Evolution Of Genre Research Articles

Песня в лирике Н. М. Карамзина: традиции, типология, черты сентиментализма

The article examines the song genre in N. M. Karamzin’s lyrics. Only the works, which the author himself referred to the song genre, are analysed. The author’s techniques to reconstruct a song’s “image” and criteria for choosing the means of portrayal are identified. A musical component of the song genre and its influence while creating a song’s “portrait” are considered from the viewpoint of literary criticism. Style dominants typical of Karamzin’s songs are revealed. Mutual influence and genre evolution of classicistic and sentimentalistic artistic conceptions are examined. The conclusion is made that stylistic functionality of a language manifests itself clearly while creating a song’s image.

Del drama sanandresano al Jiggy raizal

Los estudios musicales que se concentran en la procedencia de los géneros y las identidades que suscitan en quienes bailan, cantan y producen las diferentes expresiones musicales son variados. En redes y bibliografías se encuentran varios estudios alrededor de la champeta y la construcción de identidades en el Caribe continental colombiano, por ejemplo, el trabajo de Claudia Mosquera y Marion Provansal (2000) y el de Jorge Giraldo (2007), y trabajos que incluso se centran en la conexión y evolución de los géneros desde la misma comunidad, como el de Nicolás Castro (2017). Sin embargo, en este texto no se ahonda mucho en el movimiento musical en San Andrés, sino que se propone desenmarañar una situación dejada de lado: la cuestión identitaria en los videosmusicales del archipiélago.

О прагматике жанра и источниковедческом ресурсе «литературных» воспоминаний о позднем Гоголе

This essay examines an episode of Nikolay Gogol’s biography described in four memoir texts — by I.I. Panayev, A.YA. Panaeva, P.V. Annenkov, and N.A. Nekrasov. All the four texts tell the story of Gogol meeting “young writers” in St. Petersburg in the late 1840s. As it often happens in memoirs, the authors describe the same event differently. The author of this article thoroughly examines the sources of this particular episode and comes to the following conclusion. The memoirs of Gogol`s meeting with the “young writers” in the late 1840s tells us a lot about how Gogol’s personality was perceived by his younger and less famous contemporaries. It also sheds light on the typology and evolution of memoir genres in the second half of the 19th century. Yet the reliability of biographical data about Gogol is insufficient. The total amount of information indicates the probability that the meeting took place but gives a reason to doubt almost all the details of this event. The participants named by the authors of the memoirs (Goncharov, Grigorovich, Druzhinin, etc.) kept silent about this important meeting while the data available to modern Gogol scholars points at the hypothetical character of the mentioned episode.

В. М. ЖИРМУНСКИЙ-ФОЛЬКЛОРИСТ: ВОЗНИКНОВЕНИЕ И РАЗВИТИЕ МЕТОДОВ СРАВНИТЕЛЬНО-ИСТОРИЧЕСКОЙ ТИПОЛОГИИ

The article considers the main stages in formation of the method for the comparative historical typology the first steps of which were made by A.N. Veselovsky in the second half of the 19 th century. For example, the point elaborated upon in “Historical Poetics” concerning consequential evolution of genres and poetic forms that reflect social reality became the starting point for the further development of that method. Work in this direction was continued later on by V.M. Zhirmunsky. At the beginning of his career in academia he dwelled upon the issues of literary theory and – while keeping “Historical Poetics” in high regard – continued Veselovsky’s work in the field of literary studies. However, turning to folklore material, he managed to develop the basic principles of the comparative historical method: first of all, he had analysed and systematised the extensive epic material, what allowed him to reveal in the folklore work the national and the general, for the successful search and analysis of which the method was necessary. The author analysis of the works of Zhirmunsky, that contain his main ideas, and considers not only his suggestions on how to work with folk material, and also the features of the comparative typological method, as well as the development of Zhirmunsky’s ideas in the works of his students, followers and scientists who came to a similar result on their own (for example, V.Ya. Propp) and influenced further refinement of the methods of comparative typology.

