Genre Features Research Articles

문장의 수와 장르의 사회언어학적 관계 연구

Objectives The purpose of this paper is to compare the numbers of sentences and genre characteristics. To do so, we analyze the sociolinguistic implications of the differences in the number of occurrences of culminative suffixes in different genres. Methods Fifteen genres of texts were selected for the test, according to the type of socio-symbolic activity of systemic functional linguistics. For each of them, we counted the number of sentences with the following grammatical categories: the number of sentence types, the number of mood types, the number of stance types, the number of addressee deference types, and the number of minor sentences. To verify the results statistically, a Chi-squared Test of Independence was performed. Results The number of sentences per genre was highest in private conversations, followed by fairy tales, weather reports, and fiction texts. On the contrary, the lowest number of sentences were found in judgments. In terms of mood, five types of mood were found in private conversations and four in fairy tales, but only a single type of mood was found in other genres. The number of stance types by genre was 4 in private conversations and 3 in fairy tales, and none in elders. The number of addressee deference types by genre tended to be fixed at one type or another depending on the audience of the text. The number of minor sentences per genre was overwhelmingly high in everyday conversation, with 15. Conclusions The statistical tests of the results of the above analysis show that the grammatical categories performed by the culminative suffixes in the 15 genres have significant differences in the variance of their ratings, and that, although the culminative suffixes do not combine, minor sentences also fulfill the interpersonal functions of culminative suffixes.

V. SOROKIN’S NOVEL “MARINA’S THIRTIETH LOVE” IN THE COORDINATES OF SOC-ART AND SOCIAL REALISM

The purpose of the study is to analyze V. Sorokin’s conceptualist novel “Marina’s Thirtieth Love” (1984), to identify the features of its genre-structural constructions, to trace the connection of genre features of the “Soviet novel” with the tradition of Socialist realism literature and its deconstructions in the practice of conceptual art of the 1970s–80s. The paper identifies the target settings of the conceptual novelist Sorokin to overcome the principles and techniques of Soviet socialist realist art and to establish discrediting perspectives of perception of social and ideologically stable “concepts” that developed in the post-October period. It is established that the imitation base in Sorokin’s “Marina’s Thirtieth Love” was the so-called “production novel”, a thematic subspecies of prose of socialist realism.

THE TRANSLATION OF S. KING’S “DARK TOWER” NOVEL SERIES AND R. BROWNING’S POEM “CHILDE ROLAND TO THE DARK TOWER CAME”: A COMPARATIVE ASPECT

This article analyzes the formation of the diversity of the genre of the series of novels “The Dark Tower” by Stephen King, as well as the clips of Robert Browning’s poem in the predominant image of the Tower of Roland and the connection with these genre transformations. In the course of the study, the authors analyze the series of novels “The Dark Tower” and the poem “Childe Roland to the Dark Tower Came”, in particular, the features of the genres, the compositional and stylistic features inherent in these works. When demonstrating the characteristic features of R. Browning’s and S. King’s creative work, it was found that romanticized fantasy per se includes many genre features that differ from the manifestations of horror and classic fiction: fantasy is a genre in the style of high fantasy and concealment, a fairy tale. At the same time, dark fantasy, although it includes most of the traditional fantasy surroundings, is characterized not so much by the interrelationship between its fantasy elements and the narrative, but rather by the connection between the gothic and the horror types of fiction; there is much less science fiction in dark fantasy than in high fantasy. At the discussion stage, it was determined that the best method for translating the lead when working with two multi-genre works is the comparative method, which is based on a simple principle: “What is it like?” As a result, we came to the conclusion that, on the one hand, the use of a methodological method leads to the fact that in the process of text analysis it is necessary to limit the framework to the conventions of the functional style, the genre uniqueness of the analyzed ones, preserving their artistic orientation and the idiostyle of the author. On the other hand, in this way we get the opportunity to carry out parallel search and optimization of data for its synthesis and translation into the exchange part.

