Stylistic Elements Research Articles

Compassionate, collective or transformational nursing leadership to ensure fundamentals of care are achieved: A new challenge or non-sequitur?

This discursive paper draws on three key leadership theories with the aim of outlining how styles of leadership impact the provision of fundamentals of care. Discussion paper. key leadership theories, leadership and fundamentals of care literature. The conceptualization of fundamentals of care is viewed through the lens of nursing leadership, and collective, compassionate and transformational leadership theory. The cognitive dissonance that nursing leaders encounter when trying to reconcile organizational, patient and nurses' needs is considered, and the pressure to deliver high-quality fundamentals of care presents a challenge to nurse leaders. Leaders must align nursing and patient outcome data to drive forward and prioritize fundamental care. Focusing on key elements of relational leadership styles will ensure a workforce fit to provide fundamental care, which in the current climate must be an organizational and global nursing priority. This discussion attempts to draw together overlapping leadership theories, emphasizes the importance of relational leadership in ensuring the provision of the fundamentals of care and acknowledged the impact of the COVID-19 pandemic on nurses and nursing care, with leadership implications outlined, such as a need for role-modelling, understanding shared values and giving nurses a voice. It will have an impact on nurse leaders, but also on those nurses providing direct care by issuing a challenge for them to confront their own nurse leaders, and to ask that they better resolve competing needs of both the nursing workforce and patients.

STYLE OF LANGUAGE IN A SATURDAY NOVEL WITH DAD BY ADHITYA MULYA

The research aims to obtain data describing the style of language used by Adhitya Mulya in the novel Sabtu Bersama Bapak. The research method used is descriptive method to analyze the words contained in the novel. Besides this, a statistical approach is used in compiling work steps. Sabtu Bersama Bapak, consists of elements of affirmative language style, comparative language, contradictory language style, satire language style, repetitive language style. The dominant language style in the Sabtu Bersama Bapak is a comparison language. The most commonly encountered maje is hyperbole. The style of language that is least used is satire language.

Tres rasgos estilísticos de la Hernandia (1755): hacia una identidad americana

The objective of this article is to analyze the Gongorism, the polyglotism and the imitatio auctoris of New Spain poets in Hernandia, an 18th century epic poem for which authorship is attributable to the Novohispanic Francisco Ruiz de León as well as to the Spaniard Juan de Buedo y Girón. The study of these three stylistic elements, barely reviewed or unnoticed in previous works, suggests a direct connection to an American context, especially regarding the knowledge of Nahuatl and 17th century Novohispanic poetry, which supports Novohispanic authorship rather than a Spanish one.

Nikitin's apartment buildings in Chita

The article reflects the results of the research conducted within the framework of the scientific project "Architects and engineers of the eastern suburbs of Russia (the second half of the XIX – beginning of the XX century)". The publication examines the creative activity of the famous Trans-Baikal architect, a graduate of the St. Petersburg Imperial Academy of Arts Gavriil Vlasevich Nikitin, who worked in Chita at the beginning of the XX century. Brief biographical information is provided concerning the educational training of the architect, as well as his professional activities on the "outskirts" of the Russian Empire. On the basis of archival data and materials of field surveys, seven preserved buildings of apartment buildings built in the capital of Transbaikalia according to his projects have been identified. A brief digression into the history of the construction of these facilities is given, their spatial planning and stylistic features are considered. Apartment houses authored by G. V. Nikitin are of unconditional interest for historical and architectural science not only as examples of regional architecture of the pre-revolutionary period, but also as an example of the work of this master on a private order. Carrying out projects for representatives of the Chita merchant class, the architect managed to create a number of expressive structures that met the socio-economic and aesthetic needs of his time, as well as set the tone for the subsequent development of the central district of the city. The study showed that the architect mainly worked in the forms of eclecticism, skillfully combining motifs and elements of different architectural styles, thereby managing to form his own, well-recognized author's handwriting.