Литературный язык Петровской эпохи в научных трудах профессора Н.И. Гайнуллиной

The study is dedicated to the memory of Professor Nadezhda Gainullina. The aim is to show the role of professor N. Gainullina in the study of the Russian literary language history. N. Gainullina’s research interests focused on the literary language of the Peter the Great’s era. Her Ph.D. thesis and doctoral research, articles and monographs contain a deep understanding of the role and place of Peter the Great in the history of the Russian literary language. N. Gainullina defined the term “creative linguistic personality” and introduced it into science. She established the place, role and significance of the epistolary genre in the history of the Russian literary language. She described the nature of the epistolary genre evolution under the influence of extra-linguistic and intralinguistic factors. It is approved that conclusions reached by N. Gainullina, have important theoretical value. The results of N. Gainullina’s scientific activity differ because of their novelty, theoretical and practical relevance in researches on the history of the Russian literary language.

THE DEVELOPMENT OF POETICS OF A SHORT STORY GENRE IN RUSSIAN LITERATURE OF THE LATE XX – EARLY XXI CENTURIES

The revelation of general regularities of world literary process and national specificity of certain literatures at the modern stage under conditions of their interaction on the level of development of poetics genre is one of the fundamental tasks of world comparative studies. The necessity of scientific analysis of evolution of a modern short story in Russian literature as a genre reflecting general regularities of literature development and state of culture is conditioned by tendencies of logical comprehension of development of world literature. Fragmentariness and brevity (and this is one of the main features of a short story) become a specificity of reality in the late XX – early XXI centuries, which are not reflected with distinct connections in bigger epic genres. And only a short story could fix common contours of modern life, idea, «seed» of a character as it is in its competence to work with such splintered, sketched material. Some conclusions concerning a short story became axiomatic that allows taking them as granted. However, on the agenda the problem of revealing the most substantial aspects of genre evolution of small prose in Russian literature is still remaining. The present article is devoted to the investigation of the phenomenon of a short story in Russian literature of the late XX – early XXI centuries in the process of substantiating a complete picture of short story development in content and formal aspects of genre poetics. The object of research covers the short stories of Russian writers published in the periodicals during last decade of the XX century and first decade of the XXI century[1].

RUSSIAN AND AMERICAN HORROR FICTION AS A GENRE, CREATIVE WRITING AND EDUCATIONAL PHENOMENON: A PROBLEM STATEMENT

Although the genre of horror has gained an extraordinary popularity in contemporary literature, it still raises controversy among specialists. The situation in Russia is especially complicated. Until the beginning of the 20th century, Russian horror fiction used to develop concurrently with the evolution of horror genre in the U.S., but after the revolution of 1917 and until the late 1980s this tradition was interrupted in Russia. Therefore, nowadays the question “What is horror fiction?” is unclear for Russian philologists, the question “How to write horror fiction?” is unclear for Russian writers, and including the horror genre in literature syllabus is regarded by Russian professors and teachers as a forbidden topic. The situation is different in the United States where a long-standing tradition of interpreting the category of the horrible has been created. Modern American scientists, philosophers, writers and educators agree that horror fiction in its best manifestations touches upon essential problems of a human soul. It allows to exert a powerful positive influence on the formation and development of a personality. Throughout the 20th century, the genre of horror was systematically evolving in the U.S., and as of today, it is American horror fiction that sets the standards of the genre all over the world. The aim of this research is to describe horror fiction as a dynamically developing genre from three points of view: 1) through comparative and genre analyzis of horror fiction in the U.S. and Russia; 2) by studying narrative strategies which are used by horror writers in the U.S.; 3) by surveying principles of teaching the horror genre in an American multicultural educational environment. After experiencing decades of oblivion, the genre of horror can revive in Russia thanks to the critical mastering of the U.S. experience, where the genre tradition has never been interrupted. A list of bibliography is attached to help beginner researchers with their study of the subject.

