Genre Affiliation Research Articles

To the question of cyclization in the lyrics of G. R. Derzhavin on the example of seasons cycle

This article examines G. R. Derzhavin “uncompiled” cycle of seasons that consists of the chapters “Winter”, “Spring”, “Summer” and “Autumn”. The author clarifies the existing in scientific literature grounds for receptive unification of these texts into an “uncompiled” cycle. Alongside the theme and genre affiliation, the point of view of a lyrical subject should be considered as the key features of cyclization. The article gradually analyzes the peculiarities of four seasons that gave the name to the receptive cycle, as well as determines the unconformity of their function to the canons established in Russian poetry of the XVIII century. The author determines the correlative internal links of the texts within the framework of the receptive cycle, based on the topics of dialogues and images of the addressees. In the process of communication, the autobiographic lyrical subject grasps his views upon the nature of poetic gift, and formulates the own axiological paradigms, consists in epicurean perception of reality, ability to enjoy only most essential goods (health and honesty, obedience to God’s will, acceptance of present times and life events of the past. The novelty of this research lies on the thesis that the trend of cyclization has not previously become the subject of special analysis on this particular material.

Three piano pieces of Liudmila Shukailo in the context of genre paradigm

Three piano pieces of Liudmila Shukailo in the context of genre paradigm

Moodysson, Ardenne, Derrida: Reading genre, extremity and controversy through the art–pornography of A Hole in My Heart

Labelled as ‘new extreme’, Ett hål i mitt hjärta (A Hole in My Heart) (Moodysson, 2004) controversially straddles the boundaries of art and pornography, challenging the supposed eroticism of pornography with disgusting re-enactments and rethinkings of the violence of pornography. It is transgressive but not excessively so; it is recognizably both artistic and pornographic but hardly representative of either genre. In this article, I show that Paul Ardenne’s theory of extremity is a good means for understanding the play with boundaries that takes place in A Hole in My Heart as well as in Jacques Derrida’s analysis of genre labels. Through an analysis of A Hole in My Heart’s relation to art and pornography, I propose an account that allows for multiple permutations of genre affiliation and suggest that it could advance thinking about new extreme films and genre more broadly.

Ангарский охотничий нарратив как объект лингвистического исследования

The article examines a typology of hunters’ oral narratives. Objectives of studying these texts are formulated. The research is based on unique materials recorded in 2012-2019 during folkloric and dialectological expeditions to the Northern Angara region. The conclusions are made that hunters’ narratives can be classified according to the following criteria: subject matter, genre affiliation, dialectological affiliation, type of narration, type of emotional colouring.

Metafictional potentiality of detective fiction and the metaphysical detective stories

The article examines metatextual devices appearing within texts whose genre affiliation — the implementation of the detective novel convention — is unarguable. Such use of selfreferential strategies is juxtaposed with their applications in texts that in English-language reflection on postmodern and modernist novels are defined as metaphysical detective stories. The article examines the genre aspects of the use of these devices and their consequences for the location of a crime novel within contemporary popular culture.

Эмотивные границы экологичности

We describe the established relationship between linguoecology and emotioology, which is manifested in the emergence and development of emotive linguoecology. We substantiate the use “ecology” concept in the refraction of emotivity. We consider the influence of emotivity on the boundaries of ecology. The material of the work is an artistic emotive text, on the example of which its ecology is established by the method of emotive analysis. As an assumption, the follow-ing is accepted: emotive analysis is universally applicable to any text, both in terms of its func-tional, stylistic, and genre affiliation, and in terms of its temporal relevance; ecology of the text is related to the emotional motivation of its author and is determined by the rating sign of emotives in the text. The main result of the work is to clarify the emotional coordinates of ecology by refer-ring to the role of emotions as the motivational basis of all human activity. The work concludes that ecology is manifested in the emotional motivation of the author who produces an emotive text. We noted why the relationship between emotive and ecological linguistics ensures their mutual development and resilience. We list the main emotive perspectives of linguoecology and linguoecological perspectives of emotionology. We predict the possibilities of their further integration.

Станаўленне навуковага стылю беларускай мовы ў пачатку ХХ ст.

The article analyzes the conditions and formation features of the scientific style of the Belarusian literary language of the early XX century (1900–1920), which came to be the basis for the formation of the scientific style in its further development in modern language. Emphasis is placed on the socio-historical and cultural-political context of the formation of the Belarusian scientific language in the early XX century, the role of scientific institutions of that time, popular science and scientific-educational works presented in certain fields under rele¬vant names in the development of the scientific style of the Belarusian language in that period. The issues of Belarusian terminology formation are actua¬lized, lexical, morphological and syntactic features of the language of science are outlined. The characteristic linguistic and stylistic features of scientific works, as well as their genre affiliation and structure are identified.

