Complex Genre Research Articles

Жанр «хонкаку мукасибанаси» в системе японской сказочной прозы

The purpose of the study is to determine the national specifics of the Japanese genre of honkaku-mukashibanashi based on a wide range of folklore material and the laws of typological unity of fairy-tale prose. The scientific novelty lies in a comprehensive approach to the study of this genre, which is studied for the first time in Russian science. The very concept of the honkaku-mukashibanashi genre is introduced into scientific circulation, using specific examples to show what its national specificity is and what plot elements are characteristic of it. The classifications of national fairy tales proposed by Japanese scientists are investigated. The works of the honkaku-mukashibanashi genre are considered as a complex synthesis of magical and legendary fairy tales, often with the addition of a demonological epic. The formation of such unity is considered as the influence of the mythological and poetic views of the Japanese, which was expressed in a special reverence for nature and its deification. As a result, it is shown that the honkaku-mukashibanashi genre of Japanese folk tales, which is a complex genre synthesis, occupies the main place in the system of Japanese fairy-tale prose, is based on ancient mythological and religious beliefs, preserving an archaic view of nature and the world.

The Discursive Boundary Work of Recontextualizing Science for Policy: Opening the Black Box of an Organization’s Genre System and Intermediary Genre Sets

Governments the world over require scientific knowledge to inform policy makers’ decision-making processes. The recontextualization of this information for nonscientific audiences has received much attention, though it has primarily focused on publicly available texts. Little is known about the discursive nature of how science is transformed and repurposed and the confidential writing performed by boundary organizations that are working between science and policy. This ethnographic study explores the collaborative discursive activity involved in efforts by a boundary organization—the Council of Canadian Academies—to recontextualize science for policy makers. The analysis opens the discursive black box of the genre system and intermediary genre sets involved in one project, which led to the publication and distribution of the boundary object of an advisory report, Older Canadians on the Move. I claim that the discursive boundary work involves a complex genre system containing several sequential genred activities through which science is transformed and a boundary object created.

STUDY OF COMPLEX STRUCTURAL GENRES IN THE WORK OF ALISHER NAVOI

The article focuses on complex structure of relatively rare poetic genres in Uzbek classical literature. The authors studied modern views in Uzbek literature, got acquainted with the works of such scientists as A. Hayitmetov, Yo.Iskhakov, R. Orzibekov, A. Qayumov, F. Nabiev, D. Yusupova, M. Asadov and gave their assessment in terms of genre requirements in order to come to this conclusion. According to the authors, complex structural genres are actively found in classical literature, in the work of Alisher Navoi. The article analyzes the tarkibbands of Navoi, identifies their poetic features, considers the creativity of the poet based on the requirements of the genre, gives scientific conclusions about the possibility of creating a system of complex genres. In contrast to the works created up to that time, the article applies the term of complex structural genres to the genres of Navoi’s works such as sokinoma, mughanniynoma, tarjiband, tarkibband, masnavi-noma, musammat, and analyzes them through a single scientific system. In this system, the tarkibband and sokinoma are shown as active genres, and their specific features are also demonstrated.

Rethinking interviews as representations of spoken language in learner corpora

Following the call to examine the role of learner corpora in SLA research (Bell and Payant 2021), this paper discusses spoken learner corpora ––specifically those collected through interviews–– and considers the aspects of spoken learner language that they represent. The interview is both an elicitation technique and a complex genre. The overlapping of the two conceptualisations under the same term may give rise to problems of definition about the nature of the language collected and, as a consequence, to difficulties in interpretation when assessing the characteristics of spoken learner data. In this paper, we use original research to exemplify some of the areas that need some rethinking in terms of future reconceptualisation about how spoken data are collected and analysed. This research shows the potential impact of the degree of interviewer/interviewee engagement with the task, suggesting that not enough attention has been paid to the genre of interview in learner corpus research.

