Genre Attribution Research Articles

The Writing of the Body in the Kumarajiva from the Imagery of the Sun

Across multiple civilizations, the sun has been for centuries considered an extremely prized cultural symbol with numerous connotations. In "Kumarajiva" by Shi Jincun, the sun is a recurring symbol that plays a significant role in the story's emotional transformation of the protagonist. Therefore, it is interesting to delve deeper into the meaning of this image. This essay aims to analyze the coexistence of the two suns in Kumarajiva, which represent human and buddhist nature, respectively, with their various cultural connotations. It also seeks to uncover the narrative idea of the supremacy of the body in the work by highlighting the rivalry and differences between the two suns. This paper aims to bridge the gap between the study of narrative and literary history by examining the similarities between the concept and the principle of neo-sensationalist creativity. It will also offer textual perspectives on the genre attribution of Shi Zhecun, a case that has garnered significant attention in literary history.

Autobiographical tendencies in Boris Ryzhy’s works. The Rotterdam Diary [Rotterdamskiy dnevnik

The article analyzes the autobiographical features of The Rotterdam Diary [Rotterdamskiy dnevnik], the only prose work by the late poet B. Ryzhy, a native of Yekaterinburg. The Diary was written soon after his trip to the Poetry International Festival in the Netherlands in 2000 and can be viewed as the young poet’s confessions that shed light on the logic of his life and work. The book remained unfinished at the time of Ryzhy’s death — his widow and father came up with the title and initiated a posthumous publication in the Znamya journal. The book’s unique quality lies in its tentative genre attribution as well as significant fragmentation of the narrative. Using narratological methods, the article demonstrates the narrator’s use of a nonlinear narrative to put together his own image — that of a loner, a ‘loser,’ and, at the same time, ‘an ordinary Russian poet.’ Interestingly, this image is partially reflected in the poet’s contemporaries also portrayed in the Diary and helps to form an opinion about the lyrical hero from the viewpoint of his typological traits.

Concert ouverture “In the South (Alassio)” by Edward Elgar: summation of own experience and foreshadowing of upcoming innovations

Statement of the problem. Creativity of many composers includes the works proving crucial for understanding evolution of the artist’s individual style. Usually, the scholars’ attention is drawn to the works that become a result of stylistic evolution and that become popularity amongst the audience and the performers. At the same time, it is of no less importance to study the works that became milestones on a path to upcoming achievements, especially if there are heritage lines leading to them from the previous works. This is a situation with E. Elgar’s concert ouverture “In the South (Alassio)”: on the one hand, it summarizes composer’s achievements in this genre, on the other, it is the last composer’s step before creating his First Symphony. Apart from this ambivalence of the status, the work demonstrates the process of mediation of extremities, that can be traced on the levels of genre, structure, harmonic means and approach to extramusical. Objectives, methods, and novelty of the research. In the studies devoted to E. Elgar’s creativity as a whole or his symphonic compositions, the role of the Ouverture in the indicated evolutionary aspect is not considered, which determines the scientific novelty and relevance of the presented research. The purpose of the study is to reveal intersection points between concert ouverture “In the South (Alassio)” with the composer’s past and future creative achievements. Based on a historical-biographical approach, the history of the Ouverture’s origin is highlighted in view of its place in the artist’s creative evolution; a comparative method was used to juxtapose “Alassio” with other works of the composer; structural-compositional, genre and stylistic, intonation types of analysis were applied to examine the sheet music text of E. Elgar’s composition in detail. Results and conclusion. The study concludes that this concert ouverture is tightly integrated both in the context of development of E. Elgar’s symphonic style and into late-Romantic symphonysm as such. This work becomes the last composer’s preparatory step prior to his First Symphony as it contains germs of its multiple innovations: in harmony, structure and orchestration. Connection between “In the South” and general symphonic context is seen at multiple levels: genre attribution (the work defined by the author as “concert ouverture” has the features of symphonic poem, genre much more relevant for that time); harmonic language (freedom of tonal structure and modulations, juxtaposition of far chords; passages whose key cannot be defined etc.); specifics of themes and thematic development (multi-thematicism, inclusion of “picturesque” episode, intonation links between the themes). But originality of “Alassio” does not allow to regard is as an epigone imitation of late-Romantic symphonic style, but makes us understand it as a new step of this instrumental tradition. At the same time, it is possible to define more traditional traits at each of these levels: despite all the diversions from the sonata-form it is not fair to conclude that it is changed by another structure or is combined with it; three out of four themes of principal part, except for “Nobilmente”, are purely diatonic both in melody and harmony; programmatic approach does not lead to a large number of illustrative episodes, as it was done later by R. Strauss in “Till Eulenspiegel’s Merry Pranks” or “Don Quixote”, or later by E. Elgar himself in “Falstaff”.

