Evolution Of Genre Research Articles

The genesis of opera singing in Ukrainian chamber vocal music

The article considers the specifics of chamber and vocal genres in Ukrainian music culture. Genre evolution of Ukrainian chamber and vocal music covers the XVIII-XX centuries. and consists of 3 stages: from Cantus and song-romance music of the XVIII-early XIX centuries, then romance (mid-XIX century) of strophic and three-part form, to pan-European parallels in the form of lyrical vocal miniature through type or recitative monologue, including touches of arioso expressiveness. The Ukrainian Cantus as a genesis for creation of chamber vocal culture is analyzed. It is determined that the Ukrainian Cantus becomes the basis of the national romance line in the chamber sphere, which extremely actively covered the lyrical array of singing and in the chamber variety, anticipating the aria in the Ukrainian urban-salon sphere. It is noted that the genesis and evolution of Ukrainian romance in the links with folklore and cult tradition, which determined the place of chamber vocal music in Ukrainian opera.

THE ROLE OF THE ROAD CHRONOTOPE ON THE PLOT AND COMPOSITION OF THE LITERARY WORK

The article examines one of the topical problems of modern literary criticism, the essence, theoretical foundations of the forms of the chronotope, the influence and connection of genre evolution on the storyline, the architecture of a work of art. The article investigates the role of the road chronotope in expressing the writer's artistic and ideological goal, and its importance in directing the plot.

Dilemmas of online video review genre: An attempt at describing genre complexity in Polish and German linguistics

The purpose of the article is to examine the changes in the genre pattern of review resulting from its expansion to a new online communication medium, i.e. the YouTube platform. The case study of two video reviews comprising four levels of analysis (structural, pragmatic, thematic-cognitive and stylistic) aims to compare the canonical version of the arts review and its modern online variants. The authors attempt to determine whether online video film reviews could be regarded as manifestations of the review genre evolution, intermedial adaptation, its genre pattern transformation, or – perhaps – the development of a distinct genre, characteristic of online communication only. Contrastive analysis based on selected methods of Polish linguistic genre studies applied in the context of German text type linguistics is intended to extend the scope of the ongoing research on genre with aspects of Polish and German research perspectives.

EPISTOLARY PROSE AS A LITERARY PHENOMENON

This article is devoted to the problem of genre evolution and poetics of Kazakh epistolary literature. The phenomenon called epistolary prose was generated by the transformation of writing as a speech genre into a kind of artistic narrative. Works in the form letters of provide an opportunity to fully realize the illusion, which is fundamentally important for literature as an art form, – to present a fictional statement as authentic. This specificity of epistolary literature should have guaranteed philologists' close attention to it. But at this time in literary studies there are many gaps in its study. For example, such a criterion as the scope of the meaning of the key concept of «epistolary prose». This concept often includes all works whose text is designed letters (a letter) of a character, regardless of whether a) the correspondence presented in it is fictional or the basis of the text of the work was real letters; b) whether the hero implements a communicative task in the messages (epistolaries) or other intentions dominate. To solve these problems, a real study was undertaken, the subject of which was the peculiarities of genre evolution and poetics of Kazakh epistolary prose. The study assumes a fairly wide range of practical application of the results obtained: in university and school teaching of Kazakh literature, reading theoretical courses – theory of literature and poetics, in special courses and seminars, when developing new directions in the study of modern prose.

Metrics of the Adyghe verse

The article examines the insufficiently studied aspects of the Adyghe versification system based on one of its areas, and a significant component of the verse – its metrics. It presents a comprehensive analysis of the metric system of the Adyghe (Kabardian, Circassian, Adygheyan) literary verse. Our research focuses on the specifics of the development of syllabic-tonic meters (trochee, iambic, dactyl, amphibrach, anapest) and the features of their functioning in different genres and genre forms of national poetry. The relevance of the stated problem is due to the fact that the system of Adyghe versification in general and the metrics of national verse in particular have not become the subject of scientific consideration over the past decades. Meanwhile, significant changes took place that determined further trends in the evolution of genres, genre forms and the poetics of verse. During the indicated period, innovative methods and forms of organizing a poetic text have been mastered, requiring scientific understanding in the context of modern poetry and the use of new methodological tools for analyzing poetry. The scientific novelty of the work lies in the fact that for the first time it has made an attempt to comprehensively study the metrics of verse at all stages of the evolution of Adyghe literature. The results obtained can be used in special university courses and special seminars on the history of Adyghe (Adygheyan, Kabardian, Circassian, Circassian abroad) literature, in particular - a comprehensive examination of the system of Adyghe versification, as well as in research into the field of national philology and for writing graduation papers and doing other kind of research work.