Экфрасис мадонны в цикле «Итальянские стихи» А. Блока

The article analyzes the visual imagery in A. Blok’s “Italian Poems” through the lens of Renaissance humanism aesthetics. This perspective allows for an interpretation of the work as a transition from an expression of a crisis linked to the poet’s loss of the ideal of the Eternal Feminine to a new worldview. The cycle reflects a departure from Platonic ideals, incorporating motifs of the Renaissance idyll, such as the beauty of nature, corporeal objectivity, and Dionysianism. Under the influence of the fine arts of the Quattrocento, which profoundly impacted him during a journey to Italy in 1909, the poet endeavors to attain a harmonious dualism in his depiction of the feminine image, thereby surmounting his creative crisis. Poetic ekphrasis, inspired by works of Fra Beato Angelico, F. Lippi, and Di Paolo Manni, plays a crucial role in crafting a humanistic image of the Madonna, merging spiritual and carnal elements (“Venus Coelestis” and “Venus Vulgaris”). In the poet’s view, Mary, depicted as a solitary figure in frescoes, icons, and statues, embodies all that is natural and beautiful in a woman, evoking both awe and sensual attraction in the lyrical character. In the concluding transformative ekphrasis, which features complex genre scenes, the poet reproduces episodes from Mary’s hagiography, based on the concept of sacred marriage, creating an impression of cosmic and dual existence.

Evolution of the Hunting Story in Russian Literature at the Turn of 19th–20th Centuries

The article is devoted to the study of the genre development of hunting stories in Russian literature of the 19–20 centuries. The creative works by Mamin-Sibiryak, Korovin, Prishvin, F. and V. Arsenyev are used. It is concluded that the model presented in Turgenev’s Sportsman’s sketches turned out to be the most productive. The characteristic features of a hunting story are preserved: personal narrative, the plot of the hunt, landscape sketches, and the presence of a person from the people’s view of what is happening. By the beginning of the twentieth century, the pathos changes: social criticism recedes into the background, lyricism increases significantly, hunting sketches acquire a philosophical sound, intersecting with neomythologism characteristic of the era of modernism. The plot of the hunt loses its self sufficiency and is included as a component in more complex genre formations.

Implementation of the meaning-formimg and organizing functions of the texture in the piano works of modern Ukrainian composers

Statement of the problem. Recent research and publications. Today the texture of a music work is not only a marker of an epochal style, but also, more than ever, of an individual style. Studying the principles of textural organization, understanding the specifics of the action of textural functions gives the performer the keys to deciphering the artistic intent of the work, the system of the composer’s style and finding the corresponding performance techniques. And in the conditions of the complex genre system of modern music, the texture is able to carry out the function of an interpretative guide to the heart of the composer’s idea, the author’s concept. The scientific works by such musicologists as H. Vinohradov (1977), I. Denysenko (2010), H. Ihnatchenko (1984), R. Kashyrtsev (2021), V. Moskalenko, V. Prykhodko (1997), H. Savchenko (2023), I. Tsurkanenko (1998), M. Chernyavska (2015a; 2015b), S. Shyp (1998), S. Shkoliarenko (2017) are devoted to the study of musical texture. A panoramic understanding of the development vectors of the doctrine of texture in the works of Ukrainian scientists can be found in the article by O. Hnatyshyn (2015). Objectives, methods, and novelty of the research. The purpose of the article is to reveal the ways of realizing the meaning-forming function of the texture based on the analysis of piano works by modern Ukrainian composers: Serhii Piliutykov’s “Fairy Tale” and Zoltan Almashi’s “Elegy”. The stylistic, genre, systematic and functional methods of researching are used in the article. For the first time in Ukrainian musicology, the selected works are analyzed from the point of view of textural organization. Results and conclusion. The situation of the gap the connection between the genre and the texture actualizes the meaning-forming and organizing function of the texture. S. Piliutykov in “Fairy Tale” builds a meaningful multilayered structure horizontally and vertically, working with different stylistic thematic elements, thereby revealing the programmatic idea. As a result, a specific musical narrative is created, which is unfolded in the interaction of vertical and horizontal texture layers. In “Elegy” by Z. Almashi, the principles of textural organization chosen by the composer seem to push the boundaries of the genre, provide for a different timbre embodiment, and timbre-texture transformations become decisive in building the composition in time and space.

A critical Review Of Selected Female Sketches Writers Of Urdu Literature

In Urdu literature, sketching is a very popular and heartwarming genre like fiction. Sketch is also a separate genre like essay, fiction, drama, and story. Its religious symbols are also called (photo type, sketch). It is believed and recognized as gender, The art of sketching is both easy and difficult, language is also taken into account in sketching, is a very complex genre (which is consumed by sign language).When we mention sketching in Urdu literature, like other genres, there are very few creations of women in sketching. But the women who wrote sketches are of very high quality, but a question arises in the mind. Why hasn't physical examination been done in Khangari, and what is the reason for it, so many questions arise in the mind, is it the dominance of men over women in this society due to which women are being degraded, so maybe the rest of the castes Similarly, the tendency of women in sketching is less, famous sketchers of Urdu literature, who have written very good sketches, names of some of them are listed and comments are being made on the sketching of selected women. Saliha Abid Hussain, Hamida Akhtar Hussain Raipuri, Bano Qudsia and Razia Sajjad Zaheer are prominent among these women.

