picture of the world. For political communication, such speech genres are characteristic: greetings, festive treatment, gratitude, obituary and compassion, inaugural speech. Gratitude is the language genre of etiquette communication, it is not related to the political ritual directly, it specifies the contribution of the addressee to political life, has a specific addressee, and at the formal level is a dialogic written communication. For a particular implementation, political greetings are designed not only for the immediate addressee, but also for the target audience, the audience, therefore, perform the image function.

The linguo-axiological specificity of the English-language dramatic discourse is revealed through the prism of the speechgenre organization of the dialogue. The relevance of the work is due to the appeal to the problems of discursive-communicative linguoaxiology as a scientific direction, which is at the stage of formation of an independent research platform. The reasons for the linguo-axiological loading of the dramatic discourse are revealed, and the author's development of a linguo-axiological model of speech genres implemented within the limits of the British and American dramaturgical dialogue of the 20th and 21st centuries is proposed. The author dwells on five systemic parameters that form the linguo-axiological speech-genre model and substantiates the variants of their communicative manifestation. A sample of the matrix actualization of the proposed model is demonstrated on the example of a specific speech genre “small talk” when it is included in the format of a stylized dialogic interaction. The results of a comparative linguo-axiological analysis of textual realizations of the indicated speech genre are presented on the basis of four spatio-temporal fragments of the English dramatic discourse. The novelty of the study is seen in the fact that for the first time it applied the provisions of the theory of speech genres in the linguo-axiological interpretation of a stylized dialogue. It is concluded that the developed linguo-axiological model provides an opportunity to trace both the poly-aspect dynamics of the linguo-axiological indicators of the speech genre along the time axis, and its nationally marked specificity when updated within the dramaturgical dialogue.