Landscape in Russian Art in the Second Half of the 19th – the Beginning of the 20th Century. Evolution of a Genre: Range of Issues

The article is devoted to the conceptual analysis of the multifaceted evolution of the landscape genre in Russian art in the second half of the 19th – early 20th century. The author poses and investigates in detail the key question of interrelationship of landscape poetics with the artists’ world view and aesthetic guidelines of the time influencing the perception of nature and its reflections in art. The academic and practical foundation of the article consists of the tasks, results and development prospects of the topic of the international conference with the same title “Landscape in Russian Art in the Second Half of the 19th – the Beginning of the 20th Century. Evolution of a Genre” (May 16–17, 2022, Russian Academy of Arts, Moscow), curated by the author.

Animalistic genre in Flemish and Dutch Golden Age art and its influence on West-European and Russian painting of the 18th and the first half of the 19th century

The formation of animalistic genre was a part of general process of West-European art development in the late 16th and 17th centuries. Flemish and Dutch masters acted as genuine innovators in the new field and determined the genre evolution in European countries for a long time. The article presents a typology of animalistic images and motifs in the art of Flanders and Holland and their influence on the work of Belgian, Dutch, German, English and Russian painters of the 18th and the first half of the 19th century.

The evolution of genre: Systematic review of Polish corporate histories

This paper utilises a systematic review of 110 Polish corporate histories to explore the question of how the genre of corporate history has evolved over time in a country that has undergone multiple transitions. The corporate histories subjected to review were published in three different historical periods: prior to World War II, during the socialist period and following the transition to capitalism. The analysis is focussed on both formal and thematic features of Polish corporate history as a genre. This paper contributes to the business history literature in three ways. First, it showcases some unique features of relatively unknown corporate histories in the Polish context. Second, it provides an empirical illustration of the process of genre evolution by analysing continuity and change in corporate histories published over three different historical periods. Third, it offers methodological insight into the analysis of the corporate history genre in countries where it is not recognised.

Genre Evolution of the Psalm and Ecclesiastical Miniature

"The article deals with the evolutionary processes of development of psalm and ecclesiastical miniature genres in choral music from the Renaissance to the present. It has been found that the wide possibilities of creating liturgical and non-church, concert and stage spiritual works gave the way to the enrichment of canonical канонічних principles of such traditional genre models as psalm and ecclesiastical miniature with individual stylistic features. Accordingly, gaining more and more popularity in church and secular music practice, psalms and ecclesiastical (prayer) miniatures have acquired nmiew qualities – canonical flexibility, genre mobility, openness to style and stylistic syntheses and authorial individualization in both textual and much more in musical aspects. The research methodology is based on historical-typological, genre-stylistic, and analytical methods. The historical-typological method relates to the problems of historical evolution of psalm and ecclesiastical miniature genre models, genre-stylistic and analytical methods allow to come to reasonable conclusions about the peculiarities of prayer texts in choral compositions created by modern Ukrainian composers. Traditions of Ukrainian spiritual music and at the same time the modern tendencies of the musical language are brightly shown in choral compositions. It is noted that the level of correlation between traditional and innovative referrence to psalm and ecclesiastical miniature genre models is determined by the individual creative approach of a certain composer, which requires making references to ecclesiastical texts and creating unique motets on their basis. Keywords: choral genres, psalm genre model, ecclesiastical (prayer) miniature, Ukrainian choral music, canonical texts. "

Polish version of hard-boiled novel: Death in Breslau by Marek Krajewski on the background of the Polish crime fiction history

