Style Of Author Research Articles

Frequent-words analysis for forensic speaker comparison

While many authorship analysis techniques could be applied to any type of linguistic data, there is very limited research on their application on transcriptions of spontaneous speech to help identify the speaker. In authorship analyses, frequency analysis of function words has been quite a successful feature since, when writing a text, people tend to use different function words in different frequencies. Thus, this feature is sensitive to author style while it remains relatively insensitive to the topic of the text. In this paper, we make the cross-over to speech samples and test whether frequency analysis of the most common words in speech, which are mostly function words, has potential as a speaker discriminant. We propose a method within the likelihood ratio framework for court applicability. Our approach takes into account both the similarity and typicality of word frequencies by employing a method using percentile-rank for feature extraction. We apply our method on the forensically relevant dataset FRIDA, achieving good results even when a limited amount of data is available.

Federico Garcia Lorca’s «Canciones Españolas Antiguas»: dialogue of the poet with Flamenco tradition

The relevance of the study The author’s interaction in his creative work with folklore is one of the main ways of shaping national composers’ musical school. Spanish music culture is not an exception. There was discovering the uniqueness of flamenco culture through the searching of musical personal identity during the end of the XIX–first decades of the XX century. Original rhythms, modes and harmony specialty were inspiring for composers who searched the code of musical national composers’ school. Federico Garcia Lorca was one of them. His work «Canciones Españolas Antiguas» became not only restrained documentation of folkloric finds. His scientific interest was realized there with his own well-known authored style what provoked us to have some doubts about song’s origin. Was that songs stylization or authentic? How high was composer’s influence percent? The answer can be founded only through assesses the knowledge of flamenco tradition. We could find out real author’s creative participation thanks determining authentic flamenco components in the songs. These are the reasons and became the basis of the proposed article.
 The main objective of the study is to characterize the collection "Spanish ancient songs" by F. D. Lorca as creative project which arose at the intersection of the tradition of flamenco and author's style.
 The methodology of study includes historical method (in searching of context and historical background creation of collection «Spanish ancient songs»), biographical method (for clarify details of creation the collection, musical environment what was connected with Lorca’s views on the folk), comparative (for the comparing folkloric sources with author’s variants) structural-functional, system analysis, genre-style what allows to give characteristic of collection and to prove it’ artistic integrity as a song cycle.
 Results and conclusions. In the process of studying «Canciones Españolas Antiguas», it became clear that the balance of authenticity and authorial activity in this case can be ascertained only by relying on the knowledge of general folklore paradigms.We found out genres as sources for building the collection which were taken from flamenco culture. The «oriental» intonation nature of melodies saturated with melismas, mostly of a dance nature, is preserved. But the composer does not soften all these characteristic features, trying to bring them to the panEuropean musical standard, on the contrary, he strengthens them by using dissonant harmonies. He brings the rhythmic sophistication of authentic samples to the point of unpredictability thanks to the frequent use of hemiola, accents on weak parts, and syncopation. Impetuous performance and rubato, characteristic of the para cantar form of life (flamenco music focused on the singer), the composer conveys with the help of laconic remarks about tempo, dynamics, articulation, touches.

Artificial Intelligence, Complementary and Integrative Medicine: A Paradigm Shift in Health Care Delivery and Research?

Artificial Intelligence, Complementary and Integrative Medicine: A Paradigm Shift in Health Care Delivery and Research?

Style, Stylistics And Stylistic Criticism: Basic Discussions

In society, the word criticism has always been considered a negative attitude in literature, its meaning is different. Interpretation and explanation of any work of art is not criticism. Just as Urdu literature has developed a lot, criticism has also introduced new trends, one of the branches of linguistics is stylistics. The word style is not new in literature. Writing style for it. Words like language and statement are taken as synonyms. Stylistic criticism is objective and analytical. In which the phonetics of the author's style of writing. Semantic. Syntactic and lexical reviewIt is taken so that the value and dignity of this writing can be properly estimated.