Литературоведческое и переводческое восприятие пьесы А. Н. Островского «Бесприданница» в Китае

The article is devoted to the reception of one of the most famous plays of A. N. Ostrovsky in China – “Without a Dowry”. The play belongs to the late period of the playwright's work and is characterised by a complex genre. In Russian literary studies it is considered as a socio-psychological drama with a bright lyrical beginning. The aim of the article is to give an idea of the translation, literary and literary perception of the play in China. The author of four versions of the play's translation into Chinese, Chen Bingyi, analyses the peculiarities of the play's translation. It reveals the main aspects of literary research on the play in China and examines the particular understanding of “Without a Dowry” by the playwright and translator Chen Baichen. By comparing the plots of A.N. Ostrovsky's drama and Chen Baichen’s drama “Love on a Steep Cliff”, the article highlights the influence of the character Katerina from the famous play “The Storm” on the interpretation of the female protagonist and the genre characteristics of “Without a Dowry”. The analysis demonstrates that Chinese translators, literary critics, and playwrights collectively perceive this psychological drama by Ostrovsky as a social drama within the historical and cultural context of 1940s China.

Genealogical Basis of Epos as the Historical and Cultural Heritage of the Folk

The Kazakh folk epic talks about the heroic deeds and life of nomadic tribes, being the historical and cultural heritage of the nation, which has been passed from mouth to mouth for centuries, thereby preserving national memory and contributing to the maintenance of patriotic feelings. The purpose of this article is not only to consider the Kazakh epic in the traditional vein of narrating about the historical past, but also to emphasize its ethnographic and genealogical value. By analyzing epic poetry, folk songs and folklore in general, as well as examining fragments of individual works, the authors recreate a holistic picture of the genealogical basis of the folk epic. The article compares the differences in the traditions of the Kazakh epic poetry of the 16th-18th and 19th centuries, which are observed, first of all, in the compositional structure, the subject of the story, the worldview in general. According to the results of the study, it was determined that the genealogical basis of the Kazakh folk epic lies in a certain archetype of a hero, the only son born to become a defender of the honor and dignity of the nation. At the same time, special attention is paid to describing its origin through a poetic description of its family tree. From this follows the complex genre of the epic chronicle, which has artistic and historical value and is an example of spiritual heritage. This study is of practical use for specialists in the field of history, literature, ethnography and genealogy.

Methods of Drawing Portrait Genre in Fine Arts

Art is one of the forms of social expression, and it was created as a result of visualizing the images created in human thinking, emotions and abstract thought by means of images. The images created as a result of the impact of the external world surrounding a person, the processes and events occurring in it on feelings and thinking are the basis of image creation. Portrait painting, which reflects a person’s inner world, feelings and emotions through facial expressions, lines, likeness and mimicry, eyes and gaze, which are considered as a mirror of mood, is considered a very complex genre of fine art and painting. The portrait genre, which is one of the main genres of painting and graphics, has taken a very wide place in fine arts. As in other genres, portrait works take their content from public life and reflect public existence through specific artistic images and influence public life. Therefore, the portrait artist is not satisfied with giving only external signs of a person in his works, such as external resemblance, pose, movement and facial expressions. At the same time, the tries to show the spiritual world, psychological characteristics and what kind of character the person he paints.

“Exile on narrow paths”