Spider Love Song and Other Stories by Nancy Au

Reviewed by: Spider Love Song and Other Stories by Nancy Au Mixby Dickon (bio) spider love song and other stories Nancy Au Acre Books https://acre-books.com/books/spider-love-song-and-other-stories/ 180 Pages; Print, $17.00 Carolina De Robertis, the author of Cantoras (2019), writes the following about Nancy Au's Spider Love Song and Other Stories: "These stories sparkle with life and secrets, joy and power, pain and hilarity, and sharp insights into the human heart." This deserving praise in Robertis's blurb is in no small part due to its rich appeals to sensory imagery. Whether that imagery describes a sight, a sound, or an aroma, Au's short stories entice the reader by inviting them into the atmosphere of the story with breathtaking language and unexpected comparisons that defy the common clichés. The concrete imagery in descriptions manages to accomplish this with dazzling success. These observations about Au's work are ultimately manifested in the collection's titular story "Spider Love Song." This story features a young girl named Sophie Chu, who lives with her grandmother while coping with the disappearance of her parents. Sophie and her grandmother receive a visit from a fishing woman nicknamed Owl who claims to have known Sophie's parents in their college days. The plot of the story is simple yet awe-inspiring, much like the language used in its telling. Offering a larger-than-life quality to the tale is a recurring image of elephants which describes the animal as follows: "An elephant towered over everything, everyone, yet could curl its firehose trunk around a branch, pluck a green leaf whole. What power! What bigness! What sensitivity!" Juxtaposing power and sensitivity together is an uncommon but not unusual comparison to make. As previously mentioned, the image of the elephant offers its bigness to the simple plot line, but this is not the only function of the image in the story. Throughout the story, the narrator describes Sophie Chu with elephant-like qualities, lent to her by what always seems to be a costume worn by the character. The reader is able to get a sense that the protagonist draws inspiration from the combination of strength and sensitivity which personifies the image of the elephant. [End Page 79] The language and descriptions in this story do not simply define elements of style and aesthetic; the language and comparisons draw attention to the moods of the characters as well as the atmosphere of the stories. Readers are not just following along with the plot of the narrative. They are instead transported into the story, its sights, smells, textures, and much more through the multisensory toolbox of images that Au employs. As Carolina De Robertis implies in her blurb of the book, these sensory appeals are versatile in what they do and in the language with which they do it. Au's debut collection is noteworthy in that it tends to invoke images in which seemingly contrasting qualities are juxtaposed together to show that those qualities in fact exist in harmony with one another. These images lend themselves to a recurring theme in the collection, namely striking a balance between various aspects of life and identity. Au's protagonists frequently exist on points of liminality, towing the lines between the private and public self, and reconciling their wants and desires with the aims of the broader social structures. Juxtaposition allows the narrator to communicate these liminalities without stating them directly. The theme of juxtaposition and ironic imagery continues in the penultimate story in the collection, "Odonata at Rest." This story follows a grade-school aged protagonist during a day at a private school where her teachers are nuns contrasting against the science-based education provided by her mother at home. Her mother opens up the world to her daughter by teaching her how to use a microscope "and she learned that there were entire universes of biological life teeming inside petri dishes—life so tiny yet so fervent—that there were answers to billions of questions the world might never even know to ask, right under her microscope's lens." Contrasting this image with that of the elephants...

Stylistic Traces of Amarna Art in Reliefs of the Tomb of Petosiris (Tuna al Gebel Necropolis)

Abstract The famous tomb of Petosiris (a high priest of Thoth) in the Tuna al Gebel necropolis on the outskirts of the Middle Egyptian town of Hermopolis Magna is dated by the last quarter of the 4th c. bc. The pictorial program of the tomb, decorated with painted reliefs, has no known parallels in Ptolemaic art. In terms of iconography and style the reliefs rely on both Egyptian and Greek artistic traditions. This study attempts to trace elements of the so-called Amarna style among the whole variety of cultural impacts that shaped the unique character of the reliefs. Not only the visual similarity but also the short distance between the necropoli in Hermopolis Magna and Amarna city support the impetus for looking for pictorial parallels between the reliefs of the Petosiris tomb and the Amarna monuments. Some distinct stylistic details of the reliefs find no matches in Egyptian art but for the Amarna period. Nor do they originate from Macedonian or provincial Greek art. The reliefs of the tomb of Petosiris seem to be the only extant piece of art of the Graeco-Roman period that goes back to Amarna tradition in terms of techniques, style and, to some extent, iconography. The styling of the reliefs relies on three distinct visual paradigms – Classical (namely archaic) Egyptian, Amarna and Hellenistic – and seems to depend on subject matters of the particular parts of the program. The stylistic features deriving from different traditions probably served as a special visual language that helped to convey important meanings and connotations.

