Distinct Genre Research Articles

Метод погружения в эпическую ситуацию как средство формирования и коррекции ценностной ориентации подростков

Russian heroic folk sagas (byliny) have been a central element of Folk Education as a distinct genre of folklore that actively shaped and refined the listener’s value system, influencing their perception of the world and their moral compass. The folk epic storytelling was a multifaceted cultural practice, incorporating pedagogical and psychotherapeutic functions.This practice promoted Christian teachings, instilled social norms, fostered a sense of national pride, emphasized the importance of family and tradition, and encouraged care for the less fortunate, including widows, orphans, and the impoverished. Based on an entertaining form of students’ acquaintance with important events of Russian history, heroes and traditions, an epic situation immersion method confronts the task of moral choice, which they solve together with the epic heroes. This method contributes to students’ cognitive abilities, imaginative development, moral character, and appreciation for their country and ancestors.

Travels with BERT: Surfacing the intertextuality in Hans Christian Andersen's travel writing and fairy tales through the network lens of large language model‐based topic modeling

AbstractHans Christian Andersen's fairy tales have garnered the greatest popular and scholarly attention despite the interdependence of works across the broad range of his artistic production. We read Andersen's fairy tales in concert with his travel writing to highlight the intertextual aspects that cross these seemingly distinct genres. We leverage recent advances in large language models (LLM) and network theory to generate representations that facilitate user exploration of these intertextual interdependencies across genres and across time. In the first part of our study, we use BERTopic and an LLM model fine‐tuned for nineteenth‐century Danish literary language to present independent and combined topic models of the two corpuses. This approach supports multi‐scalar analysis of intertextual elements within and across these corpuses, thereby implementing a method for macroscopic reading. In the second part of the study, we develop a series of networked representations of the dependencies between fairy tales, where these dependencies are generated on the basis of the shared intertextual topic space of the fairy tales and the travel writing.

χὠς ἴδον, ὣς ἐμάνην. Space, Desire and the Female Gaze in Hellenistic Poetry

Abstract This paper studies the female gaze at the intersection of space, genre and gender in three Hellenistic poets who have explored the female viewpoint in their works, namely Apollonius of Rhodes, Theocritus and Herodas. The female gaze covers all the stages of desire from erotic fantasy to sexual fulfillment, and is contingent on both aesthetic factors and the sociocultural background of gender roles. It reflects the power dynamics between male and female and also becomes a means of subverting male authority by the gazing female. In Hellenistic poetry, the various degrees of female liberation through the control of the gaze vary depending on the spaces occupied by women. I argue that women, initially confined in the oikos according to the conventions of epic poetry, are represented as being gradually liberated in natural and urban spaces, the emblematic spaces of the neoteric genres of the bucolic idyll and the mime; this shift in gender dynamics is conveyed through the illustration of the female gaze in distinct genres of poetry and their respective symbolic spaces, namely the house, the natural landscape, and the city.

Thinking-with-others: David Scott, the stance of criticism, and the interview

ABSTRACT This article reconstructs David Scott’s theory of the interview. It draws on Scott’s scholarly writing, as well as the prefaces and interviews he has conducted with Caribbean intellectuals in Small Axe, which he founded and edits. Scott argues for the interview as a way to avoid corrosive critique, instead emphasizing receptivity and listening to reconstruct and clarify cultural and intellectual history. Interviews offer an alternative form of criticism, and Scott’s advocacy of them adds a new dimension to the debate over the value of critique versus surface reading. Scott introduces the concept of “problem-spaces” to understand the situation each generation of intellectuals has faced – notably for him, in the anglophone Caribbean. Interviews provide a distinctive genre to understand those problem-spaces and the different cultural, historical, and political senses that each generation carries. Just as Scott presents the interview as a mode to “think-with-others”, this article tries to think with Scott.