The Hungarian word bujdosás originally referred to both exile and travel in general; thus, peregrination was understood as “bujdosás or travel in foreign lands”. This was not without a reason, as public safety, harsh travel conditions and unfamiliar foreign customs made exile and travel similar to each other. The genre of the exile song, which deals with wandering and leaving one’s homeland, already in the Middle Ages was connected to the image of hopelessness caused by leaving and saying farewell, as well as with the encounter with the unfathomable nature of one’s fate. The real model for later Hungarian farewell and exile songs is two poems by Bálint Balassi (cca. 1589). Seventeenth–eighteenth century complaint songs were increasingly concerned with the private sphere, turning more and more towards the lyric self. This is the experience that connects political and religious refugees, people in exile for private reasons, travellers and peregrines. Therefore, the genres of the complaint song and the exile song are markedly present in early modern popular poetry. The genre of exile song occurs with an increasing frequency already in the first half of the seventeenth century. In the early eighteenth century, the emigration waves following the end of the Rákóczi Insurgence turned exile into an everyday experience for both the exiled and those staying behind. Biblical reminiscences and the exodus motif known from the Old Testament were increasingly frequent, at times even at the expense of description of personal life. The exile song is an important and complex genre in Hungarian migration literature. These songs discuss central questions of several centuries, from fleeing personal problems to religious and political persecution, from the peregrine student’s desire for freedom to the risks taken for one’s worldview. They present all this in an empathetic, personal and rewritable way, constantly modifying the model at the same time.

English Language Teachers’ Perception of Teaching Writing in Nepali High Schools

Writing is a part of learning a language in any academic institution. As teaching writing is a process of learning this article tries to dig out the reasons why teaching writing is becoming complex and rigid in Nepali high school classrooms. In this study, for the purpose of data collection, ten Nepali high school English teachers were interviewed and they shared their experiences of teaching writing skills in their classrooms. The study found some issues that make teaching writing more complex: central- design curriculum, a lack of resources and training, and a lack of English competency of the students in the classrooms. Moreover, students’ performance in grammar, word combination, and sentence composition is rather low that does not encourage students to write. Hence, teaching writing in Nepali high school classrooms is considered a complex genre.

Interpretitve principles of stage implementation of Frank Marten’s Oratorio “The Magic Potion” in the Theater St. Gallen

Relevance of the study. Among the stylistic diversity of composer and vocal practice of the 20th century, which has been thoroughly studied in domestic musicology, the practitioner finds several little-known personalities of the music culture of Western Europe. Amid such names lies the figure of the Swiss composer Frank Martin (1890–1974). He is the author of oratorios Golgotha, In terra pax, Requiem, orchestral and chamber works. His works came from a period of active innovation and experimentation in music. The composer's writing is marked by the synthesis of dodecaphony and the classical functional tonality' system.
 The analysis of the embodiment of contemporary oratorio-opera on the stage is always of particular interest for contemporary interpretation. This also applies to the staging of F. Martin's works, which are not widely known, and therefore have not been studied at all. Thus, the relevance of the topic lies in the conceptualization of F. Martin's insufficiently explored oratory work, which deserves to be introduced into the scientific circulation of domestic musicology and the study of staging.
 Main objective(s) of the study is to substantiate the concept F. Marten’s «The magic potion» in the aspects of genre-stylistic and performing tasks of its stage realization.
 The object of study is F. Martin's vocal and choral works; its subject is the stylistic principles of the oratorio-opera The Magic Potion in the aspect of performing tasks of its stage realization.
 The methodology. Research methods are determined by the material and subject of research: historical — reveals the features of the context of socio-cultural life of Switzerland in the war and postwar years; biographical — contains information about the life and work of the composer; function and structure method — helps to determine the intonation structure of the work through the functions of i m t; stylistic — reveals the specifics of the artist's thinking «as an artistic unity» (according to S. Skrebkov).
 Results and conclusions. Using the original source of the medieval epic — the legend of Tristan and Isolde, — the composer sharpened the conflict of literary model (Joseph Bédier, Roman de Tristan et Iseut), taking the narrative into a more realistic channel that is focused on the feelings of the heroes. Following the tradition of ancient tragedies, in which the choir played the role of the engine of the plot, the composer transferred the function of narrative to an ensemble of twelve voices, part of which are the main characters of the plot. F. Martin designed The Magic Potion as a secular oratorio, without the ability to perform music as a grand opera, but did not exclude the possibility of a stage embodiment where the main characters would be portrayed by soloists that don't belong to the choir. An in-depth analysis of one of the contemporary stage performances of the St. Gallen creative team has shown current trends in contemporary vocal performance.
 Opera as a form of art attracts both the public and engaged composers and performers around the world. The contemporary opera genre demands particular challenges for composers, performers and producers, as well as opera intendants. The study of the complex genre structure of the work not only in the aspect of musicological analysis by the score, but also in the aspects of its stage embodiment (that is, the performing version of the oratory score) constitutes a scientific relevance and significance of the researched topic.