Симболична слика дивљих животиња у Молитвама на језеру Светог Николаја Велимировића

In this paper are researched zoonyms in Prayers by the Lake by St. Nicholai Velimirovich, as a very appropriate text for stylistic and philological analysis. Most of the zoonyms have symbolic meaning in different cultures, but this analysis shows that the creative act of the author can contribute to the spreading of their symbolic network in a certain context. Methodological and analytical procedures are based on the fundamental stylistic elements with including of lexicological approach relating to lexical semantic and paradigmatic lexical relation (hyponymy), as a basic principle for the systematization of excerpted zoonyms. Every zoonym has a unique description which contains: а) lexical meaning of zoonym; b) traditional symbolic meaning; c) symbolic meaning in the context of prayers verses. In the Prayers by the Lake zoonyms have multiple functions: a) as a mediator between God and man, b) as a linguistic means of expressing the experience of the lyrical subject, but also of man’s relationship to God; c) as a metaphorical image of people, their inner state, the state of the soul; d) as a picture of interpersonal relationships and situations, which are presented through animal characters; e) as a mediator in the expression of moral, spiritual instruction. In them, the zoonymic symbolic sphere goes beyond the framework of the usual pragmatics based on life experience in direct or indirect contact with the animal world and enters the sphere of the spiritual, with the emphasis on certain Christian principles. Key words: St. Nicholai Velimirovich, Prayers by the Lake, names of wild animals, Serbian language.

Sumy Regiment Iconostases of the First Half of the 18th Century

The study of the iconostases of Slobidska Ukraine in the 17th century made it possible to establish that the altar septums in different regiments of Slobozhanshchina had their own specific features. Three groups of iconostases were discovered: Sumy-Ostrogozhska, Kharkiv-Izyumska and Okhtyrska. Despite the general similarity of the iconostases of Slobozhanshchina at different historical stages, each had its own peculiarities in the solution of the altar septums. Despite the small amount of visual material, it can be argued that in the first half of the 18th century, the Sumy group of monuments retains some common features of the group: the general composition of the iconostasis (the iconostasis of the Church of the Transfiguration in Mezhirich), the figures of the local tier are cut to the middle of the thigh (icons from the Church of Resurrection in Lebedyn), the archetectural decision of the deesis tier, where the apostles were depicted one by one on separate boards (an icon from the village Ulanok). But innovations also appear: the image of the apostles in the deesis tier, two apostles depicted together on one board, the image of the Tree of Jesse on the Royal Doors, throne images of figures in the local tier (the iconostasis of the Church of the Transfiguration in Mezhirich), the use of a round sculpture with a crucifixion scene, which crowned it (Mikhailivsk Hermitage near Lebedyn). At the beginning of the 18th century the decoration of icons and iconostases changed significantly. The Slobozhanshchina iconostases of the 17th century used a wide range of manneristic ornamentation, while in the first half of the 18th century the mannerist decorative trim changed to baroque floral decor. The decor of acanthus leaves and the motif grape bunches dominated in the iconostases of the Sumy group at that time. From the second third of the 18th century the decoration of icons and altar septums of Slobozhanshchina is gradually occupied by decorative elements of the rococo style. In the iconostases of the Sumy group, this is, first of all, the motif of the oblique lattice and rocaille. young masters from the capital, who, having visited Europe, managed to get acquainted with the processes taking place there. The novelty of their techniques affected not only planning, approaches to decorative design, the introduction of new subjects, changes in the technology of wall painting, but also, which was in line with the spirit of the times, in the appeal to stylization, as one of the basic principles of Art Nouveau. Artists who worked on murals in Kharkiv churches (M. Pestrikov, I. Svyatenko, A. Sokol, P. Kryuchkov) mainly extended the line in sacred painting, founded by V. Vasnetsov in the Vladimir Cathedral in Kyiv in 1885– 1896. Somewhat aloof are only fragmentarily preserved paintings by A. Savinov in the Church of the Transfiguration in Natalevka. However, there were other trends, as evidenced by the symbolist projects for the murals of the house church of Yuzefovich’s printing house in Kharkiv. New documentary materials are introduced into scientific circulation, in particular, photos of church murals that have survived to this day.