DEVOTIONAL POETRY IN TECHNICAL MANUSCRIPT TERMINOLOGY: AN INTRODUCTION TO THE ROSE GARDEN OF PURITY (GOLZĀR-E ṢAFĀ)

Among the wide variety of Persian manuscript categories, there is a distinctive genre that includes recipes on materials and technics of manuscript production. And within this genre, we come across distinctly interesting works that adopt charming romantic poetry to record subjects that are rather dull, dry, and unattractive to the general audience! One of such historical sources is a sixteenth century manuscript entitled Rose Garden of Purity (Golzār-e Ṣafā) by ʿAlī Ṣayrafī, preserved in Paris Central Library. The subject of this research is the manuscript’s impressive Preface in which the poet expresses his sincere devotion to his Creator, and begs for forgiveness – all in melodious poetic language, using technical manuscript terms, colors and pigments as symbols and metaphors. The essay provides an opening remark entitled ‘Manuscripts on Manuscript Production’ followed by and introduction to the manuscript of ‘Golzār-e Ṣafā (Rose Garden of Purity). The little knowledge extracted about ʿAlī Ṣayrafī from the manuscript is shared under ‘The Author-cum-Poet.’ ‘Preface with 12 Couplets’ is the focal point of the essay; there the 12 couplets (24 hemistiches) are presented in the original language (Farsi/Persian) along with an English translation that is published here for the first time. A detailed analysis of technical terms used in the Preface, and an elaboration of their symbolic significance, is presented under ‘Expression of Devotion in Technical Manuscript Vocabulary.’

Searching for Chinese Song Dynasty fans related to cultural dimensions

This study examines the formation of fan culture in China during the Song Dynasty, focusing on the cultural expressions inherent in fan making. With the aim of exploring the fan culture of the Song Dynasty, qualitative research methods and descriptive analysis were employed. The cultural dimensions under investigation include connotations, beliefs, lifestyles, aesthetics, materials, and craftsmanship. To conduct this investigation, the researcher visited the Guangdong Provincial Museum and the Guangdong Provincial Arts and Crafts Mall, where a variety of fans were studied and analyzed for their design and usage patterns. The Song Dynasty in China integrated fan-making with the prevailing culture of the era. Through both practical function and distinctive design, the art adorning the fan faces showcased a wealth of calligraphy and painting from Song Dynasty culture. Over generations, this amalgamation evolved into a unique art form. During the Song Dynasty, fan culture thrived, with fan painting transcending mere decoration to become a distinct genre of painting and calligraphy. Artists of the period often utilized the fan's shape as a canvas, showcasing a diverse array of subjects and an exquisite artistic style. Both in design and production, fan makers of the Song Dynasty achieved remarkable levels of artistry. Fans were crafted from a variety of materials and in different shapes, including Paper Fans, KeSiTuan Fans, and Round Silk Fans, each exhibiting round, square, or hexagonal forms, respectively. The paintings and calligraphy adorning these fans were exceptionally refined, frequently executed by renowned artists such as Su Shi, Mi Fu, and Wen Tong, whose works adorned fan surfaces commonly. These artworks not only demonstrated the artists' skill but also reflected the aesthetic and cultural ethos of Song Dynasty society.

‘Remember Me Darling’: Memory, Masculinity and Morality in the Last Letters of RAF Bomber Command, 1939-1945

ABSTRACT Across military service, fighting personnel have continually made efforts to provide comfort to loved ones beyond the grave. The ‘last letter’, a practice in which servicemen would write a letter to be given to parents or loved ones in the event of their death, makes a rich site to explore intimate and profound expressions of selfhood, morality, and society. Across temporal, geographical, and cultural spaces, these letters capture a moment when someone is forced to confront their mortality. As a distinct genre of writing, last letters provide an insight into how airmen conceptualised and interacted with national discourses around their service, identity, experiences, and memorialisation, during the war itself. Unlike letters, diaries, and memoirs, the last letter in particular speaks to how airmen sought to be remembered whilst still serving. Through an intimate analysis of last letters, this article explores how aircrew faced their own mortality, negotiating their masculine, national, and spiritual identities and communicated this to their loved ones.

To what extent do L2 learners produce genre-appropriate language? A comparative analysis of lexical bundles in argumentative essays and speeches