ФРАЗЕОЛОГІЗМ-ЗАГОЛОВОК ЯК МАНІПУЛЯТИВНА ДОМІНАНТА МЕДІАТЕКСТУ

The article deals with different types of headings with a phraseological component, which is motivated by the manipulative function of media. Thus, journalists resort to manipulation in media when they want to: (a) obscure factual information; (b) affect the mass consciousness of the Ukrainians; (c) focus on key positions of a media text. A phraseologism (as a certain verbal code of mass communication that is characterized by semantic indivisibility, integrity, emotionality and expressiveness) is used primarily to attract the attention of the recipient and to accentuate the main positions of a media text. The role of a phraseologism in the heading of a media text is very high: it is able to succinctly convey the meaning of the main text, motivate the recipient to perceive the material, be apt in the role of media nomination of the phenomenon described. In the context of information competitiveness, the chosen phraseologism-heading helps the media text to be noticed and read by the potential recipient. An attempt is made to classify phraseologisms-headings as the dominant of modern media texts by several criteria (structure, functions and genre affiliation). Such classification was made possible by the broad illustrative material: Ukrainian printed and electronic media, radio and television, advertising, the Internet (2019 – early 2020). Emphasis is made on the correction of the proposed classification due to the expansion of information space and the emergence of new genres with headings of new types. It is proved that a phraseologism-heading in media is used for: attracting the attention of the recipient, focusing on key information, clarifying on some facts, activating the background knowledge of the recipient, pre-comprehension and understanding the text, influencing the mass consciousness. The key goal of a phraseologism-heading remains manipulation. A phraseologism-heading is increasingly used by journalists in modern media communication.

Изъяснительные конструкции в научном дискурсе: жанровые предпочтения

The author of the article understands object clauses as a semantic type of sentences with a set of different ways of expressing semantics: polypredicative subordinate clauses, asyndetic clauses, monopredicative clauses, clauses with parenthesis. It is suggested that the set of constructions used in academic discourse depends on the genre of the academic text. The genres of article abstracts and thesis summaries as secondary texts (texts about texts) were chosen as a material for a comparative study. The author reveals the incomplete paradigm of object clauses in secondary academic texts. The analyzed language material allows us to state that the genre of the academic article abstract does not use the entire paradigm of the ways of expressing explanatory semantics, choosing only two models as the basic ones, with a higher frequency of the monopredicative model. In the genre of thesis summaries there is a lower frequency of monopredicative clauses with deliberative semantics and a higher frequency of polypredicative subordinate clauses containing hidden reflection of the author of the text. The analyzed material indicates that the hidden author’s reflection is more often manifested through the use of quasi-impersonal sentences. The author of the article believes that there is a tendency in the analyzed genres towards increasing impersonality, the elimination of the subjective author’s position, and the desire to objectify the presented information. The research has found out certain constructions which function actively in the genre of the academic article, but are not used in article abstracts and thesis summaries. It is noted that not all introducing predicates recorded in the academic literature function in the analyzed genres. This can be explained by the genre affiliation of the texts and their communicative task. The author determines a number of objectives of the further research.

История возникновения и развития литРПГ

The article presents the main features of the young and popular genre litRPG. The ambiguity of this subgenre, which arose at the junction of literature and, so-called, “network literature”, attracts the attention of the scientists. LitRPG is a subgenre of science fiction which combines real and virtual world, and the events unfold in the MMORPG. The game in such a work becomes the main plot-forming element. The features of the subgenre are the following: virtual world as a place of action, description of a game interface, gamer slang, character improvement during the game, different quests to be passed. The paper provides a brief overview of the problem research, offers different definitions of the term in order to clarify the genre affiliation, as well as highlight the characteristic features. In addition, the study attempts to determine the prerequisites for the formation of this drift of modern literature. Case studies of specific works can help tracing the main stages of formation and development of LitRPG.