The Maniac as the Apocryphal Intervento: How Form Determines Substance in Fo’s Accidental Death of an Anarchist

The Accidental Death of an Anarchist (1970) is one of famed Italian play-wright Dario Fo, written as a response the neo-fascist tension that reached a boiling point in during the ‘Hot Autumn.’ A period of immense turmoil in late 20th -cemtury Italy. The play draws from the conventions of the Brechtian form and commedia dell’arte, aptly transforming them into mechanisms that can help both the play and spectators subvert the high cultures of Gramscian cultural hegemony, absorbed into ADA’s comic microcosm. This essay explores how political and theatrical realms are immortalised and then pit against each other through the course of the play, with the character of the Maniac acting as a rhetorical device acting as the connection between the two. In essence, this paper believes that Style is considered over substance in many of the styles of theatre Accidental Death operates within; the stylistic elements that quantitatively constitute the Brechtian form, commedia dell’arte, and farce allow them to subvert the ‘high cultures’ that are held culpable in Gramscian cultural hegemony, all of which ADA absorbs into its comic microcosm. This leads to a sustained paradox between the political and theatrical dimensions of the play, where the theatrical lends credence to the political though the use of fictional formal elements.

Review of: <em>Vignettes 2020: Anabaptist Women Writers</em>—Sheila Petre and Gabriella Showalter

<em>Vignettes</em>, compiled and edited by Sheila Petre and Gabriella Showalter, is a fascinating text. It is a book that was written by, and is intended for, Anabaptist women writers. The book is a collection of articles that profile around 400 Anabaptist women writers from more than 15 countries. The book provides many resources for aspiring writers; it recommends books on writing, such as The Elements of Style, and contains a directory of all the women profiled in this book. [First paragraph.]

Сравнительный анализ стереотипов речевого поведения в речи детей и взрослых

Stereotyped lexical units are presented to the recipient as carriers of some relatively stable connotative, emotional and evaluative motivation. The achievement of the desired effect is explained, in particular, by the fact that the communication process, as a rule, occurs in non-verbal activity, and the personal meaning is also assimilated by the individual within the framework of non-verbal activity. The effectiveness of the influence of the stereotype on the consciousness of the individual is due to the explicitly expressed emotionality present in it. Figurative comparisons, rhyme, alliteration, and elements of conversational style act as factors that enhance the emotionality of stereotypes. The emergence of stereotypes is also associated with ethnopsycholinguistic factors. The reasons for the appearance of stereotypes in children's speech and in the speech of adults are directly opposite. In adult speech, the use of the name of a specific situation in place of the name of abstract semantics is permissible due to the existence of some ready-made schemes, since both the speaker and the listener possess a mechanism for determining the generality of class indicators, systematizing them, including them in the designation paradigm. In a child, the use of an utterance to denote an entire situation marks the process of building a paradigm of designation, the development of class indicators and their generalization. Therefore, conversational stereotypes are more widespread in the speech of adults than in the speech of children.