L2 English learners are often reported to incorporate features of spoken language into their academic writing, blurring the lines between written and spoken genres. However, previous corpus-based studies have predominantly focused on L2 writing, leaving L2 speaking relatively unexplored. It is thus unclear whether learners lack genre awareness – as previously claimed – or if they indeed attempt to differentiate their language across genres, but lack ability to do so. This study explores lexical bundles in academic L2 English in parallel corpora of written and spoken data produced by the same learners, with the same prompts pertaining to argumentation. The findings show that learners employ phrasal/referential bundles, typical of academic prose, significantly more in their essays than in their speeches, where clausal and stance-expressing bundles are more prevalent. Notably, the students were found to employ identical bundles differently in argumentative essays and argumentative speeches produced in response to the same prompts. This finding implies that learners may have a better understanding of how to use formulaic language in both spoken and written genres than previously believed, suggesting that they are aware of genre distinctions, although other factors related to mode (e.g., the cognitive demands of speaking vs. writing) are likely to be involved as well. Furthermore, in comparison with previous findings on L1 bundles, these findings hint at the possibility of argumentative genre conventions unique to L2 learners, in which, broadly, L2 argumentative speech resembles an L1 conversational genre, while L2 argumentative essays seem to navigate a middle path between conversational and academic prose conventions.

Comparison Among AlexNet, GoogLeNet and ResNet-18 in Autiomatic Music Genre Classification

This paper compared the performance among three famous convolutional neural networks in classifying music genres. Being carried out on a prominent dataset named Free Music Archive, the experiments show that ResNet-18 performs much better than AlexNet and GoogLeNet in classifying the music genres in a relatively small dataset. Meanwhile, the classification accuracy of each model for each music genre was also recorded. It indicates that different models could be expert in identifying distinct genres. Several genres, including blues, hip-hop and international, were not closely related to the change of models. In general, ResNet-18 reached the highest average classification accuracy at approximate 80%, while AlexNet did best in finding hip-hop music and GoogLeNet had relatively less difference in recognition rates for every genre. Those findings can serve as a reference in future music genre classification tasks and personalized music recommendation based on big data.

Early Discourse About Video Game Music in Japan

Japanese video game music has received considerable attention in ludomusicological research, but the broader culture and public perception of game music in Japan has received relatively little scholarly scrutiny. The article addresses this gap by examining how video game music has been conceived as a distinct genre in early Japanese media discourse, namely writings in Japanese gaming magazines and mainstream media from the mid-1980s to the mid-1990s. Drawing upon a constructivist perspective on mediated discourses, the article considers discussions in media as active agents that contribute to the formation of perceptions of the surrounding world. Through this process, media discourse can potentially influence how audiences experience and evaluate video game music as well as how practitioners create music or identify themselves as composers. The data reveals three particularly prominent interconnected categories: (1) game music as children’s music; (2) the conception of game music as transitioning from “background music” to “real music”; and (3) using authorship as a legitimacy marker. Especially the Dragon Quest (1986–) series and its composer, Kōichi Sugiyama (1931–2021), played a prominent role in shaping these categories. While generally presenting game music in a positive light and contributing to a conceptualization of video game music as a distinct genre, all three categories effectively distance game music from its original context within the game. Instead, they incorporate aesthetic judgments, wherein the value of the music is assessed in relation to preexisting musical styles and genres outside the gaming context. Early Japanese discourse thus exhibits a limited comprehension of the audiences and functions of this genre. These observations nevertheless broaden an understanding of the history of game music as well as its public position in Japan and elsewhere.

Makna Simbol dan Bahasa Seni Beladiri Suliwa

Padepokan Suliwa Karawang was founded on 8 October 2017 by H. Karta Wiratma, Suliwa is a vital part of the local cultural heritage with a focus on martial arts. With the main aim of developing and preserving arts and culture, Suliwa is actively involved in activities such as discussions, participation in community events, and a YouTube channel. Through qualitative research using an ethnographic communication approach and the application of George Herbert Mead's Symbolic Interaction Theory and Dell Hymes' Speaking Theory to understand human communication in a social context, Suliwa succeeded in forming a unity with the participants who practice the basic principles in line with the Siliwangi Kingdom, namely "silih asah, silih asih , take care of each other." Suliwa's goal is to make Suliwa committed to developing the character of her students, creating individuals who are skilled in martial arts and have high integrity. The actions taken by Suliwa, namely by involving internal discussions, community participation, and the use of social media, not only promote but also preserve the martial art of pencak silat. The symbol and key lies in the Suliwa logo, closely related to Karawang culture, playing an important role in carrying out human obligations, especially for Muslims. The use of the pencak drum and machete as a characteristic of Suliwa's identity combines elements of music and martial arts techniques in her cultural heritage. H. Karta as the founder and professor of Suliwa always upholds communication norms and ethics, creating an environment that encourages humility and discipline according to religious teachings. Suliwa collaborates martial arts with Sundanese dance and Karawang culture accompanied by Sundanese music, Padepokan Suliwa has succeeded in creating a distinctive genre that reflects the diversity of local culture, enriches and maintains the martial arts and cultural heritage of Karawang Regency.