In the nineteenth century and in the beginning of the twentieth century few Polish authors exploited the convention of crime fiction. The situation improved in the Interwar period, but World War II interrupted the evolution of this literary genre in Poland. After the war, due to the state’s cultural policy, crime fiction could not be published between 1948 and 1956. Since 1956 (in which Polish Thaw began) a specific type of crime fiction began to develop in Poland: a militia novel in which the persuasive function dominated over the entertainment function. The situation has changed after the political transformation in 1989. The book market has been dominated by foreign authors, such as Agatha Christie, Dorothy Sayers, Arthur Conan Doyle and so on. Only the novel Death in Breslau, 1999 (the first of 11 novels in Eberhard Mock’s series published so far), which is Marek Krajewski’s debut and representing the hard-boiled genre, has broken this domination. The writer used the gore aesthetic (which was something new in Polish crime fiction), a grim main character, and an interesting, non-obvious setting: prewar Wrocław, that is Breslau. The success of Krajewski’s novels has initiated a new era in Polish crime fiction history and contributed to the evolution of that genre in Poland – including the rise of the retro crime fiction and Polish version of hard-boiled fiction.

Periodical Speculations: Early "Science-Fiction" and Popular Victorian Weeklies

This article implicates early weekly periodicals in the history of British science fiction by examining the effects of periodicals as media defined by their specific rhythms of publication, diversity of content, and place in a larger media ecology. Specifically, it examines how prominent cheap weeklies Chambers's Edinburgh Journal (1832-1956) and Household Words (1850-1859) helped popularize science, promoted science-fictional habits of mind, and incubated science-fictional hybrid genres, including "reflective science," "science in fable," the fairy-tales of science, and what was first labeled "science-fiction" in 1851. Decades before H.G. Wells published his works in monthly periodicals, these accessible weeklies helped cultivate casual readers to whom his "miscellany of inventions" might appeal. Harnessing insights from the Gibson Collection of Speculative Fiction, this article varies its scale of analysis from individual periodical-based works to larger patterns that develop within and across periodicals and their associated book-length works, ultimately arguing for a genre evolution paradigm that explicitly attends to the material formats of publication, intermedial networks, and the practices of remediation, collection, recollection, and forgetting that necessarily shape critical assessments of sf.

Crux of the Bongo Movie from a Digital Disruption Lens

This paper reports the findings of a study that had explored digital disruption as an analytical lens developed based on the constructs of two theories: the digital disruption theory and the disruptive innovation theory. The study had employed unstructured in-depth interviews, direct observation and virtual ethnographic to consult media experts, pioneer filmmakers, Bongo Movie’ producers, movies library’s keepers, movie retailers, movie translators (deejays) and social network sites (SNS) to collect data. Based on the study findings, the paper argues that the shift in technological paradigm, specifically from the use of expensive and inaccessible technologies used in filmmaking engendered the development and sustainability of the Bongo Movie genre in Tanzania. This technological paradigm shifts were twofold. To begin with, there was a transition from the use of celluloid film and analogue video cameras to digital video cameras in film production. Second, there was a shift from the use of optical prints and Vertical Helican Scan (VHS) tapes to optical discs such as Digital Versatile Discs (DVD) in the distribution of films. These changes in the technologies used in production and distribution of films provided entrants into the local film industry with necessary tools to produce low-budget films and service the low-end market of the country, which augured well with the country’s resource-poor context. Moreover, these Bongo Movies “disrupted” the erstwhile traditional, established, and stringent patterns of consumption of both locally-produced and foreign-imported films in local film markets. Overall, the Bongo Movie genre evolution appears to be a model of how digitally-motivated disruptions can occur in a local film market in a developing nation’s video-film industries and become a staple particularly among the low-end clientele.

The multimedia capabilities of global online media and the evolution of genres

The multimedia capabilities of global online media and the evolution of genres

Literature as a diagnosis and as a prognosis (creativity of the people of Maghreb in the XX-XXI centuries)

From the very beginning, still in the depths of the colonial era, and being a national response to French colonial literature, the poetry and fiction of Maghreb writers became a form of expression of the real life of their countries and a testimony of the social and political transformations that finally led to the social and political contradictions of the post-independence age. The evolution of literary genres has constantly induced writers not only to diagnose the protest forms of the national self-consciousness of the peoples of the Maghreb, but also to predict the social cataclysms and events to which the radicalization of Islam and the tread of political Islamism actually lead, The Maghreb literature of the XX-XXI centuries constantly testified to various processes of the surrounding reality. Sometimes these forms of expression of the state of public consciousness turned into the nostalgic conceptualization of the past, a past perceived as a kind of an Oasis of acquired Knowledge about the World. These oases also refracted mirages of a dialogue between the Maghreb peoples and the French, which actually did never take place because of the wars of liberation. However, in the Maghreb literature, these illusions sometimes were transformed into dystopias, which especially since the decade of the 1990s turned into premonitions of real threats of radical Islamism. In the global literary process, the work of the Maghreb writers - regardless of the countries of their residence in the West or in the East - reflects the searching for ideals of justice, remains an evidence of the era of transition from colonialism to post-colonialism, and a source of plausible forecasts for the future.