ОСОБЕННОСТИ ЖАНРОВОЙ ПАРАДИГМЫ ПОЭЗИИ РИМА ИДИЯТУЛЛИНА

The article is devoted to studying the genre paradigm of Rim Idiyatullin’s poetry. This author is a vivid representative of the modern Tatar poetry in Bashkortostan. His poetical works represent the genre evolution in the modern Tatar poetry. Nevertheless, the genre paradigm of his poetry has not been previously investigated as an integrated whole. Relevance and originality of the paper lie in the fact that the genre paradigm of R. Idiyatullin’s poetry and his experiments in this sphere have not been previously studied. The analysis allows concluding that the poet’s creative work is characterized by genre diversity: lyrical genres fit well with cross-genre experiments.

ЖАНРОВІ АСПЕКТИ ЕКРАННИХ ТВОРІВ

Мета дослідження – проаналізувати технології створення телевізійних програм та виявити причини й наслідки використання нових жанрів, методів і прийомів; розглянути процес злиття або заміщення одних жанрів іншими, появи нових жанрових утворень, народження нових екранних форм. Методологія дослідження. Разом із загальнонауковими методами (аналіз, синтез, узагальнення) використано системний аналіз, що дав змогу охарактеризувати взаємоінтеграцію новітніх технологій, жанрів і методів. Компаративний метод сприяв розглядові проблематики виникнення новітніх жанрових утворень, а історико-культурний – розкриттю основних тенденцій розвитку телебачення в різних історично-культурних контекстах. Наукова новизна роботи полягає в авторській інтерпретації новітніх тенденцій розвитку екранного мистецтва, диференціації телевізійних жанрів, типів і форматів телемовлення, розкритті інтегрованого відбору телепередач, процесів дифузії та гібридизація жанрів. Висновки. На основі розгляду взаємозвʼязку розвитку телебачення з еволюцією жанрів виявлено причини, які сприяли переосмисленню традиційних жанрів і появі нових, а також становленню нових типів телевізійних програм. Зʼясовано, що у звʼязку з еволюцією екранних жанрів поряд з дифузією й диференціацією жанрів спостерігається їх злиття, а розмитість жанрових меж призводить не тільки до виникнення гібридних жанрових форм, а й до постійного жанрового збагачення. Сьогодні жанри журналистики (і телевізійної, і газетної) є цілісною й развиненою системою, яка неперервно вдосконалюється.

Kabardian Novel through the Evolution of Genre Forms

Kabardian Novel through the Evolution of Genre Forms

COMPOSITION OF ORCHESTRA AND PRINCIPLES OF ORCHESTRAL WRITING IN CONCERTO GROSSO G-DUR № 2 BY JOHANN GEORG PISENDEL

The purpose of a work. The article examines the principles of orchestral writing in the instrumental works of J. G. Pisendel (1687-1755) in the context of the genre evolution of German orchestral music of the first half and middle of the eighteenth century. Material for analysis - Concerto Grosso number 2 G-dur. The methodology is an integrated approach and is based on the use of analytical and comparative methods. Scientific novelty. During the first half and middle of the eighteenth century German instrumental music sees an intense solo performance development and the role of individual musician’s skills is rising. Development of new genres, which can demonstrate performing skills, continues. One of them was a genre of instrumental concert, in which a triad concerto grosso – instrumental solo concert – concert symphony clearly reflected phased transition from Baroque to early classical style. The analyzed work by J. G. Pisendel as all the legacy of the artist as a whole, represents the initial phase of the process. The conclusions. Concerto grosso G-dur № 2 is written in typical concert form, with multiple alternation of ritornellos performed by all chapel instruments and musical constructions performed by a separate group of instrumentalists – so called trio. The composer tries to follow tradition and carefully constructs a typical composition of multiple bright ritornello in different keys and episodes of solo-ensemble type, which contrast in texture the full-toned tutti parts. Composition of the orchestra: 2 violins, a viola, bass (cello and harpsichord), 2 flutes, 2 oboes, bassoon, two horns. The trio is composed of two flutes, two oboes and bassoon as soloists as well as instruments of basso continuo group. Flutes and oboes solo in turns, but are often combined in a joint sound, as a result the trio becomes a quintet featuring masterfully interpreted woodwind instruments. The main function of tutti is to present the main theme, while the ensembles’ role is reduced to saturation the texture with virtuoso element.