КОЛІР ЯК ЗАСІБ УВИРАЗНЕННЯ КОНЦЕПТУ ПЕЙЗАЖ (на матеріалі малої прози І. Буніна)

У статті проаналізовано концептуальне увиразнення пейзажу в оповіданнях І. Буніна. Показано, що досліджуваний концепт розкривається у малій прозі письменника як цілісне системне утворення, репрезентоване кольоролексемами не лише з узуальною, а й з асоціативною семантикою. Розглянуто колоративи, які становлять периферійну зону концепту «пейзаж». Доведено, що саме вони збагачують, увиразнюють його в цілому, роблять його випуклим та рельєфним.

EPISTOLARY AND ITS ROLE IN SCIENTIFIC BIOGRAPHIES OF MONOLINGUAL AND BILINGUAL SCHOLARS

This article touches upon the issues of the current state of epistolary in Kazakhstan, the degree of its study based on the material of letters of Kazakh scientists, whose biographies reflect the peculiarities of the monolingual environment (in the family, school, etc.), and their scientific biography was formed in the conditions of Kazakh-Russian bilingualism. The paper touches on the controversial issues of the Russian and Kazakh languages as the languages of science in the period of socio-cultural and geopolitical transformations. The study of epistolary is most productive within the framework of changing scientific paradigms and the real language environment. Observing the setting of the communicative connection between the addressee and the addressee provides a full opportunity to study the author's style. The authors believe that the study of the epistolary heritage of Kazakh scholars is significant not only from the standpoint of biographical documentation, but also from the point of historiography of science – the epistolary allows you to look into the "laboratory of thought" of the scientist, reveals his ability to establish scientific contacts, as well as the degree of involvement of the person in general scientific processes.

MINDSET LANGUAGE IN LITERARY PROSE BY LINA KOSTENKO

Lina Kostenko, a representative of the Ukrainian creative intelligentsia from the 1960s cohort, recorded her vision of the historical time of Ukraine at the end of the 20th and beginning of the 21st centuries in the original prose work “Notes of a Ukrainian Self-made Man”. The work of a unique linguistic and stylistic genre, in which the themes of state formation, globalization and family, psychological problems alternate, is saturated with artistic, cultural, literary information, precedent names of world history. The volume of various information, conditionally structured according to time headings, is perceived as a certain model of a chaotic digitalized society, in which stylistic varieties of language become blurred, interchangeable. One of the key ideas of the work is language. The thoughts of the main character about the connection between language and the worldview of the people are unfolded in mini-texts of journalistic-evaluative, analytical-historical, humorous and everyday narrative. Language as an indispensable agent of social protests declares itself in its own way. The kaleidoscopic text of the notes combines different information about the concept of identity. The topic of the linguistic identity of Ukrainians is related to the conditions of survival of the Ukrainian language in various empires, numerous prohibitions, and assimilation processes that did not contribute to the full functioning of the Ukrainian language. Narration of the artistic narrative, reproduction of its emotional and expressive shades (humor, satire) is carried out using various language game techniques. Varieties of paronomasia are the most common in the author's style. Along with lexical innovations in an individual style, an important linguistic and aesthetic function is performed by syntactic-intonational units – isolated syntagms that emphasize the ironic-satirical perception of someone else’s opinion. A characteristic feature of Lina Kostenko’s individual style is the use of foreign vocabulary of terminological origin. Words from various scientific fields are organic in modern intellectual text. They not only testify to the level of the multi-style Ukrainian literary language, but also express and visualize the syntactically-intonationally and lexically-semantically linguistic portrait of the narrator, the main character of the novel. Various styles and genres of the modern Ukrainian literary language are integrated into the artistic text. It is this text-creative function of the language of the beginning of the 21st century in Lina Kostenko’s work that testifies to the active process of creating a new aesthetic and socio-cultural canon of the Ukrainian literary language.