Н.О. Волконский – режиссер радиотеатра

The article deals with the creative biography of Nikolay Volkonsky and his influence on development of the radio theatre directing school in Soviet Union. Main stages of Volkonsky formation as a radio director are outlined. At the very early productions by Nikolai Volkonsky, some techniques are outlined, which soon become canon for the radio theatre. In these first national radio performances Evening with Maria Volkonskaya and Lulli the Musician, Volkonsky uses new sound directing methods that were innovative for broadcasting of that time. They at transforming the time and space of the stage action, presenting the characters through their speech pecularities. Under the leadership of Nikolai Volkonsky, Osip Abdulov and Erast Garin start their work at the radio. They subsequently will be known as the masters of the microphone. There are numerous productions by Nikolai Volkonsky on the radio. The author of the article has selected three performances that can help to create the most complete picture of the creative individuality of the director. These are the radio play The Plant based on the novel by Camille Lemonnier, the radio composition Journey through Japan based on the essays by Gregory Gausner and the monumental pathetic oratorio The Nine Hundred and Fifth Yearbased on the poem by Boris Pasternak. The early years of the soviet radio drama are revealing the common processes in developing of art radio programs when this new unexplored field of creative representation of reality has stood at the forefront of the cultural process. The pioneers of the radio theatre innovatively solved creative tasks by their own experience, gradually asserting the main principles of radio performance. Thus it soon became an independent art direction, important in the process of theatre transformation in the twentieth century and in the genre evolution of national art broadcasting.

ON AN EPITAPH TO DIMITRY OF ROSTOV (ON THE HISTORY OF THE EPITAPH’ GENRE IN THE 18TH СENTURY)

The article analyzes an epitaph dedicated to Dimitry of Rostov. It was written in Ukraine after the death of the metropolitan in 1709, but before his official canonization in 1757. Unlike the two other well-known epitaphs dedicated to Saint Dimitry (the funeral oration by Stephen Yavorsky and the inscription by Michail Lomonosov engraved on the silver icon case of his tomb complex), this text, which belongs to the syllabic epitaph genre, was an inscription under Dimitry’s lifetime portrait that was kept in the Novgorod-Seversky monastery. This epitaph, like the first two texts, can be clearly characterized as a baroque text, however, it differs significantly from them in content and style. It reflects other artistic phenomena of baroque poetics and has the features of synthesis, a combination of an iconographic image and signature, illustrations and text, words and images. The portrait-icon with verses was delivered to Rostov to metropolitan Arseny (Matseevich) through Fyodor Dubyansky, the confessor of Empress Elizabeth Petrovna. For a long time, it was preserved at the tomb of St. Dimitry in the interior of the Trinity (Conception) monastery. This epitaph reflects the Ukrainian tradition, in which portraits with epitaphs were hung at the graves of bishops and churchwardens. Who was the author of this epitaph to Dimitry of Rostov? It was most certainly a representative of the Ukrainian elite who knew Dimitry’s biography very well. Perhaps it was Ioann (Maksimovich), the future metropolitan of Tobolsk. The location of the original icon with the inscription is unknown, but a copy has survived in the museum of the Kiev-Pechersk monastery. However, this epitaph continued to exist in the written tradition. Several copies of it are known, and its text was reproduced and perceived separately from the iconographic model as a hagiographic text. It served, in turn, as a source of other such texts dedicated to Dimitry of Rostov and created after his canonization. The subsequent fate of this epitaph is also associated with the phenomena of the new cultural epoch, in which different types of art did not merely complement each other, but also led to the expansion of artistic expression, to the creation, interaction and interchangeability of new artistic forms, evolution of genre, which are undoubtedly important for the studying the genre poetics of the 18th century.

Why Medieval Allegory?

Why Medieval Allegory?