Проблема емансипації жінки у фейлетоні «Амазонія: надзвичайно недотепна історія» Миколи Чирського

The author of the article analyses the problem of the female emancipation in the little-known feuilleton “Amazonia: A Very Inept Story” (1924) by Mykola Chirsky. The author determines the genre affiliation of the work and examines its compositional structure. Three parts are distinguished in the architectonics of associative feuilleton: associative conception; deployment of a “small” topic; conclusion. The author of the article clarifies the role of intertextual elements and the method of constantly switching the tone from serious to comic to reveal the thematic direction of the work. Mykola Chirsky’s interest in the problem of female emancipation is corresponded to the general mood of the era. The subject of ridicule in provocative feuilleton is the woman’s radical metamorphoses, since repulsive manifestations of emancipation becomes commonplace. At the same time, the writer shows respect for the woman, appreciates her femininity, internal and external beauty, personality. He associates the positive in women with the functions of a faithful wife, a caring mother, and a skilled housewife. In feuilleton, the writer does not bypass the problem of the modern man role in a family, but analyses the value and moral and ethical guidelines of his character. The husband’s bad habits receive a caricatured interpretation in the strange behaviour of relatives. On the one hand, the writer does not perceive the extremes brought by female emancipation, and on the other, he mercilessly criticises the male “virtues” of contemporaries far from the standard. The artistic heritage of Mykola Chirsky remains little studied. The urgent task of modern literary studies is the introduction of Mykola Chirsky’s unknown works into the scientific circulation and their thorough scientific understanding.

Colloquiality and stylistics of online alternative news media

Abstract The main line of the study is bound to the conditions, demonstrations and effects of colloquiality (colloquialization) parameter that has been applied in the current electronic media communication sphere. Colloquiality as a non-verbal, structural and compositional attribute of a piece of communication is primarily present in the open, semi- and non-official communication contacts with direct, immediate involvement of their participants. In traditional print journalism built on the verified principles of printedness/ writtenness, colloquiality occurs as a secondary, accompanying attribute of the media communication pieces. Regardless of the genre affiliation of the newspaper products, it helps perform their, e.g., documentary, persuasive, captivating, characterizing, relieving or aesthetic functions. Apart from the parameter of printedness, both mainstream and alternative (complementary) online media generally calculate upon the advanced options of the visual code systems. Thus, language-based online newspapers are easily supplemented with simultaneous, additional, or substitutional means and procedures of cinematographic origin, e.g., a surprising choice, dynamic edition, purpose-made superposition of the text, audio and video sequences being applied through hyperlinking, audiovisual effects, etc. Besides, accompanying dialogization and consequent de-officialization of online newspapers are changing conventional characteristics of the journalistic style. The expanding zone of colloquiality loosens the standards of codified language in written/printed communication. Boundaries between the varieties in the framework of language stratification are already easily penetrable. The material base and argument platform of the study consist of author texts published in the Slovak online alternative news media.

The genre of folk song arrangements: the synthesis of composing and performing interpretations

The genre of folk song arrangements: the synthesis of composing and performing interpretations

Feature Films Nomination in Russian and English: Linguocultural Aspect

The history of cinema in comparison with the thousand-year history of music, painting or theater is short. Cinema is one of the youngest and at the same time one of the most popular arts. Naturally, it attracted the attention of sociologists, aesthetics, art historians, cultural theorists, linguists – everyone who is interested in the problems of artistic creativity and its perception, the dynamics of public attitudes, etc. Drawing up the title of the movie is a very complex and multi-tasking process. It is necessary to create a competent heading structure for a film of a particular genre affiliation and select, if necessary, stylistic figures. It is important to create an attractive, concise title that will attract the attention of the viewer. In addition, the title should be translated keeping the link with the content. This study is devoted to the particular qualities of the nomination of feature films of world cinema of the 20th and early 21st centuries, as a reflection of socially significant cultural concepts. In order to achieve the goals, we achieved the following tasks: to present the classification of the titles of movies; define the functions of movie titles and identify the basic techniques and strategies of composition.

До питання про хореографічну інтерпретацію трагічних подій в історії нації (на прикладі балету «Антуні» Едгара Оганесяна в постановці хореографа Максима Мартиросяна)