GENRE-STYLE PARADIGM OF THE MODERN UKRAINIAN MYSTICAL STORY OF THE 21ST CENTURY

The article presents an overview of the peculiarities of the modern Ukrainian mystical story as a literary genre. It also analyzes the problem of a clear definition of the term "mystical story", since there is no differentiation of this genre in modern literature, which would allow us to talk about its differences from other types of stories. The specifics of the interpretation of the mysticism in philosophical, religious and literary contexts are studied on the basis of the works of Ukrainian and foreign scientists. The genre attribution of the mystical story is outlined in comparison with the above mentioned genre categories (magical realism and whimsical prose). The article emphasizes the fact that the varieties of the short story as a genre of short prose have practically not been studied in the field of literature: for the most part, short stories have been considered only in comparison with other prose genres, while there are almost no attempts to classify the varieties of short stories. The paradigm of traditional images, characteristic of the Ukrainian mystical tradition and folklore (Blud, chort, domovyk) is considered. Stories from the collection "Ukrainian mysticism" are compared in order to analyze the categories of "mystical" and supernatural images embedded in them, attention is drawn to the peculiarities of the interpretation of elements characteristic of Ukrainian oral folk art. Subtypes of other genres present in mystical stories, such as detective and horror, are also distinguished, and the leading motives of such stories are determined (the motive of transformation, the motive of entering the other world, the religious motive, the motive of contrasting the ordinary and the other worlds). In addition, the paper presents the author's classification of mystical stories by genre and thematic characteristics.

Literary Works in the Ural Newspaper (1897–1908): Editorial Policy and Genre-Thematic Features

The purpose of this article is to define the artistic and extraliterary features of the literary section of one of the first and most significant private newspapers of Ural Region at the turn of the twentieth century. The conclusions of the article are based on the genre attribution of works published in the newspaper (a poetic legend, feuilleton, soldier’s tale), the correlation of these works with the sociocultural and geographical contexts, and the peculiarities of the authors’ biographies. The article notes an attempt to correlate heterogeneous phenomena in the literary section made by the editorial board of the newspaper. It is important because of the peculiarities of the newspaper’s circulation at that time and the awareness of the geographical position of the Urals as a “middle” region. In the newspaper, there are themes, plots, genres of works of Western European literature and the East, the fate of authors, actively moving to the east (Siberia, the Far East) and to the west, newspaper, and literary texts proper. The editorial policy for Ural was formed along the lines of the coexistence of different esthetic and political views. This was due to the extraliterary peculiarities of the newspaper’s circulation at the turn of the century and the need to attract the attention of readers by any means to provide financial success. In the study, the author applies the genre and motif analysis of literary works. The conclusions are based on a wide literary and illustrative material of the Ural newspaper and other newspapers of Ural Region, the memoirs of contemporaries, and archival materials. The characteristic features of literary critical materials published in the Ural newspaper confirm the features of the editorial policy indicated: an appeal to contemporary authors and authors of the past and to works whose authors had different aesthetic views. As a result, the author of the article concludes about the medial position of the literary department of the Ural newspaper, uniting literary works that are diametrically opposed in sociocultural, aesthetic, and geographical terms.

Zlata Tkach’s Concerto for Piano and Orchestra as a Culmination of the Composer Symphonic Thinking

The purpose of the article is to characterize Zlata Tkach’s Piano Concerto as the culminating composition in the genre of the composer’s symphonic music. The research methodology is based on the method of complex musicological analysis, due to which, the role of this work in the system of memorial genres of the author is determined, typical style features of her work late period are revealed, the thematic structure of the Concerto is characterized from the position of the manifestation of the principle of dialogicity and monothematism. The scientific novelty of the research is that for the first time, intonation processes in a Piano Concerto by Z. Tkach are systematically analyzed and the correlation of its traditional and innovative features is characterized. Being by genre attribution an opus with a pronounced desire to use modern means of expression, the concert is distinguished by the manifestation of the principle of microthematism and textural thematism. In the dramaturgical solution, the author conducts a constructive search in dynamic, timbre and rhythmic comparisons. At the same time, the intonational unity between the sections of the form, being the development of the romantic principle of poetry, is expressed in the form of monothematism. Conclusions. The creative method of Z. Tkach manifests itself in the synthesis of tradition and experiment. This is confirmed by the intonation-thematic structure of the Piano Concerto, in which the convergence of contrasting material contributes to the formation of an integral musical and dramatic concept. The motifs that form the basis of the monothematism complex establish intonation arches between the sections of a one-part composition, fastening them and subordinating them to a common plan. Important importance belongs to the opposition of the roles of the participants in the performance. Their dialogical activity is manifested in a peculiar way by the composer, primarily in the dialogue between the soloist and the orchestra: the interweaving of two contrasting figurative spheres is realized primarily in terms of content. The principle of monothematism is manifested especially vividly in the characterization of tragic reflections, painful reflections on the eternal conflict of the creative personality with the surrounding world, leading to a deep understanding of what exists. The other embodies the dynamism of life, dominating in the culmination of ‘action’, the accumulation of energy. Both the piano and the orchestra are equally involved in the development of both figurative principles. The resulting translational, purposeful movement towards the finale determines, along with the principle of monothematism, the integrity of the entire composition.