ЖАНРОВЫЕ ХАРАКТЕРИСТИКИ ТРАВЕЛОГА В АНГЛОЯЗЫЧНОМ ДИСКУРСЕ: ДИНАМИЧЕСКИЙ АСПЕКТ

The article examines the dynamics of the key genre features of a travelogue - a written epistolary genre of the English discourse. The basic trends of the genre evolution are analysed by the example of its two historical forms - travel essays of the XIX century and a travel blog, which is an element of modern computer-mediated communication. The author identifies the key features of the travelogue genre - content (the theme of a journey), compositional structure and overall communicative purpose. Dynamics of the means to model the author’s and the addressee’s images is analysed using the corpus-based methodology.

Violin Concerto op. 22 by Sergei Bortkiewicz as a first sample of the genre in the history of Ukrainian music

Relevance. The most grandiose violin masterpiece by Sergei Bortkiewicz – his Violin Concerto op. 22 has not yet become an object of comprehensive musicological research and analysis. The date and place of creation in different sources are considered to be either Kharkiv (Ukraine) in 1914–1919 or Vienna (Austria) in 1922–1923. Some issues in the history of performance of this piece and specific of its form should also be marked.Objectives. The main targets of this study are to introduce Concerto for Violin and Orchestra by S. Bortkiewicz to the Ukrainian musicology, to carry out a comprehensive analysis of the work and to identify the place of the work in the history of the genre evolution.Methods. The research methodology is based on complex applying of historical, source-study and comparative methods.Results. Contradictory information about the period of creating of S. Bortkiewicz’s violin concerto is a result of delayed publication of the piece and limited access to composer’s epistolary. “Autobiography” by S. Bortkiewicz proves that he composed his Concerto op. 22 in Kharkiv. His own handwritten list of works gives us the date 1916. So, Violin Concerto by S. Bortkiewicz must have been the 1st example of the genre in Ukrainian music.S. Bortkiewicz’s interest in violin music is a consequence of his cooperation with violinists Alexander Mogilevsky and Frank Smit, the latter is a dedicatee of Violin Concerto and its first performer. According to newspapers from Austrian, German, Dutch and Brazilian archives, Smit has performed Concerto in Prague, Vienna, Berlin, Hague, Sao Paulo and Rio de Janeiro. First known performance, according to review in Prager Tablatt, took place in Prague on December 17, 1922. Though, it was not marked as premiere. Bortkiewicz has written to his friend Hugo van Dalen, that Smit would perform Violin Concerto in Vienna in November 1922, but there are no evidences, that the concert took place. Other violinists, who played Violin Concerto by Bortkiewicz during 1st half of 20th century were Ibolyka Gyarfas, Christa Richter and Jaro Schmied. Ukrainian premiere is dated February 16, 2002 (soloist: Anatolii Bazhenov).S. Bortkiewicz embodied his idea in three movements with traditional fast-slow-fast order. A few motifs are used throughout the cycle among unique themes of each movement (mvt). Opening mvt (allegro sonata) in D minor includes virtuosic violin cadenza. Elegiac 2nd mvt “Poem” in F minor is written in ternary form with preamble and more inspired central section. Introduction episode of 3rd mvt in D-flat major bind “Poem” with Finale. Finale is a sonata rondo in D major (parallel to the main key) in march style. As in the opening mvt, climax is located in orchestral episode.Conclusions. S. Bortkiewicz’s Violin Concerto had been written in Kharkiv in 1916 and turned up to be the 1st example of the genre in Ukrainian music. Various violinists performed it in different cities all over the world. The date of premiere performance is still uncertain. Climax episodes of the orchestra emphasize Grand Manner of the concerto. The influences of German and Russian tradition (countries where composer got his education) can be traced. Absence of opening preamble and introduction inserted before Finale correlate with Violin Concerto op. 64 by Felix Mendelssohn and a fairytale episodes using whole-tone scales ascend from Mikhail Glinka. Being isolated from further process of genre evolution in Ukraine Violin Concerto by S. Bortkiewicz could scarcely influence its descendants, however it remains an interesting and rare example of Romantic style Ukrainian music.