Music Network Data Analysis Based on ISOMAP Algorithm Model

The development of music is a tortuous process, and the network relationship between each genre and each artist is intricate. In order to have a better understanding of the history of music, this paper tells the stories hidden in the history of music by means of data processing. Firstly, this paper establishes a model to evaluate the similarity between music by using ISOMAP algorithm. At the same time, the forest evolution model was established to mark the most revolutionary musical characters. Finally, using the Page-Rank algorithm, we get the founders of several music genres. It turns out that the figures who led the development of music don’t coincide with the figures who revolutionized music. Through the analysis of this paper, we can more clearly understand the development of music and the evolution of genres.

INTERPRETATION PECULIARITIES OF THE CAPRICE GENRE IN F. MENDELSSOHN’S PIANO CREATIVITY

Statement of the problem. The centuries-old development of the genre of piano caprice (capriccio), which led to its flourishing in the work of romantic composers, is considered as an integral part of the genre system in Western European piano music. Insufficient study of Mendelssohn’s piano works, in particular caprices, determines the relevance of the research. The purpose of the article is to generalize stylistic qualities of the composer’s piano caprices in the context of genre evolution and their performance features. Analysis of research and publications. The genre of caprice is studied in the historical research of T. Livanova (1983), who equates the form of fantasy and capriccio-ricercare. V. Protopopov (1979) reveals the connection between fantasycapriccio and fugue in the early 17th century. K. Agisheva (2007) examines the historical aspects of the study of the capriccio genre. Modern Western European researchers, analyzing the genre of piano caprice, emphasize that its musical texture is filled with elements of vocal lyrics and mood swings (Lewandowski, 2017; Keym, 2009). At the same time, the issues of performance features remain unclear. Methods. Complex methodological approach applied in the article (historical, genre, structural-functional, performаnce research methods) allows us to trace the development of caprice from the Baroque era to Romanticism and conduct an intonational-dramatic analysis of Mendelssohn’s works in accordance with the following criteria: musical form (dramaturgy), textural presentation, thematic development, tempo-rhythmic characteristics, nature of thematism. Analysis of recent research and publications. Baroque caprice is a work of polyphonic composition and improvisational construction (J. S.Bach, G.F. Handel, I. Sweelink, J. Frescobaldi). In the era of Viennese Classicism, caprice was not very popular due to its improvisational, bizarre nature, contradicting to the aesthetic ideals of the time. The genre of piano caprice became widespread in the era of Romanticism in the works of F. Mendelssohn, whose distinguished style is marked by virtuosity, melody, grace, sentimentality, clarity of presentation. Among the works of F. Mendelssohn there are seven caprices for solo piano and with orchestra. The intonational-dramatic analysis of Mendelssohn’s piano caprices makes it possible to trace the main stylistic qualities of the genre and to reveal its performance features. Conclusions. The work outlines the stylistic traits of Mendelssohn’s piano caprices ассording to such parameters: – compositional structure of his piano caprices is a one-movement composition or a cyclic one, composed of two or three movements; – texture of the music is determined by polyphonic orchestral elements and broad cantilena themes; – thematic development is based on repetition, variability or variation; – tempo-rhythm is characterized by three-beat pulsation, syncopation of rhythm, sharp accentuation; – thematicism is determined by synthesis of lyrical and decisively acting images inherent in the style of Mendelssohn. Hence, the main task for the performer is clarity, expressive intonation of the melody in combination with a “pearl” light touch and energetic dynamic tempo rhythm.

Form from form: The case for exaptation in rhetorical genre evolution

ABSTRACT Since its beginnings in the 1970s, modern rhetorical genre studies has used classical Darwinian adaptation as a key analogy, if not a model, in the study of genre evolution. While the adaptation analogy has obvious strengths, it also produces blind spots. As the studies of rapidly evolving social media genres presented in this article suggest, not all of a genre’s formal features are the result of a purposeful adaptation to an existing rhetorical exigence. Some features repeat and intensify because they are part of the genre’s aesthetic landscape, becoming available to be coopted for a rhetorical purpose later on. This suggests that along with adaptation, exaptation should also be considered as a crucial force in genre evolution. Moreover, the inclusion of exaptation in our model of genre evolution also means that rhetorical genre scholars will need to rediscover the language of aesthetics and form even as genre continues to be studied as social action.