Metadiscursive Boosting in Russian Courtroom Discourse: Enhancing Persuasiveness in Defense Speeches

Recent studies are revealing new aspects of courtroom discourse, examining its generation and applying novel analytical methods. Yet, despite their significance and complexity, the use of metadiscursive tools remains scarce. These tools offer substantial promise for analyzing discursive practices, increasingly seen as not just informative but also interactive and impactful. The inherently interactive and persuasive nature of courtroom discourse underscores the need for metadiscourse as a potent analytical instrument. Such an instrument encompasses mechanisms for expressing attitudes toward the propositional content and for drawing the recipient into a dialogue with the speaker. This article addresses the metadiscursive dimension of defense speeches as a distinct genre within courtroom discourse. The study uses quantitative analysis on a corpus of Russian-language courtroom texts, innovatively applying metadiscursive analysis to identify linguistic elements that enhance the persuasiveness of defense speeches, with a focus on the technique of boosting. Throughout the study, five types of boosters were identified – markers of certainty, evidentiality, intensity, solidarity, and superiority – each serving one of five pragmatic functions: to show the speaker’s confidence in the truth of their assertions, to point to the credibility and reliability of the source, to amplify the emotional impact of the statement, to denote the upper bounds of a continuum, and to reference commonly known facts or shared experiences of events or situations. The study reveals that boosting at the lexical level is predominantly achieved through the use of evidential verbs and nouns, adverbs of measure, degree, and time, as well as superlative adjectives. Additionally, the frequent use of first-person plural pronouns was observed. The findings suggest that adept use of boosters in courtroom discourse is indicative of a lawyer’s pragmatic competence and is crucial for effective communication with the court and the jury.

À la recherche de la paix. Des Anciens à Matéi Visniec


 
 
 This article discusses the still inexhaustible topic of war, and its consequences, with a special focus on the woman’s status amidst violent conflict. The man who goes out to fight stereotype finds its opposite in the cliché of the woman waiting for her husband/father/son to return from war, as she suffers, is wounded even killed, before falling victim to the enemies’ rapes and unimaginable aggressions. There is a significant number of women who transgress sociocultural clichés and engage in war, whatever its forms, as rebels, accomplices, militants, or redeemers. The following analysis foregrounds Hecuba, the mother torn apart by the Trojan War, after having witnessed the deaths of all her children and the ruin of her city, and Lysistrata, the woman who can put an end to the endless internecine murders of the ancient Greeks, both by ruse and by directly and courageously confronting her incurably bellicose spouse. Starting from Euripides and Aristophanes, through the medium of two particularly distinct genres, tragedy and comedy, respectively, the search for peace continues 2500 years later, this time bearing the contemporary mark of playwright Matei Vişniec – at the same time satirical, subtle, and unremitting in his denouncing both the atrocities of the warriors’ atavistic violence and the disarray of the present under the influence of various types of aggression. 
 
 

Mizrahi Rap in Israel: Ethnicity and Intertextuality in the Cosmopolitan Post-Genre Era

Abstract This article uses ethnography and music analysis to compare the intertextuality of Mizrahi music and rap by two generations of hip hop artists in Israel. The perceived compatibility of the two genres is often motivated by apparent similarities between Mizrahiness and Blackness as two ethno-racial categories associated with disenfranchisement. We argue that varied musical approaches to combining Mizrahi music and rap reflect the ways that different generations have negotiated local and global cultural spaces. Early rappers in Israel, who regarded Mizrahi music and rap as two distinct genres, tended to compose a rather mechanistic juxtaposition between them that suggests a perceived ontological gap between the local and the global. Conversely, contemporary rappers have been socialized in and make use of a virtual and borderless musical environment, a realm that arguably breaks down the logic of coherent musical genres and the cultural and spatial compartments they once seemed to occupy. This is reflected in their typical compositional style, which merges the two genres into a seamless, indistinguishable form. The case of “Mizrahi rap” demonstrates how global trends are inscribed into local negotiations of ethnicity and how the perceived relatedness between ethnic and racial categories (i.e., Mizrahiness and Blackness) defines new conceptions of the global sphere itself.