Мультимодальный анализ в жанроведении: семиотика туристического буклета

The paper discusses the complex genre of tourist booklet as a fixed type of multimodal text that serves in a communicative situation of promoting a tourist product. This genre is a semiotically complex phenomenon, which conveys information through different semiotic systems. The methodological issues are posed as to a perspective model of genre analysis that would take into account the multimodal nature of genres. The author points to major hindrances that an analyst faces when doing multimodal analysis. The study focuses on discovering mechanisms of the interplay between verbal and visual components on semantic and formal levels, as well as showing how the elements of multimodal analysis can be targeted at various genre parameters. The booklets (85 items) for the study were collected in 2007–2019 in Australia, Great Britain, Germany, Poland, Russia and other countries. Methodologically, the paper draws on speech genre theory, semiotics, critical discourse analysis, and multimodal analysis. The claims are advanced that the tourist booklet has both obligatory and optional features, the visual component being obligatory. It is revealed that the colours of visuals can have factual and modal meanings embedded in them; photos convey precedent meanings; while using different semiotic codes, visual and verbal elements join the convergence relations and, thus, provide for genre coherence. The complex genre includes intertextual links between genres in its structure. These links may be of cross-code nature, since they are established between the elements of different semiotic systems, verbal and non-verbal. The conclusion is drawn that a consistent analytical model for multimodal genres has to be designed.

Folk Ballad: National Aspects of the Genre (Based on the Material of Russian Erzya, Moksha folklore)

The subject of the study is the genre originality of Erzya, Moksha and Russian folk ballads, the object of the study is typical and rare ballad plots and characters, which allows us to consider the phenomenon in all the variety of genre aspects. The article, based on scientific literature and folklore material, characterizes the poetic techniques and visual and expressive means used in Erzya, Moksha, and Russian ballads. A special contribution of the authors to the study of the topic was the comprehension of the ballad through the prism of the memory of the myth, which is persistently present in it. Erzya, Moksha and Russian ballads are united in genre with their thematic diversity. Their characters and events represent different aspects of life, illustrate various aesthetic and moral codes, obeying a common poetic system. The scientific novelty lies in the consideration of the elements of the myth in the ballad, the content of which is transformed in it, it does not explain the myth and cannot do this, because it has lost its understanding. But she operates with the data of the myth, retains the attributes of the myth in her poetics, which allows her to have a complex genre constitution that leads away from a simplified understanding of the plots and images of the actors. Erzya, Moksha and Russian ballads are the product of national mentality, artistic and aesthetic, social, moral views. In them, the life of the people is concretized by the destinies of individuals, the emphasis is on spiritual life, on ethical, social, moral ideas – both traditional and those that have arisen at a new stage of historical development. Their attention is drawn to the tragic aspects of human existence caused by his negative reaction to the world.

Recomposing Lovecraft: Genre Emulation as Autopoiesis in the First Edition of Call of Cthulhu

The article examines how genre is emulated in the first edition of Call of Cthulhu (1981 ), analyzing the game's potential to answer social needs during the Reagan era. Genre is understood in the response aesthetic sense, as collections of traits sedimented from authors' and designers' attempts to meet their audiences. Similar to how software can be engineered to replace older hardware, Call of Cthulhu replaces the genre functions underpinning Lovecraftian stories. Previous research discusses Call of Cthulhu as a horror RPG, mostly referencing later editions. This article's analysis, based on systems theory, deals with the first edition and a more complex genre composition. Emulation is described as autopoiesis-a generative mechanism of simultaneous autonomy and dependency vis-a-vis an environment. The role-playing system selects genre elements through structural couplings to its surroundings, and then recombines them in a new way, giving them new affordances.
 The result shows the ways in which the first edition of Call of Cthulhu fuses elements from the fantasy role-playing genre with elements from literary horror, detective story, pulp fiction and colonial mystery. The three most prominent characteristics of the game-the characters' mental health, the manner in which they confront Mythos representatives, and their expeditions to remote locations-are solutions to genre tensions, rather than properties of horror. Following the sociohistorical framing of the elements involved, the composite emulation allowed for the processing of perceived threats to the American way oflife during the early Reagan Era. The game offered a colonial fantasy, where real but more diffuse menaces, such as the nuclear arms race of the Cold War or the Iranian Revolution and ensuing energy crisis, could be fictionalized and reconsidered from the perspective of a predominantly white Christian struggle against evil in a 1920s world.