A 2.86-TOPS/W CMCB based Edge ML and RO-PUF engine for IoT based nano-electronic material applications

Energy-Effective Machine Learning and Ring Oscillator (RO) Physical Untraceable (PUF) is an IoT care effort that diminishes information move limit and ensures estimations and search interface protection (IoT). Independent contraption. This test gives preparing on Edge machines and PUF machines for IoT errands. This planning utilizes the current glass beam (CMCB), which is the focal circuit vertical to the two capacitors, to diminish the space of the concede line by a variable of48.5. Another element of expansion style has been proposed to broaden the weight matrix factors past a genuine authorized organization, while keeping the expense of clothing and energy low. Paper development and total is performed by CMCB with current discriminative styles and two-venture change. The means proposed give a disappointment rate of6.34 to the MNIST plate acknowledgment issue with an energy attainability of2.86 covers/W. PUF gives a unique harmony disappointment rate (BER) of2.3 in everywhere and the CRP is upgraded with ternary information sources. This mode has developed incomprehensibly, with a space of4.17 × for taking care of all solicitations/reactions (CRP). Extremely low-10–59 m 2/CRP.

Emotion and the History of Rhetoric in the Middle Ages by Rita Copeland

Reviewed by: Emotion and the History of Rhetoric in the Middle Ages by Rita Copeland Shea McCollough Rita Copeland, Emotion and the History of Rhetoric in the Middle Ages ( Oxford: Oxford University Press, 2021), xv + 432 pp. More than three decades have passed since Rita Copeland first published Rhetoric, Hermeneutics, and Translation in the Middle Ages (1991), a study that has become an indispensable resource for scholars thinking about the development of vernacular texts and interpretative models from late antiquity to the Middle Ages. That first book laid the foundation for a body of scholarly work from Copeland that, while dealing with the variously related topics of classical reception, pedagogy, and representation, is nonetheless bound together by the through-line of rhetoric, her most persistent and pervasive research interest. Her newest book, Emotion and the History of Rhetoric in the Middle Ages, is a delightful expression of that rhetorical preoccupation, demonstrating a sustained interest in the intertwined relationships between rhetoric, emotion, and ethics that developed and redeveloped from classical antiquity to the Middle Ages and offering a compelling and comprehensive narrative of the transformations of rhetorical thought and practice over nearly two millennia. Like the good rhetorician that she is, Copeland offers a map of the book's overarching scope in apophatic terms, outlining the contours of the study by simultaneously delineating what it is not: it does not endeavor to offer a comprehensive history of medieval emotions—à la Barbara Rosenwein's Generations of Feeling (2015), or any number of similar studies that Copeland mentions throughout her footnotes—nor is it an attempt to uncover and represent the emotional experiences of medieval readers per se, although readerly experience becomes a secondary interest in the book, particularly in chapter 2. Rather, what Copeland does embark upon is a twofold history of both rhetoric through emotion and emotion through rhetoric in the Middle Ages, a history predicated upon [End Page 240] a belief that rhetoric "represented the role of emotion in shaping persuasions" and that is ultimately "concerned more with production than with consumption of emotive content" (1). Copeland builds from these initial claims, describing the "double plot" of her book "as a reception history that commences with the Ciceronian rhetorics of antiquity, that develops on a long course, and that, at a later juncture, incorporates the Aristotelian perspective" (14). Following this robust outline, the rest of the text splits into two halves, emblematized by the figures of Cicero and Aristotle, respectively. Chapter 1 analyzes Cicero's theory of affectio as presented in De inventione, establishing emotion as a valid form of invention (the process of developing an argument), as opposed to an exclusive element of style, even though the stylistic understanding would eventually come to dominate the discourse of medieval rhetoric. Chapter 2 picks up on this thread and demonstrates how early Christian thinkers, primarily Augustine and Cassiodorus, expanded their understanding of style to accommodate an ethical dimension of rhetorical appeal invested in the cultivation of "textual affection" (59), whether for the scriptures or for Virgil. As this instilled love for texts grew commonplace, it became less imperative to explicitly outline the ethical valence of style in rhetorical texts, resulting in the paradoxical effacement of this notion from Christianized rhetorical treatises by the twelfth century. Chapter 3 narrates the rise of style to a place of preeminence in the "pragmatic rhetoric" of the eleventh through fourteenth centuries by close reading pedagogical treatises (112), love letters, Chaucer's Nun's Priest's Tale, Petrarch's Seniles, and Chaucer's (again) Clerk's Prologue. Chapter 4 (re)turns to Aristotle's Rhetoric, the second piece of the book's "double plot," in order to "chart the routes through which Aristotelian rhetoric found its place in later medieval thought" (158). Copeland sketches the transmission history of the Rhetoric, arguing that the text effectively disappeared until resuscitated by a group of Arabic scholars—Al-Farabi (ca. 870–950), Avicenna (980–1037), and Averroes (1126–98)—whose commentaries treated the emotions "as both cognitive and moral forces in persuasion" (175). Chapter 5 extends the discussion of the Rhetoric's medieval afterlife by focusing on a shift in thinking about the emotions evident in Giles of Rome...