The distinctive genre of 9/11 literature about children

The article explores the genre specifics of American 9/11 novels about children. The genre features of 9/11 literature include a modification of the classic educational novel. Such genre elements as the hero’s growing up process, their journey beyond ordinary life, and their return as changed individuals, still form the primary narrative focus of these works. However, the temporality and the impetus for action development are altered compared to the classic educational novel, which is typical for the subgenre of the initiation novel. The main catalyst of the plot becomes the traumatic experiences of the characters, representing either the trauma of loss or mental traumatization of a loved one. The interplay of road motive and motive of search symbolizes personal development and introduces elements of a detective quest, while romantic motives are linked to the outcome of the initiation trial and the formation of the character’s personality. To implement the tasks set, this study employs cultural-historical and comparative-typological methods with elements of structural analysis. The scientific novelty of this work consists in conducting a study of the genre features of literature about children and teenagers thematically based on the events of September 11, 2001, on a little-studied corpus of artistic material. For the first time in Russian science, the author of the article attempts to identify and summarize the characteristic genre features of this body of works. The main results of the study lie in revealing of hybridization of genres: the initiation novel is supplemented with elements of detective and romance novels. An important aspect here is the presence of motives of travel and heroism, coupled with the problem of the trauma of not-knowing, traumatic experiences of loss, and orphanhood. This article deepens scientific knowledge on the issue of the specificity of 9/11 literature, highlighting the process of transformation and enrichment of traditional genre elements in the context of historical events that have been reflected in the literary work of the representatives of contemporary culture.

Age- and Sex-Related Differences in Music Requests on a Radio Show for Children

In research on the development of musical preferences, children are often asked either to evaluate musical pieces that have been previously selected by adult experimenters, or to give self-reports on preferences for different musical styles. This study involved analyzing a sample of 1,412 freely and publicly expressed music requests from children aged between 4 and 11 years taken from a German radio program, with regard to age- and sex-specific differences. The music was categorized into genres, as listed on Spotify, and examined using methods of music information retrieval provided by the Spotify Developer application programming interface. Results showed that, at younger ages, the requests were generally more evenly distributed across different genres. Regarding single genres, we observed small positive relationships between age and the likelihood of requesting the genres pop or electro and small negative relationships between age and the likelihood of requesting A capella, German songwriter, indie, theme songs, or children's music. Furthermore, we found that boys requested significantly more rock or hip-hop, whereas girls had a higher tendency to ask for pop. Finally, age- (but no sex-) related differences regarding the Spotify features of valence and liveness of the requested music were found, which were related to the preference for children's music at younger ages. The results thus suggest that previous findings regarding differences between boys and girls and an increasing formation of distinct genre preferences during infancy also apply to single song requests made on a radio show.

The Phenomenon of “Crossover” and Cross-Cultural Dialogue in Bulgarian Music in 20th Century

The phenomenon of “crossover” gained particular importance in numerous domains of public life, particularly in the exciting realm of art, during the twentieth century. When used to represent an “intersection” or “crossing,” it symbolises the internal need for conversation and purposeful intention for infiltration and implantation. It emphatically refuses to be isolated within the boundaries of the regional canon but allows for freedom of choice in the global context, opposes imitation and tracing, and provides a unique image for every creator. The “crossover” discourse showcases the autonomy of individual authors and results in the creation of distinct works that are characterized by their individuality. Bulgaria's musical creativity in the latter half of the 20th century is a remarkably diverse and profound display, characterized by intricate symbolism. It encompasses both elements of national tradition and expressions of global modernity, evident in its stylistic features, genre distinctions, and ethnocultural attributes. The crossover actually forms the European way of thinking of the Bulgarian creator, embodied in a peculiar part of his genetic code. Crossover dialogue gives rise in his artistic consciousness to the ideas of a new type of work, whose two- or multi-domain character turns into a sign of the new cultural identity of their authors. The formation and development of these “crossover” conversations may be seen in so different works such as Milcho Leviev’s jazz cantata “Green House” and Vassil Kazandjiev's symphonic suite “Pictures from Bulgaria.” In this context, the Bulgarian folklore heritage remains lively and distinctively recognisable, but unrepeatable in the perspective of any individual author’s viewing.