Prevođenje postkolonijalne afričke književnosti na evropske jezike - nemački prevod Purpurnog hibiskusa Čimamande Adiči

Literary hybridity necessitated by cultural differences is a distinct feature of Postcolonial Europhone African Literatures. This is evident in Chimamanda Adichie's Purple Hibiscus (2000). This paper examines the hybridity in the source text (ST) and their translation from English into German. Instances of hybridity in the source text and their translation were identified. This highlights the translation strategies in the process of analyzing the translation choices and their implications, especially in transferring culture-specific elements in the source text into the target text (TT). Some challenges of intercultural translation are discussed in relation to the reflection of the author's style in literary translation. The paper reveals the consciousness of the translator to preserve the culture-specific elements that portray the author's culture and purpose through the adoption of ethnocentric strategies. Nida's equivalence theory was adopted to examine the translation of cultural phrases to determine how they were transferred to German language, and also discuss the implications of some choices made by the translator in propelling intercultural dialogue through translation. The study concludes that the translator's effort to strike a balance between the source and the target text was challenged as a result of inability to provide explanation for some unexplained culture-specific terms of vernacular origin in the source text.

СИМВОЛИЗМ И ЖИВОПИСЬ С. А. ЖУКА

This article is devoted to the work of the artist S.A. Zhuk, which is considered from the point of view of his artistic stylistic features and his worldview dominants. For this purpose, an art-historical analysis and comparative analysis of some of his pictorial works are carried out, considered from the standpoint of the artistic "language" of forms, as well as from the side of the "canonical" philosophical meanings established in the art of symbolism. During the analysis and upon its completion, conclusions are formulated that the stylistics of the artist's painting, to a greater extent, tends to symbolism rather than realism, as the author himself believes. In general, the article positions the thesis that S.A. Zhuk has his own author's style, that the bright, original work of a mature master is an interesting phenomenon, the significance of which, in the context of the artistic life of the country and in the process of training young artists, is undeniable.

Animalistic style in creative practices of contemporary artists and creative industries

The beginning of the 21st century is marked by the global demand for innovative (creative) industries, based on unique authorship, experience and personal talent. Cultural industries are systematically transformed into the main factor of the socio-economic transformation on the basis of updating the industrial culture of production, creation and cultivation of artistic geniuses. The new challenges of the global art development transform the infrastructure of intellectual and creative entrepreneurship, production and export of artistic works. This article explores the author's style formation on the basis of the creative interpretation of Old Turkic (Scythian, Central Asian) menagerie, widely represented in the artistic heritage of the region. The incorporation of the animalistic style of ancient civilizations in the creative practices of contemporary artists is accompanied by a deep philosophical, artistic, technical and technological reworking of the traditional code of the artistic culture. The article conceptualizes three types of the artistic continuity: the craftsmen type that reproduces the Mongolian craftsmen canon; the cultural institutions that convert the craft heritage into the contemporary creative industries and the rare type of craftsmen-artists who synthesize both approaches, rethinking the canon, traditional techniques and technology of working with traditional materials. All three types are represented by different systems of styling, the core of which is the animalistic style. Contemporary artisans Zhigzhit Bayaskhalanov and Dashi Namdakov create unique artistic images and metaphors, use innovative ways of shaping, and apply illogical, provocative and asymmetrical compositional solutions, transforming regional artistic traditions into leading global trends. The success of this experience is caused by socio-cultural, institutional factors (education, ethnicity, social origin from the rural handicrafts circle), ethno-cultural backgrounds (craft heritage, the presence of the family art collaboration). The empirical basis of the research consisted of 6 in-depth interviews and dozens of case studies from the participant observation.

ԱՐԱ ԱԼՈՅԱՆԻ ՊՈԵԶԻԱՅԻ ՊԱՏԿԵՐԱՎՈՐՄԱՆ ՀԱՄԱԿԱՐԳԸ / IMAGERY SYSTEM IN ARA ALOYAN'S POETRY

The paper aims to study the imagery system of the poetry of modern poet, journalist, publicist Ara Aloyan. Since the language of fiction is considered as an important link in the chain of the development of the national language, the study of the individual style of modern authors continues to be one of the main issues in linguistics and stylistics. In the article, we dwell upon one of the positive characteristics of A. Aloyan's poetic speech: figurativeness, as a tool for the writer's personality expression.