Fanning Flames/Flaming Fans: Theorising Fanfiction

Fanfiction is an enormously popular genre with a niche audience. And this niche is growing bigger and wider as more and more people join fan communities. These communities establish their virtual presence through fan labor, and fanfiction is a major contributor to the influence that a fandom constructs for itself.Juxtaposing this phenomenon with the rise of the digitization of literary spaces opens up the discourse about the evolution of literary spaces and genres. Fanfiction is the new item on the agenda that is garnering attention. Although quite a vast field of study, this paper is concerned with a uniform taxonomy and theory of Fanfiction.

МАССОВАЯ ЛИТЕРАТУРА В СОВРЕМЕННОЙ РОССИИ: ВЫЗОВЫ ДИГИТАЛЬНОЙ ЭПОХИ

The paper presents an analytical review of the collection of scientific articles Cult-Goods: Mass Lite­rature of Modern Russia between the Letter and the Digit (2018) and identifies the main ideas that form the problem field in researching modern mass literature. The collection is shown to be part of Russian studies of popular culture and presented as a result of the implementation of yet another stage of the large-scale multiyear project ‘Cult-Goods’, initiated by the leading experts in the field of modern literature (M. A. Chernyak (St. Petersburg), M. P. Abasheva (Perm), I. L. Savkina (Tampere), M. A. Litovskaya (Ekaterinburg)). The project is aimed at interdisciplinary research on mass culture in real time: a team of experts gathers annual scientific conferences, where researchers raise topical issues and identify current trends in the development of the modern literary process which are formed under the influence of extra-literary factors. The main trend of recent times is total digitization, affecting all spheres of a modern person’s life, and it constitutes the central theme of the reviewed collection. The team of authors includes more than twenty leading experts in the field of the modern literary process. M. A. Chernyak, M. P. Abasheva, V. V. Abashev, I. L. Savkina, M. A. Litovskaya, E. A. Ermolin, G. L. Tulchinsky, E. V. Kozlov and others study the way the new media technologies influence modern literature, the mechanisms of transformation of literature and its composition under the impact of digitalization, the qualitative change in the concept of mass culture. Nowadays, mass literature is understood as literature in demand. Therefore, the study of this stratum of culture appears to be a necessary condition for scientists to understand the semantic picture of the world of modern man. Analysis of the articles allows us to identify the most significant trends of the modern literary process: a cultural shift from the verbal code to the visual, the transfer of literature into the Internet and cinema space, the transformation of the cultural roles ‘author’, ‘reader’, as well as of the content of the concepts ‘literature’, ‘text’, ‘mass literature’, ‘elite literature’; a shift in the genre evolution of the novel towards the series.