MODIFICATIONS OF THE HORROR GENRE

The article analyses the history and genre system of the formation of horror literature and highlights its role in the modern era. Examining the origins of the horror genre in literature, one can trace the combination of mysticism, mystery, and mythological imagery, which acquire new features with the flow of literature. article briefly reveals the genesis of the horror genre in the cluster of genres of horror literature. The structure of the genetic and typological evolution of the genre of horror literature in literary studies is analysed, and the systematisation of genre-creating elements is also presented. It is proven that horror by its nature belongs to those genres that are realized in literature on the basis of genre memory, which was formed in the modification process of the transition from stylistic reception to the actual genre. Horror literature is a complex polysemantic construct, for the interpretation of which, in addition to general scientific methods (descriptive, typological), such methods as hermeneutic, cultural-historical, mythopoetic, psychoanalytic, bibliographic, comparativist, philological, structuralist, and intertextual are used in the article. Such scientific research methods will allow a more detailed description of the functioning structure of both the system of genres as a whole and a separate genre. The horror genre was formed in uneven waves. This process can be characterised as a gradual crystallization of the genre structure, taking into account stable stylistic elements. In the course of its genetic and typological apparatus, the horror genre developed its inevitable functions: specific types of chronotopes and mechanisms for the implementation of genre memory. The article is supplemented with a concise bibliography of thematic critical literary texts and source materials.

The concept of crime: linguo-cultural representation and features of its translation (Maigret’s Failure by Georges Simenon case study)

Features of conceptualisation of behavioral responses and interaction of individual and collective consciousness become a subject of study in various fields of knowledge. The concept of crime refers to those fundamental and universal categories that reveal cognitive mechanisms at the level of relevant interaction with multiple concepts, national features of worldviews, cultural specifics, individual psychological experiences, and behavioral adaptation. The paper studies the linguo-cultural concept of crime in the Francophone detective novel “Maigret’s Failure” by the famous French writer of Belgian origin, Georges Simenon. The study aims to analyse the linguo-cultural representation, functional role, and verbal representation of the concept of crime in the detective novel “Maigret’s Failure” (French “Un échec de Maigret”) by Georges Simenon in the original text and translation. In order to achieve this, the article analyses the structural and genre features of a Francophone detective novel, specifies socio- cultural and lexical-semantic functions of the dominant concept of crime and defines the frame structure of the concept of crime. The translation of Mykola Meshcheriak was used for comparative translation analysis. The paper examines the functional representation of the concept of crime in a fictional narrative detective story and its translation equivalence. Frame analysis is used for this purpose. It makes it possible to investigate the relationship between lexical-semantic, stylistic, and cognitive components that reflect speakers’ worldviews. Four basic conceptual frames as crime, mystery, investigation, and punishment are identified in the study in order to examine the development of semantic components of the concept of crime in the fictional narrative. Each of them has segment slots. It is claimed that the feature of a detective novel depends on the conceptual frame the author prioritises and with what slots he completes it. For example, in accordance with the legal aspect, the dominant process may be crime – punishment; in the moral aspect, crime – motive. The lexical and stylistic elements of the concept of crime are not the only presented distinctive feature of the linguo-cultural connotation in the works of Georges Simenon. It is also the addition of various markers, distinguished by the author’s ironic and philosophical manner of portraying the main idea and therefore depicting the way of living and living conditions of the French burghers of that time. Commissioner Maigret’s arrogant and confident behavior involves all participants of the investigation process in interaction and assures of the inevitability of solving the crime. The development of the conflict, attention to detail, motives for behaviour, the silence of witnesses, empathy, and not just condemnation indicate the importance of understanding the cause-and-effect relationships of the commission of a crime rather than punishment. Comparative analysis of the original text and translation makes it possible to interpret legal relationships and extralinguistic information in the French and Ukrainian worldviews. Various features used to describe the concept of crime depend on the translation style rather than the ambiguity of interpretation. The stylistic elements of the concept are somewhat neutralised in compliance with the juridical nomination in the Ukrainian translation.