What is Nikolai Klyuev’s “Hung Upside Down” Crying for? (On Poetic Epitaph to Victims of White Terror)

The article is devoted to the problems of historical and cultural commentary, as well as the interpretation of the ideological-figurative content and genre attribution of N. A. Klyuev’s poem “Hung upside down...”, created by the poet during the Vytegorsk period of his life (1918—1922). The analysis showed that the facts of Klyuev’s Vytegorsk life at the time of his creation “Hung upside down...” and the poet's deeply felt fear of being subjected to a cruel execution prompted him to literally perpetuate the memory of the victims of the White Terror who were martyred by hanging during the Civil War. The authors of the study come to the conclusion that references to the Bible and L. I. Palmin’s poem “Requiem” make it possible to attribute this work of Klyuev to one of the most ardent works of the poet of that time, calling on the living to selflessly serve the ideals of the proletarian revolution, and to identify its genre as a literary epitaph to the victims of the White Terror, which stands out for its monumentality and the timelessness of its valuable message to descendants. The authors of the article are convinced that the failed attempt by Klyuev to republish the poem “Hung upside down...” in 1927 betrays the poet, who is experiencing criticism of the counter-revolutionary content of his works, a desire to demonstrate the continuity of his later work with his “communard” past.

Poetics of the epitaph “On the Death of Alexander Druzhinin, January 19, 1864ˮ by Afanasy Fet: genre attributes

The article examines the poetics of an epitaph “On the Death...ˮ on the example of the work of the same name proposed for analysis by the poem “On the Death of Alexander Druzhinin, January 19, 1864ˮ by Afanasy Fet. The purpose of the analysis is to determine the genre of the poem, which still remains unclear. The novelty of the author's approach is due to the fact that the discovery through analysis of such genre-forming attributes as genesis dating back to the epicedium (a kind of mourning elegy), genre “concept of personality”, burial portrait, the characteristic principle of figurative visualisation, dating of writing, that allows us to reveal the independent genre status of the poem. It is the genetic heredity of the epicidium, around which other considered genre attributes are concentrated, that helps to define the poem “On the Death...ˮ as a special genre form associated with mortal and memorial genres – the epitaph and the poem “In Memoriam...ˮ. Since the set of genre attributes, the composition of which may vary depending on the object of research, is ideally modelling in nature, the method of its application can be used in the future when studying both the genre poem “In Memoriam...ˮ and other lyric genres.

Воспоминания как основанная на факте презентация советского автора в начале XX в.

Unusual for traditional literary criticism, the article examines the problem of genre attribution of memories that have existed for a long time (from the seventeenth – eighteenth centuries) as a form of presentation in Russian literature. This genre type turns out to be a conditional focus of the history of civilization, as well as a concentrate of thought and feeling of an individual member of society. But the tactics and possibilities of a comprehensive examination of memoirs have not yet been identified. As a result, the most highlighted thesis of consideration is the following: in the process of assessing the informational richness of a memoir text, its characteristic individual tonality should by no means be considered a disadvantage. On the contrary, personal judgments contained in memories increase their value as historical information.