Valour or Recklessness? The Emperor in Single Combats and Tournaments through the Eyes of Late Byzantine Writers

This paper addresses the descriptions of single combats and tournaments with participation from the emperor as described by the Late Byzantine writers (George Akropolites, John Kantakouzenos, George Pachymeres, Nikephoros Gregoras). The research is aimed to define the features of the use of stories about the participation of Byzantine emperors in single combats on the battlefield, trial combats, jousts (gaming combats), and collective faceoffs (tournaments) in the historical writings of Late Byzantine authors and to observe the authors’ value judgments about these cases. It has been taken into account that the Byzantine historians often applied traditional rhetorical models, imitated the language and style of ancient Greek and Roman authors, and used the allusions to the texts of the Holy Scripturee, and the works of other historians in their written works. It has been established that the descriptions of the eagerness of Michael Palaiologos to clear his name by judicial duel in connection with accusation of treason (1253) allowed Pachymeres to present Michael in a favorable light and deflect an accusation of treason from him. It has been shown that the writers used the stories regarding the participation of emperors in single combat on the battlefield (or their eagerness to participate) and in sports games (“jousts” and “tournaments”) to present the rulers in positive or negative way. Late Byzantine writers paid special attention to the characterization of manifestations of courage and other military virtues of Byzantine emperors, and to the correspondence or inconsistency of their actions with the imperial dignity. The influence of the imperial propaganda on the works of the authors, as well as the reflection in them of some features of the self-consciousness of the Byzantine aristocracy of that time, has been established.

Create in Me a Pure Heart, O God, And Renew a Steadfast Spirit within Me: On Some New Details of Creative Biographies of Sisters Olena and Olha Kulchytska (From Archival Materials)

The article’s purpose is to publish interesting and significant archival materials, introduced into scientific circulation for the first time, namely: Biographical Data, Recorded from O. L. Kulchytska in September 1–3 1947 in the Sanatorium “Syniak” in Transcarpathia; Olena Kulchytska’s Autobiography of the 1940s old and an excerpt from a S. Butnyk-Siverskyi’s archival encyclopedic entry about his participation in Olena Kulchytska’s exhibitions up to and including 1947, accompanied by an introductory article and commentary. These archival documents will be interesting and useful in further research of creative biographies of the mistresses. The materials are stored at the Department of Visual and Applied Arts of the M. Rylskyi Institute of Art Studies, Folkloristics and Ethnology (National Academy of Sciences of Ukraine) and are published with keeping to authorial style, spelling, and punctuation with minor correcting. The creation of the sisters Olena Lvivna Kulchytska (1877–1967) and Olha-Melaniia Lvivna (1873–1940) Kulchytska occupies a prominent, significant place in the history of domestic art and organically fits into the context of European art. Natural talent, intelligence, brilliant knowledge of their craft, artistic taste, ability to emanate their own refined and unique world, their attitudes to art, dignity of soul and intentions – these are the features that were inherent in both sisters. The range of Olena Kulchytska’s creative heritage is wide and well-known among specialists, educated public, and admirers of fine arts. The artist successfully worked in various kinds of art: graphic art, painting, and applied arts. A gifted draftsman, watercolourist, aquafortist, and illustrator, in particular of children’s books, it is she who is associated with the revival of woodcutting and linocutting techniques in domestic art. Olena Kulchytska worked in the portraiture, genre painting, landscape painting, as well as in the genre of religious painting (she created a unique iconostasis); she was engaged in art weaving, modelling and designing of clothes, furniture, and architectural décor. In addition, she made sketches for ceramics and carpets. Known for her wonderful enamels, the mistress also worked in the fields of metal, small-scale sculpture, and jewellery. Olena Kulchytska devoted a lot of time to teaching and ethnography. Her intense exhibition activity is also impressive. Olha Kulchytska is a renowned mistress of decorative and applied arts, a carpet weaver; she was also engaged in pedagogical practice. Together with her sister, she created distinguished works of carpet art. Certainly, the archival materials now published should greatly complement creative biographies of the mistresses, mostly Olena Kulchytska, with new details.