Musikalische Selbstauslegung: eine sichere Quelle historischer Musiktheorie?. Überlegungen zu Skrjabin und Schönberg

To conceptualize music in terms of the historical context of its creation seems to offer a highly authentic theoretical perspective towards understanding musical works. This essay aims to show that, in contrast, composers’ self-interpretations must be considered with enhanced scepticism, even where they seem to provide substantial insights into the relation between compositional technique and theoretical conceptualization. By discussing two prominent examples from early twentieth-century music, the text points at the necessity of a critical assessment of such sources. While Alexander Scriabin supported Leonid Sabanejew’s deduction of his “Prometheus-chord” from the overtone series, a continuous evolution from Romantic harmonic tonality (particularly Chopin) to the complexity of the “Prometheus-chord” can be traced in his stylistic developement. Beside these historical facts, the significance of Sabanejew’s deduction is debatable, for nearly every chord of sufficient complexity can be traced back to the overtone series. Furthermore, Scriabin’s harmony cannot be reduced to one governing principle. In his late works, an interaction of different scales or modes, including whole tone and half tone-whole tone-scales, can be observed. Briefly summarized, Scriabin’s own explanation of the “Prometheus-style” is misleading and reflects the high social status associated with “scientific” justifications in the arts at the beginning of the 20th century, rather than a historically adequate interpretation. A similar scepticism is advisable for a reading of the self-interpretations included in Arnold Schönberg’s Harmonielehre. In one of its final chapters, Schönberg discusses the whole tone scale as a common stylistic element in the music of his time. Although as a composer he used this scale occasionally and its contribution to the destabilization of tonal harmony in his works is obvious, in the Harmonielehre he deduces the scale from an altered dominant chord. This marginalisation of the whole tone scale as an independent structural entity without a clear tonal centre is governed by Schönberg’s intention to delineate his own stylistic development in the years 1907–1911 from the music of Claude Debussy, Alexander Scriabin and other contemporaries and to stress the uniqueness of his abandonment of tonality.

A linguo-stylistic analysis of Eddie Iroh's Banan Leaves (2007)

This work is a linguo-Stylistic study of Eddie Iroh’s Banana Leaves. It examines the linguistic and stylistic elements used by the author which generally define his individual peculiarity. These resources were purposively identified for the study, through a critical analysis of the text. In all, a total of thirty extracts from the text were used to identify the peculiar linguistic and stylistic features. These elements include his diction, cohesive markers, graphology, sentence types as well as the narrative devices, character and characterization, and the descriptive ability of the author. The study found that Iroh is not economical in the use of punctuation marks. He also employed more of simple sentences and the diction is generally simple. Cohesive devices employed by the author such as linking adverbials, coordinating conjunctions, amplification, emphasis, etc. were used to create links within the text. The study found that he employed such stylistic tools as his descriptive ability in the text to express meanings to his target audience. Thus, Iroh through these linguistic and stylistic elements discussed in the study, has been established as a prolific writer. The study concludes that the employment of stylistic tools enhances better understanding of the text and also reveals Iroh’s linguistic peculiarities and stylistic dexterity.