Concepts SPIRIT and SOUL in Linguo-Semiotics of Theatricl Art

The study is devoted to the problem of the correlation of linguistic and extralinguistic operations in the creative workshop of an outstanding linguistic persona, the successor of the realistic traditions of Russian and world theater, the great reformer of theatrical art, actor, director, teacher, theatrical thinker K.S. Stanislavsky. We chose the iconic sign-words of his “system” - spirit and soul - for analysis in all the versatility of their meaning considered in compliance with the semiotic and semantic theory of L.A. Novikov. The study searches for the code content of words in the system and provides the practice of their use by K.S. Stanislavsky, conditioned, firstly, by censorship (an extralinguistic factor), secondly, by the lexicographic practice, and thirdly, by the author’s attitude to the value of the word-sign in the process of its sigmatic actual use. The analysis of the semantic structure of the words spirit and soul (as well as some of their derivatives) in the semiotics of theatrical language is based on the description of these constants as words of the cultural code, as signs of the Russian mentality based on the theory of external, internal sign and the meaning which makes it possible to correlate the word and image. In the paper we pay much attention to the characterization of the lexemes spirit and soul as pragmemes from the point of the value core contained in them. The paper describes the occurring and development of evaluative connotations in the lexemes spirit and soul as part of the concepts developing; the study makes attempts to prove the preferred use in the complex genre of presentation of the “system” by K.S. Stanislavsky. The study is based on a large empirical material collected from the works of K.S. Stanislavsky - “My life in art”, “The work of an actor on himself” (with various additions and various developments of the subject), which illustrates the multidimensionality and multilayeredness of the concepts of spirit and soul , as well as illustrates the values of the phraseological environment, their symbolic nature in the system of theatrical language, and therefore, the language of theatrical art, their relationship and, on the contrary, “rejection” from each other.

Multi-staged approach for safe removal of tentorial meningioma – A case report

Falcotentorial meningiomas are rare and comprise only 0.3-1.1% of all meningiomas. The choice of surgical strategy for such lesions is not straightforward. 46 year old female came to our institute with complaints of gradually intensifying headache since 3 months which had aggravated over a period of 5 days. MRI Brain with contrast was done which showed a large, well circumscribed, lobulated, midline, extra-axial lesion attached to the posterior third of the falx and the anterior lip of the tentorium. The surgical plan was to excise the infra tentorial portion, for which a Steins (supra cerebellar infra tentorial) approach was deployed. Attempts to approach the supratentorial portion by incising the tentorium were unsuccessful as the required trajectory was far too acute. The supra tentorial portion would have to be approached by a more cranial trajectory, and hence it was decided to tackle that portion at a second stage. Some tumors may not be amenable to total excision in a single sitting. This case is being reported to underline the importance of a delayed 2 stage approach to excise this complex genre of Falcotentorial meningiomas which invade the supra and infra tentorial compartments.

심리소설로서의 『우리들』

This thesis is an attempt to interpret Evgeny Zamyatin’s We, which was evaluated only as utopian literature and dystopian literature, with a new reading method. In terms of genre, this work is a text of a very complex and interesting phenomenon. In We, genre experimentation is done to the extreme. Wearing a utopia envelope, if you look closely, the genre elements of love novels, adventure novels, and psychological novels are organically intertwined with each other, and they have a structure that ultimately leads to a philosophical novel. Therefore, the expansion and deepening of the genre structure interpretation provides decisive moments in the interpretation of We. The reason is that this text is not simply a combination of several genre elements, but has an organic complex genre structure that allows in-depth interpretation of this text only by applying the framework of various genre structures. The important point in this context is that the interrelationships between genres do not proceed in parallel within this text, but rather organically as one genre flows out of another. The most basic genre structure in We as such a complex genre is the metafiction genre. We is a novel about writing novels, and the characteristic of this genre determines the basic narrative structure of this work. However, in the process of creating an epic poem, an unexpected transformation of the protagonist, that is, from a mathematician to a poet, occurs. This transformation process causes the main character’s ontological confusion and is accompanied by psychological agitation and pain. And the psychological confusion of the protagonist is now the main driving force for the novel. The literary expression of the confusion appears in the theme of the alter ego. And in the theme, various light motifs to represent the confusion of the main character constitute the semantic structure. This thesis aims to identify the in-depth semantic structure of this work by classifying the complex psychological novel devices in We.