Religion in the Home—The Sacred Songs of the Drawing Room

The Victorian bourgeois ballad is a distinctive genre that demonstrates the spirituality of religion transferred to the drawing room. This paper will examine in detail four examples of the genre—The Lost Chord, The Holy City, Arise O Sun and The Volunteer Organist to examine the spirituality of the genre in terms of the materials used, the musical construction, the value system underpinning it and the expressive character. It will interrogate their relationship to the spirituality of Victorian Anglicanism and the place of this spirituality in the lives of the people with whom they were popular and its role in their social life, drawing on the author’s own experience. It was also a genre in which women excelled and this and the notion of spirituality will be examined culturally, drawing on Foucault’s notion of subjugated knowing.

Spectre and Speculation: Haunting and Uncanniness in Soweto, Under the Apricot Tree by Niq Mhlongo

Niq Mhlongo's collection of short stories, Soweto, Under the Apricot Tree (2018), does not perhaps immediately present itself as speculative fiction. The collection, however, gives the supernatural world of African indigenous knowledge as much weight in shaping characters' lives and experiences as it does contemporary socio-political realities. It troubles established genre distinctions in that it can be seen as a work simultaneously belonging to magical realism, social realism, and horror. This article contends that it is precisely owing to the work's use of supernatural and uncanny aspects that this collection can be viewed as a form of social or sociological realism, which aims at depicting the peculiar contemporary and subjective (sur)realities of many young black South Africans. It is faithful to the contradictory worlds of tradition and globalisation that many South Africans straddle, as well as to the spectres of colonialism and Apartheid, that impinge on the present in both material and immaterial forms. In many ways the collection stages the difficulty of decolonisation and the subjective spectres and doppeigängers that such a process unleashes. This paper will make use of the work of Sigmund Freud, Avery F. Gordon, Eve Tuck and C. Ree to explore instances of haunting and the uncanny in Mhlongo's collection.

Towards efficient, ecological assessment of interaction: A scoping review of co-constructed communication.

The complexity of communication presents challenges for clinical assessment, outcome measurement and intervention for people with acquired brain injury. For the purposes of assessment or treatment, this complexity is usually managed by isolating specific linguistic functions or speech acts from the interactional context. Separating linguistic functions from their interactional context can lead to discourse being viewed as a static entity comprised of discrete features, rather than as a dynamic process of co-constructing meaning. The ecological validity of discourse assessments which rely on the deconstruction of linguistic functions is unclear. Previous studies have reported assessment tasks that preserve some of the dialogic features of communication, but as yet, these tasks have not been identified as a distinct genre of assessment. We suggest the term 'co-constructed communication' to describe tasks which are specifically designed to capture the dynamic, jointly produced nature of communication within a replicable assessment task. To identify and summarize how co-constructed communication has been assessed with individuals with non-progressive acquired communication disability regarding task design, measures and psychometric robustness. A scoping review methodology was used to identity relevant studies. Systematic database searches were conducted on studies published before July 2021. Studies in the yield were assessed against eligibility criteria, with 37 studies identified as eligible for inclusion. This is the first time that co-constructed communication has been defined as a genre of discourse assessment for stroke and traumatic brain injury populations. Co-constructed communication has been assessed for 144 individuals with aphasia and 111 with cognitive-communication disability. Five categories of co-constructed communication tasks were identified, ranging in complexity. Variability exists in how these assessment tasks are labelled and measured. Assessment measures require further psychometric profiling, specifically regarding test-retest reliability and validity. Co-constructed communication is a discourse genre which offers researchers and clinicians a replicable method to assess language and communication in an experimentally rigorous way, within an ecologically valid context, bridging the gap between experimental and ecological assessment approaches. What is already known on this subject Standardized assessments of language skills and monologue offer reliable, replicable ways to measure language. However, isolating language from an interactional context fundamentally changes the behaviour under study. This raises questions about the ecological validity of the measures we routinely use to determine diagnoses, guide treatment planning and measure the success of treatment. What this study adds to the existing knowledge This review highlights studies that conceptualize, and often quantify, interaction by combining experimental rigour and aspects of everyday dialogue. This is the first time this genre of discourse assessment has been identified. We propose the term 'co-constructed communication' to describe this genre and provide an operational definition for the term. What are the practical and clinical implications of this study? Co-constructed communication assessment tasks require refinement, particularly regarding aspects of psychometric robustness. In the future, these tasks offer pragmatic, meaningful ways to capture the effect and impact of aphasia and cognitive-communication disability within interaction.