The purpose of the research is to reveal the peculiarities of “Antuni’s” performance by Edgar Hovhannisyan staged by choreographer Maxim Martirosyan (1969) it is the first ballet on the Armenian Genocide in Turkey and the first ballet on Komitas as a variant of the choreographic interpretation of tragic events in the history of Armenians. Methodology. By a detailed analysis of the video recording of the ballet “Antuni”, artistic features of the ballet were revealed. Scientific novelty. The correspondence of the script of M. Martirosyan and his statement has been revealed, the genre affiliation of the ballet has been determined, its forms are structures, types of dramatic development, interpretation features of the characters, especially the main character, the specifics of the choreographic language. Conclusions. The drama of the ballet “Antuni” is built on a cross-cutting principle and is akin to a number of works of cinematic genre. The principles of interpretation of events and the image of the hero are allegorical. The choreographic text combines elements of classical, national dance and free movement. In “Antuni” there are no variations of forms, codes, etc., characteristic of classical ballet. There are choreographic monologues and dialogues that always accompany and complement the corps de ballet. The development action in two stage planes creates an opportunity for the “polyphonic” transmission of both the hero’s thoughts and experiences, as well as the visualization of polyphonic music works. Martirosyan did not set himself the task of visualizing a musical score created by E. Hovhannisyan, but a choreographic interpretation of polyphonic choral arrangements, in some cases of Komitas’ piano dances. In the first part, the mass scenes visualize the variety of Komitas’ multi-vocal works, and in the second part – his perception of the horrors of genocide and deportation and his mental attempts to get out of the nightmarish impasse. After the performance of Martirosyan, a number of Armenian choreographers created many choreographic interpretations of a large and small form about Komitas and the Armenian Genocide, but none of them has yet surpassed “Antuni”.

COMPOUND NOMINAL PREDICATE IN THE OLD BELARUSIAN LANGUAGE: REPRESENTATION OF THE NOMINAL PART

The article considers means of representation of the nominal part of the compound predicate in the Old Belarusian literary and written language and gives examples from written monuments of different genres dated the 14th – 18th centuries. It was revealed that the most common ways to express it are as follows: nouns in the nominative and instrumental cases, and sometimes in other oblique cases; short adjectives in the nominative case; full adjectives in the nominative and instrumental cases; adjectives in comparative and superlative degrees; short and full participles; adverbs and words of the category of state. Pronouns (possessive and relative) and numerals (quantitative and ordinal) are less common. The neuter short participles are used as part of a compound nominal predicate in mononuclear impersonal sentences. The choice of the nominative or instrumental case of a noun or an adjective being the nominal part of the predicate could depend on the location of the nominal part in the structure of the predicate, the origin of the written text, its genre affiliation, the grammatical systems of other Slavic languages, the traditional spelling and the desire to reflect the features of live speech in writing. These factors have caused the variability of the nominal part of the compound nominal predicate. The results of the research will contribute to the theoretical understanding of the dynamics, main trends and patterns of development of the syntactical system of the old Belarusian literary and written language. They will also be used in characterizing the language features of the monuments of different genres.

СЕМАНТИКА ЗВУКА И ВОКАЛЬНАЯ АРТИКУЛЯЦИЯ В НАРОДНО-ПЕСЕННЫХ ТРАДИЦИЯХ: ПРОБЛЕМА ВЗАИМОСВЯЗИ (НА ПРИМЕРЕ МОРДОВСКОГО ПЕСЕННОГО ФОЛЬКЛОРА)

The article deals with the interrelation of the semantics of sound and articulation in folk-song traditions. The sound of human voice, which is of particular importance in ethnic cultures, is analysed in detail. The main points and conclusions of the Russian scientists concerning the semantics of sound in folk musical culture are illustrated by the results of the studies of the Mordovian folk-song tradition. The song culture of the Moksha and the Erzya, along with the features common for the majority of folk traditions, has its own specificity and originality manifested, in particular, in articulation. By the example of certain song genres of the Moksha-Erzya folklore, the connection of articulation and genre affiliation of a song sample, as well as the direct connection of articulation and semantic fullness, which is embedded in a folklore work by the folk tradition, is shown.

E-sports broadcasts as a new format in journalism

Over the past five years, eSports traditionally considered to be just the greatest passion for video games, from a class for modest unification gamers in different parts of the world turned into almost a billion industry with a multi-million dollar community. Against this background, it is not surprising that media players and the media are interested in the fast-growing and popular niche. Materials about professional gaming began to appear even in non-profile editions, and broadcasts of eSport competitions were included on cable and satellite TV channels.And therefore, it can be stated that eSports is one of the most actively developing areas of leisure in the world. At the moment, eSports, like traditional sports disciplines (football, hockey, basketball, etc.), is a rapidly expanding business, which invests a large amount of money and involves many people of different professions, including journalists.This article analyzes the phenomenon of eSports broadcasting and its specificity: genre affiliation, characteristic features, features of appearance and commenting. Also, eSports broadcast is regarded as a journalistic product. In addition, there was described as the emergence of eSport and eSports journalism.The scientific significance of this article lies in the fact that the study of eSport journalism is also determined by the fact that, at this moment, this area in the scientific community is practically not represented by any research, either domestic or foreign. Very superficially and uncertainly, scholars just beginning to talk about the phenomenon of “eSports”, but practically nothing can be found about journalistic activities in this area.The practical significance of the work is to show the genre affiliation of eSports broadcasts to journalism, to give an idea of this trend and to determine similarity with other directions.The main purpose of the study is to determine the place of eSports broadcasting in the system of journalistic genres, to demonstrate the media relevance and commercial potential of this type of product.