Den prøvede familie

The troubled family, this article claims, is a recurring topos in the fictions of the Haitian Revolution. Most often, this topos is distinctively sentimental, designed to affect readers emotionally, and authors use the family in trouble as an emotionally charged political microcosm capable of negotiating the limits and rules of social inclusion and exclusion. In this article, Olympe de Gouges’ play L’esclavage des noirs (1792), published just months after news of the Haitian revolution reached France, is read alongside Émeric Bergeud’s Stella (1859), often heralded as the first Haitian novel. While Gouges’ play exemplifies the sentimentalism that characterized much French abolitionist thought (Festa, Dobie), the analysis also emphasizes the inegalitarian subject-object relation between the empathetic Frenchmen and the enslaved colonial workers. Writing from the Caribbean, Bergeaud deselects the standard tropes and stylistic elements favored by Gouges and other sentimental European abolitionists. In his attempt to write a foundational national novel, however, he too invokes the topos of the troubled family.

FORMS OF OPPOSITIONS IN THE NARRATIVE STRUCTURE OF “ANNE OF GREEN GABLES” BY L.M. MONTGOMERY

The paper aims to explore different forms of oppositions in the narrative structure of Lucy Maud Montgomery’s critically acclaimed novel “Anne of Green Gables”, which was first published in 1908. Because L. M. Montgomery’s works have not been sufficiently explored in the realm of narratology, the following paper seeks to begin covering this gap by analysing key oppositions in “Anne of Green Gables” while also taking into consideration their significance in terms of a broader cultural and historical context, as well as accounting for the changes introduced by
 L.M. Montgomery to the genre of the novel (specifically, Bildungsroman). Having analysed the original text of the novel, we have determined that the key oppositions in “Anne of Green Gables” (commonplace/romantic worldview, religion/godlessness, love/friendship, woman/man (girl/boy), childhood/adulthood, orphancy/family, loneliness/belonging, mercy/indifference, etc) play an important role in defining the conflict dynamic between characters. By opposing stylistic elements, thematic and plot formulae, the author is able to provide an in-depth perspective of her heroine’s experiences, as well as exploring various viewpoints (Anne Shirley, Marilla and Matthew Cuthbert, Rachel Lynde, etc) when it comes to the same events. L.M. Montgomery has also updated the genre of Bildungsroman by reimagining the conventional topics of “female” literature (raising girls to be future wives and mothers, their love afflictions and desire to get married) and replacing them with new and relevant issues (the influence of literature and culture on one’s personality, the role of friendship in a young person’s life, using creativity as a means to reinterpret one’s surroundings and overcome inner conflict, etc).

CONVEYING THE INDIVIDUAL STYLE OF A YOUNG ADULT LITERATURE AUTHOR IN TRANSLATION (BASED ON “THE PERKS OF BEING A WALLFLOWER” BY S. CHBOSKY)

The article focuses on the problems of literary translation, mainly the problems of conveying the individual style of a young adult literature author. The relevance of this topic stems from the insufficient analysis both of the notion of the individual style itself and the interconnection of the individual style and the genre of a literary text. The paper discusses the core theoretical concepts of the individual style as well as the main characteristics of young adult literature, and examines the specific features of transfering the style elements of a young adult author. The paper is based on the novel “The perks of being a wallflower” (1999) written by an American author S. Chbosky, and its translation into Russian made by E. Petrova in 2013. The purpose of the research is to identify some dominant elements of the author‟s style and to evaluate the degree of their adequacy in the Russian translation. In the course of the study, the following problems of conveying the individual style of a young adult literature author were identified: a specific narrative structure, the usage of colloquial vocabulary; a number of specific syntactical stylistic devices. The paper examines a set of examples illustrating these features of the author‟s style and analyses their translation into Russian. The analysis reveals that the author‟s individual style is often not adequately transferred, thus, alternative variants of translation that convey the key elements of the author‟s writing style may be provided. As a result, a conclusion is made that the individual style of a young adult literature author has its own peculiarities, and its appropriate preservation requires not only a general understanding of the genre‟s specific features, but the skills of a linguostylistic analysis of the text and the ability to translate certain lexical means and stylistic devices that an author can use at all language levels.