Творчество Кирилла Волкова в аспекте взаимодействия понятий «фольклор и стиль»

The paper provides an insight into the elements of style of the outstanding Russian composer Kirill Volkov. They are defined within the sonata genre for a chromatic free-bass bayan and studied in terms of the synthesis of arts and in view of the implementation of Russian folklore in the work of the composer, which allows to appreciate this part of his artistic legacy as a single text communicating the idea of Russia spiritual resurgence. Studied as a single text, declarative of the unique interpretation of the genre for a chromatic free-bass bayan, Volkov pieces revealed bayan new technical and expressive capabilities, which incorporated a wide range of genre spheres. Znamenny chant and spiritual poem, folk song and dance, bylina epos and keening, chastushka and recitation, spell-prayers and patter songs are demonstrated as integral components of the author style, giving the works the unique shape filled with associations and allegories.

Gioacchino Rossini's Opera "Silk Ladder": from the Author to the Director

Art is considered as one of the forms of social thinking, which depends on social, political and cultural processes of human existence. The author analyzed the dialogue of modern artistic traditions of the world, to which the Ukrainian theatrical space was also invited. It has been proven that at the turn of the 21st century, such a dialogue turns into a "polylogue". The "polylogue" is characterized from the standpoint of the "immersion" of art in general and music, in particular, into the global digitalization of the world with an increase in information flows and the emergence of "clip thinking" in the modern viewer. The following criteria for evaluating the results of artistic creativity are proposed, such as: advertising and performance component; space-time component; material component in the equivalent of decoration, art technologies, the price of a seat — content for viewing. It was determined by the search for the work for its own directorial embodiment, which became decisive in the appeal to the musical work of Gioacchino Rossini. His one-act farce "Silken Ladder" was selected. The work of the composer is studied. The prerequisites for the creation of the opera, some features of the author's style of the artist during the period of its writing are revealed, which determined the universality of this example for interpretations in today's conditions. The kinship of the figurative sphere of the one-act comic opera with the main characters of the Italian street comedy dell'arte has been rethought. The integrity of the ideological and artistic content of the opera is highlighted and its musical and structural component, which corresponds to the features of Rossini's comedy-opera genre, is emphasized. An analysis of the most interesting directorial incarnations of Gioacchino Rossini's opera "Silkin Ladder" was carried out. Typologies of her directorial interpretations are classified. The original concept of staging Gioacchino Rossini's opera "The Silkin Ladder" is proposed, which is reflected in the synthesis of updated scenography principles and the figurative component of commedia dell'arte.

Epistemic stance in written L2 English: The role of task type, L2 proficiency, and authorial style

The present study examines the relationship between the use of epistemic stance expressions (i.e., hedges and boosters) and task type, L2 proficiency, and individual authorial style in 1,773 essays representing three different kinds of tasks (complaint, letter, and opinion) written by 591 Finnish L2 English speakers on four different levels of proficiency (CEFR levels B1-C2). The results of the study show that the frequency of both hedges and boosters is mainly governed by task type, as the opinion tex contained a higher number of both hedges and boosters than the other tasks examined. Proficiency-related patterns were, nevertheless, also observed, as it was shown that in the complaint and opinion tasks, the frequency of both hedges and boosters tends to increase with proficiency, while in the letter task, the frequency of both ED types shows signs of decrease. Individual authorial style was shown to play a very limited role in the frequency of EDs in the data, but the results also suggest that the influence of authorial style may be greater with respect to boosters than it is with hedges.