Diversion of qualitative characteristics of text complexity (a case study of literary and popular science PIRLS texts)

The study under consideration highlights the multidimensional comprehensive analysis of eight texts of diverse genre attribution applied in the international PIRLS testing during 2001-2011 (PIRLS (Progress in International Reading Literacy Study) is conducted by International Association in assessment of academic achievements IEA. The national coordinator of the research implementation PIRLS in the Russian Federation is FIAQE «Federal Institute of assessment of quality education»). The objective of the study is to substantiate the hypothesis concerning similarities and differences in typological characteristics that aim at evaluating the complexity of popular science and literary texts. The cornerstone of the theory serves the assumption of the text complexity which involves quantitative (the word, sentence, text length) as well as qualitative (narrativity, syntactical simplicity, precision, referential cohesion, semantic cohesion) characteristics of the text [14]. The study determines that literary texts display a wider diversity of syntactical structures and a higher narrative degree than popular science texts under similar length and readability conditions. The precision indicators of popular science and literary texts are manifested in approximately the same range whereas referential and semantic cohesion represent a broad range of fluctuations in both cases.

Poetry book and ensemble unity in Yakut women’s poetry at the turn of the XX – XXI centuries

The object of this research is the women's poetry of Yakutia of the turn of the XX – XXI centuries. The subject of this research is the evolution of the lyrical poetry book in modern Yakut women's poetry. Works of the two leading lyricists of modernity Natalia Kharlampieva and Olga Koryakina-Umsuura served as the material for this research. Comparative-typological analysis of their works is aimed at determination of genre characteristics of the lyric poetry book and the ensemble unity of the poetry book of various years. The author examines the specificity of the lyric poetry book as a metagenre and its genre characteristics. Special attention is given to the ideological-thematic, architectonic and leitmotif components that unite the works into a single, holistic literary text. The author also explores the problem of formation of the ensemble unity of books of poems within the limits of works of a single author, which unifying principle is a lyrical metaplot that develops from book to book. The lyrical poetry book is presented as a form of authorial self-identification. The main conclusions of consists in determination of specificity of formation of the lyric poetry book and ensemble unity in Yakut women's poetry, its individual authorial and ethnic unique features. The comparative material allows revealing the dominant genre attributes of metagenre formations that imply “novelism” of the entirety of poetry books by Natalia Kharlampieva, and the cyclicity, intertextual coherence of the books by Umsuura. The author’s special contribution consists in elaboration of the methods for analyzing book macrocyclic forms through the prism of their motif-leitmotif systematicity and architectonic completeness. The novelty of this work is defined by the fact that for the first time in Yakut literary studies, Yakut women's lyrics is described as a developing system, aiming for “larger” macro-forms as an opportunity to systemically present the fullness of authorial worldview.

“Distant Bells” by Phank Kok Jun: Chamber-Instrumental Version of the Dialogue between Chinese and European Traditions

Relevance of study. There are considered the features of the chamber-instrumental version of the Concerto for daruan and the orchestra of traditional instruments “Distant Bells” by contemporary Chinese composer Phank Kok Jun. The relevance of the topic caused by extending interest of musicologists in the issues of the interaction between eastern and western musical traditions in both composer and performing aspects.Main Objective. The purpose of the article is to reveal the specifics of the chamberinstrumental version of “Distant Bells” for daruan with piano, cello and percussion by Phank Kok Jun as a reflection of the dialogue between European and Chinese musical traditions.Methodology. The research methodology is based on the method of genre attribution used to clarify the genre nature of “Distant Bells”; historical-typological approach — for understanding the place of the work among other concert opuses of Chinese composers; the method of structural analysis to determine the form of the work; the method of semantic analysis to determine the correspondence of the program to the musical events of the piece and the method of stylistic analysis to determine the intro and extra-stylistic components of musical vocabulary.Results/Finding and Conclusions. It is established that this opus is an alternative interpretation of the concert created for the ensemble of daruan with piano, cello and percussion, which has gained great popularity among performers. It was revealed that when orchestral parts are translated to the timbres of the soloing Chinese instrument and European duet of piano and cello, a peculiar dialogue between Western and Eastern musical traditions arises. Such a timbre-acoustic connection makes adjustments to the genre and compositional profile of the work. As a result, the genre modus of “concerto” is reinforced in numerous solo episodes, cadences, improvisations. The compositional structure of the concert’s sections is influenced by national musical frame’s types, usually based on the variant development of theme connected with eastern improvisational tradition. The palette of stylistic features and linguistic means combines modal, metro-rhythmic, timbre features of Chinese and European music. It has been established that it is instrumental reorientation that brings allusions of “Western” origin, supporting the dialogue with the Chinese stylistic and significantly expand the semantic horizons of the work