Registered Reports: Genre Evolution and the Research Article

The research article is a staple genre in the economy of scientific research, and although research articles have received considerable treatment in genre scholarship, little attention has been given to the important development of Registered Reports. Registered Reports are an emerging, hybrid genre that proceeds through a two-stage model of peer review. This article charts the emergence of Registered Reports and explores how this new form intervenes in the evolution of the research article genre by replacing the central topoi of novelty with methodological rigor. Specifically, I investigate this discursive and publishing phenomenon by describing current conversations about challenges in replicating research studies, the rhetorical exigence those conversations create, and how Registered Reports respond to this exigence. Then, to better understand this emerging form, I present an empirical study of the genre itself by closely examining four articles published under the Registered Report model from the journal Royal Society Open Science and then investigating the genre hybridity by examining 32 protocols (Stage 1 Registered Reports) and 77 completed (Stage 2 Registered Reports) from a range of journals in the life and psychological sciences. Findings from this study suggest Registered Reports mark a notable intervention in the research article genre for life and psychological sciences, centering the reporting of science in serious methodological debates.

СОНАТА Б. БАРТОКА: КУЛЬМИНАЦИЯ РАЗВИТИЯ ЖАНРА СОНАТЫ ДЛЯ СКРИПКИ СОЛО В ПЕРВОЙ ПОЛОВИНЕ XX ВЕКА

The article considers the place of B. Bartók’s Sonata for Solo Violin in the process of the genre evolution in the first half of the XX century. Analyzing in detail B. Bartók’s Sonata for Solo Violin the author traces the form-generative, stylistic, linguistic, harmonic, structural, interpretational peculiarities of the composer’s technique of the middle of the XX century. The analysis of the Sonata structure reveals the application of the regularities of the numerical Fibonacci sequence and the proportions of the “golden section” point in form-generation by B. Bartok. The paper justifies the variety of the performance versions of this composition.

(POETIC) LICENCE TO KILL: APOLLO, THE PYTHON, AND NICANDER'STHERIACAIN OVID,METAMORPHOSES1

The identification of the quarrel between Cupid and Apollo atMet. 1. 452–73 as a Callimacheanrecusatiohas become a noted feature of scholarly discussion on this passage. Cupid and Apollo's encounter stands as a favoured starting point for the ongoing analysis of generic interplay within Ovid's sprawling work; this is hardly surprising, given its consideration as a programmatic, exemplary triumph of elegy over epic. Although genre studies on theMetamorphoseshave represented an enduring presence in Ovidian discourse since Heinze's pioneering work, genre's evolution into what some deem a pet scholarly obsession within studies of the poet has garnered both admiration and revilement. Given the multiplicity of discussions prominently featuring this very episode, it would not seem unfair to deem any addition superfluous. However, adding to the surfeit of analyses is exactly my intention here, with the view that there are yet a few elements that have gone unremarked or underexplored, and that such elements can illuminate further the complex interplay between epic and elegy here on display. Namely, I will suggest that the dynamic created by the difference in accounts of the Python's slaying (Ov.Met.1.441–4 versus 1.456–60) has not been appreciated fully for its role in the debasement of epic poetry that leads into and consequently informs the programmatic myth sequence of Apollo and Daphne, and that this dynamic finds an overarching explanation by supplying reference to a passage from Nicander'sTheriaca. Using Nicander as a literary source, coupled with recognition of both the fictive touches and the weighted literary critical language that Apollo retrospectively applies to his deed, allows us to reinterpret this passage and provides a further example of Ovid's careful strategies of narrative and tone.

The Piano Duet in the System of Piano Ensemble: Genre-Typological Aspects

The Piano Duet in the System of Piano Ensemble: Genre-Typological Aspects

ОСОБЕННОСТИ ЖАНРА ЭССЕ В НАЦИОНАЛЬНОЙ ЛИТЕРАТУРЕ: НА ПРИМЕРЕ ТВОРЧЕСТВА М. ГАЛИЕВА

The article considers the essay genre in the modern Tatar prose. The paper aims at studying this phenomenon, the peculiarities of its content and form by the material of the Tatar writer M. Galiev’s creative work. The author argues that the analyzed text is basically the memories on the Soviet epoch, in which the demythologizing function predominates and nationality problems are hotly discussed. The research findings testify that Galiev’s creative work represents the paradigm of the genre evolution, discovers the possibilities of combining epical and lyrical elements within the essay genre in the modern national prose.