ARTISTIC STRUCTURE OF THE TEXT

The article analyzes the semantics and structure of a literary text. When writing a work, the author enters into a dialogue with the reader. This is such a complex process of communication, where different outlooks meet. The author builds a second language on top of the existing native language. A literary text is a form and expression of the author's thoughts in words. At the same time, the author's national, linguistic and religious thinking is of paramount importance. Man is considered a biological and social being, which is reflected in the text. When analyzing a work, the author's style, worldview, perception of the world is reflected in the text to one degree or another. When analyzing a work, three discourses are distinguished: the author, the text and the reader. The text of a work of art is a multi-layered and multi-valued device. Text is a means of communication and contains such meanings as message, information, confirmation, negation, relation. The analysis of a work according to a literary text does not allow criticism to be distracted. Reader who receives incoming thoughts. The analysis of any work leads us to understanding the author's intention and understanding the meanings.

Swahili Poetic Tradition: Main Stages of Development (on Example of Tendi and Mashairi Genres)

The stages of development of the main traditional Swahili poetic genres of tendi and mashairi, starting from the period of their formation and ending with the current state are discussed in the article. On the example of the most significant works of classics and modernity, the formal and stylistic features of the studied genres are analyzed, the question is raised about their continuity and innovative techniques in the context of non-literary factors. The conclusion is made about the development of genres within the framework of a change in the types of artistic consciousness, which manifests itself as the East African society establishes and develops — from awareness of one’s own national identity to an ever-greater inclusion in the global literary process. The last stage of the destruction of tradition, the rejection of the traditional form for today, was expressed in the phenomenon of the transformation of the form of the Old Swahili verse, which is demonstrated in the article on the example of the most prominent representatives of the so-called modernist poetry in Swahili. It is concluded in the article on the role of the author, whose figure manifests itself in different ways at each of the stages of development of Swahili poetry: from controversial authorship at the stage of formation of literature to pronounced features that characterize the specific unique authorial style at the later stages of the development of the studied poetry.

Information-Theoretic Method for Assessing the Quality of Translations.

In recent years, the task of translating from one language to another has attracted wide attention from researchers due to numerous practical uses, ranging from the translation of various texts and speeches, including the so-called "machine" translation, to the dubbing of films and numerous other video materials. To study this problem, we propose to use the information-theoretic method for assessing the quality of translations. We based our approach on the classification of sources of text variability proposed by A.N. Kolmogorov: information content, form, and unconscious author's style. It is clear that the unconscious "author's" style is influenced by the translator. So researchers need special methods to determine how accurately the author's style is conveyed, because it, in a sense, determines the quality of the translation. In this paper, we propose a method that allows us to estimate the quality of translation from different translators. The method is used to study translations of classical English-language works into Russian and, conversely, Russian classics into English. We successfully used this method to determine the attribution of literary texts.

О связности, ее свернутости и развернутости

This paper is a full version of the author’s talk at “Procedural Logic and Philosophy of Consciousness”, a discussion dedicated to A.V. Smirnov’s book “The Logic of Mean­ing as a Philosophy of Consciousness: An Invitation to Reflection” (2021). The proposed content can be viewed as a co-reflection on the key concepts of the logical-semantic con­cept of consciousness: coherence, integrity, constriction, extension as the foundations and methods of conceptualization in their existential perspective. It is stressed that the logi­cal-semantic approach of A.V. Smirnov reveals new facets in the understanding of philo­sophical rationality, personal and cultural subjectivity, experience, consciousness and their formation. To demonstrate the general philosophical, methodological status of the system of concepts introduced by the author, analogies are drawn with the understanding of exis­tential experience as a constriction of meaning-forming experiences that are unfolded by the subject in communication, creativity, self-understanding. The concepts that have re­ceived a conceptual justification in the works of A.V. Smirnov bring the origins of experi­ence to another level of comprehension, in accordance with which the spectrum of under­standing of human reflexive capabilities also changes. If we “start with integrity”, as the author advises us, then the idea of recursiveness of experience as a pulsating process of comprehension and self-reflection in the process of human interaction with the world or his “flickering” being-in-the-world is strengthened and acquires new angles. Of partic­ular importance here is the very style of author’s reflection, which is associated with the revision of established philosophical categories and their interpretations, the departure from the usual interpretations to discover one’s own philosophical language: one’s own – both in terms of the individual author’s approach and in aspects of the formation of the modern domestic philosophical tradition.