ТИПОЛОГІЯ ЖУРНАЛІСТСЬКИХ ЖАНРІВ: СУЧАСНІ ТЕОРЕТИЧНІ ДИСКУСІЇ

The subject of the current article is the transformation of journalism genres in recent decades. These changes take place under the influence of direct journalistic practice, globalization of the information space, socio-political processes and audience requests. The article considers academic discussions on the typology of journalism genres, draws attention to the criteria of genre differentiation on the basis of which distinguish informational, analytical and publicism genres, and presents modern approaches to typologies. It is proved that changes in the system of journalism genres take place due to the substitution of some samples with others. Found out that the degree of interaction may be different. The issues of interpenetration and intercorrelation of genres are analyzed. If in the first case it is a question of diffusion and overcoming of genre borders, in the second it is about a new structured formation. The author concludes that the transformation of journalistic genres is an objective and inevitable process conditioned by both internal (individual and editorial creative development) and external (political and economic) factors. Journalistic works are deprived of a clear genre attribution: informational can turn into analytical, analytical – into publicism. The blurring of genre canons, the mutual transition of genres leads to the fact that the purity of the genre loses its significance. In general, intercorrelation and interpenetration provide the mutual enrichment of the genre system which still remains relatively stable although it is currently under revision. Attempts to radically revise it, establish a new expanded genre division or mechanically transfer foreign classifications to domestic practice do not always bring the expected result. Therefore, discussions about which genre niche a text belongs to, what is it (genre, form or style?) are still ongoing. Today the concept of “genre” is quite relative. Its vision as a historically formed category is reconsidered due to the inclusion of elements of different genres in the journalistic work.

Violin concerto principles as a way of musical thinking: semantic discourse

Violin concerto principles as a way of musical thinking: semantic discourse

Музыкально-стилевые особенности мордовских весенних календарных песен сибирского бытования

The research objective includes analytical description and genre attribution of the Erzya and Moksha Mordovians’ spring calendar songs (pancake songs, Palm Sunday songs, spring calling songs, spring farewell songs) recorded in Siberia in the period of 1975-2019. The paper aims to identify musical and stylistic typology of the Siberian Mordovians’ spring calendar songs. The article for the first time analyses the scores of spring calendar songs with a view to identify musical and stylistic peculiarities in comparison with the autochthonous folkloric tradition. Spring songs genres are correlated with syllabic musical-rhythmic forms of tunes, types of modal tonal rows are identified.

Мистерия Нового времени: о жанровой природе библейской драмы Д. Г. Байрона «Каин»

The article discusses the problem of the genre nature of G. G. Byron’s biblical drama “Cain”. Mystery is considered as an ontological genre whose logic requires an extremely generalized model of the universe thereby endowing mystery with a myth-creating potential. It is shown that Byron’s genre attribution of “Cain” is right, because the poet modified the mystery genre taking into account requirements of the modern epoch. The conclusion is made that Byron, having brought together biblical and natural scientific models of the universe, created his own romantic myth that represents dualistic worldview of that time.

“Dans Venise la Rouge…” by A. de Musset – Ch. Gounod: the “Venetian text” in French chamber vocal music

“Dans Venise la Rouge…” by A. de Musset – Ch. Gounod: the “Venetian text” in French chamber vocal music

«Человек, который хотел...» (о принципах комического несоответствия в чеховской «Чайке»)

The article examines implementation of principles of the comical in A. P. Chekhov’s play “The Seagull”. Traditional philological and scenic interpretations of the play emphasize its dramatic, even tragic element, and, consequently, the tragic side of conflict. The study aims to identify the basic motivation of conflict and to justify its comic nature. For this purpose, the researcher examines the author’s genre attribution through the lenses of the classical definition of comedy based on the inadequacy principle. The conclusion is made that the personages’ all-encompassing envy is the basic genre-formative feature of the play.

The singer as the co-author: the features of the representation of Ukrainian folk songs in the concert and art space of the present

The singer as the co-author: the features of the representation of Ukrainian folk songs in the concert and art space of the present

Golovacheva, I. A guide to ’Brave New World’ and beyond

Golovacheva, I. (2017). A guide to ’Brave New World’ and beyond. Moscow: Izd. dom YASK. 344 p. The review deals with I. Golovacheva's Guidebook to works by A. Huxley, and particularly his best known novel Brave New World. The monograph discusses the ways in which the scientific context of the period influenced Huxley's writings and their specific imagery: he is known to have had a keen interest in natural sciences and utopian social projects. On a separate note, the review examines Golovacheva's argument that Huxley's complicated attitude to the theories and ideas reflected in the novel impeded its reception, both in terms of meaning and genre attribution: Brave New World traditionally inhabits a space between utopia and dystopia. Although admitting that the novel has all the makings of science fiction or Menippean satire, Golovacheva still denies the possibility of an unambiguous genre definition.