ЖАНР МИНИАТЮРЫ В ПОЭЗИИ ЛИ ЯНЬЛИНА

The article reveals the peculiarities of the genre of miniature in poetry by Lee Yanling, a Chinese poet writing in the Russian language, a member of the Union of writers of Russia, Deputy Chairman of the Amur writers’ organization, the chevalier of the Russian Order of Friendship. The paper identifies the features of traditional Russian and Chinese poetry in his work, analyzes the place of miniatures in contemporary literature and the distinctive characteristics of Russian and Chinese miniatures. An attempt is made to analyze the genre specificity of Lee Yanling’s miniature. His poems are written in Russian but contain features of Chinese poetics. At an early stage of his work, Lee Yanling, who adhered to the native Chinese literary tradition, turned to the form of laconic lyrical philosophical poems of traditional Chinese miniatures ‘weixingshi’; but, despite this genre affiliation, his poetry cannot be considered exclusively ‘Chinese’. Lee Yanling engaged in translation of Poems in prose by Ivan Turgenev into the Russian language, which, in our opinion, also influenced his work in terms of refrains, rhythm, phonics and the strophe pattern. In addition, Lee Yanling uses traditional images (for example, the image of a birch tree), place names and derivatives thereof (for example, Amur), a two-part composition of the text typical of Russian miniatures, distich, which V. A. Zhukovsky used in his works, rhythmics, unexpected rhyming and graphic breaking of stanzas, as well as tropes and stylistic figures typical of Russian poems. The main themes in the works by Lee Yanling are: 1) international friendship between the Russians and Chinese in the border areas; 2) Russia and the Russians. His miniatures, like the author himself, are on the border between China and Russia, between Chinese and Russian miniatures, on the territory of the unique literature of the Amur region. Lee Yanling’s works organically combine the features of poetic traditions of both countries in a special cultural system. They cause a great interest of Russian scientists, poets, journalists, readers, and require further study.

Czym są „Kwiaty polskie” Tuwima?

Tekst jest zapisem ostatniego publicznego wystąpienia prof. dr hab. Krystyny Ratajskiej (1938–2017), poświęconego Kwiatom polskim, przedstawionego 13 września 2017 roku w Domu Literatury w Łodzi podczas panelu dyskusyjnego, stanowiącego fragment imprezy Urodziny Juliana Tuwima 2017. W wykładzie tym zostały na wstępie przypomniane okoliczności genezy i kwestie gatunkowej przynależności Kwiatów polskich. Przytaczane przez Autorkę wypowiedzi Tuwima, zaczerpnięte z jego korespondencji, wiodą do spostrzeżeń dotyczących nowatorstwa formalnego tego poematu. Kwiaty polskie można nazwać „barwnym kalejdoskopem” – formą pojemną, stanowiącą nową jakość, która dopuszcza rozmaite gatunki oraz sposoby mówienia o świecie. To utwór, w którym mogą się zmieścić różne jakości i rozmaite tonacje stylistyczne. Można też komponowanie tego poematu przez poetę porównać do tworzenia bukietu – do składania barwnej całości z fragmentów gatunkowo różnorodnych, co sprawia, że staje się on utworem synkretycznym – literacką hybrydą. Kwiaty polskie Tuwima to także zbudowana z przeróżnych fragmentów „lektura biograficzna”, której niechronologicznym, asocjacyjnym porządkiem rządzi pamięć. Autorka wykładu przypomina również o powinowactwach głównego bohatera poematu – Ignacego Dziewierskiego – z Tuwimem. To, podobnie jak poeta, twórca utalentowany, uprawiający sztukę różnego typu (zarówno wysoką, jak i niską). Może on jednak być także postrzegany jako jego portret duchowy – poszukający w uprawianej przez siebie sztuce pociechy i ucieczki przed lękiem, bezsensem i śmiercią. Według Autorki Kwiaty polskie to, w końcu, utwór zrodzony z mikrologicznej pasji Tuwima – z zamiłowania do szczegółów i drobiazgów – ukazujący świat, w którego kreacji budulcem stają się zmysłowe ułamki, drobiny, okruchy, ślady.