Англоязычный авторский трэвел-блог: жанровые, структурные и прагмастилистические особенност

The aim of the article is to identify genre, structural, pragmatic and stylistic features of English travel blogs. Travel blog as a genre is a form of Internet communication that combines elements of different registers; it is marked by its dialogic, interactive and polycode features, that is a combination of verbal and non-verbal components serving informative, appealing and persuasive purposes. The article uses discourse, pragmastylistic and contextual analyses. It is obvious that the genre features of analyzed messages of the travel blog are speech forms combining neutral and colloquial registers. The blog structure is horizontal with themes arranged in line with posts links behind them. The posts themselves have no rigid structure, the mandatory parts are headlines and subheadlines – rubrics and the final part containing either impressions of the trip, advertising a certain destination and sponsor, or appeal to the readers to discuss the contents and persuade them to go to the described places. The main part of the blog can have rubrics (tips or description of sights and their evaluation); it can be the interchange of trip experiences with their evaluation and photos for each of those. The pragmastylistic features of the narrative are the syntactic means serving expressiveness and stimulating interest in the blog content, as well as in future trips: parallel constructions, inversion, parcellation. Lexical means create an atmosphere of real communication and trustworthiness: the use of abbreviated morphological and grammatical forms, words formed by conversion, idioms, interjections; phonetic-graphic means include graphon, emoticons, multiplication, capitalisation to accentuate certain parts of the utterance and convey emotions. The paper concludes that both linguistic and extralinguistic means reflect the key genre features and serve the author’s purpose – to get and keep the readers interested, to persuade them to act. The research material were 113 pragmastylistic language units from 15 posts of an English travel blog, where the author shares with the subscribers her impressions of travelling in Europe, Asia and Latin America. The American blogger and freelance journalist Ciara Jonson was chosen due to her blogs being ranked as one of the best travel blogs by travel editions and other bloggers.

History and myth in Leonid Yuzefovich’s novel “Philhelle”

The article analyzes L. Yuzefovich’s novel “Philhellene” from the point of view of its historical and mythological (mythopoetic) codes’ functions. The purpose of the work is to identify historical and mythological encodings in the novel, using descriptive and mythopoetic research methods. Particular attention is paid to the analysis of the type of hero, the character system, as well as the identification of the novel chronotope and the justification of its genre characteristics. We argue that L. Yuzefovich’s novel is not a historical novel in the generally accepted sense. Although “Philhellene” has the necessary markers of the historical novel genre, L. Yuzefovich, through the category that we call “duality”, rises to the level of the symbolic generalization characteristic of myth. In his authorial myth, history, mythologized history, mythology, epic and legend coexist in one space, determining the originality of the novel world of “Philhellene”. We analyze the image of the main character, Mostsepanov who reveals a clear similarity with the image of the epic hero. In his wanderings, a mythopoetic chronotope is embodied through the prism of L. Yuzefovich’s authorial myth. The article states that L. Yuzefovich sees Greece’s path to prosperity through the merging of two related national identities – Russian and Greek – so Mostsepanov becomes the embodiment of this synthesis. As a result of the above statements, “Philhellene” can be characterized as a historical-mythological novel with a predominance of the mythological code.

PERFORMANCE AS A COMMUNICATIVE STRATEGY OF MODERN DRAMA

Emphasized demonstrativeness, which is embodied and manifested in various spheres of human life, is a performance. Accordingly, a performative text is a self-representative text actualized in the process of communication precisely through action, a way of thinking, a director’s vision, and acting. The visual component of the text is defined as a constituent component of the poetics of the work, a gender-genre marker, according to the elements of the external composition. The usual classical image of a dramatic text in modern Ukrainian playwrights takes on the features of epic genres, which represent a different type and way of thinking, combining the narrator and the character in one person. Performance as a communicative strategy of modern Ukrainian drama is ensured by the transition to the narrative non-linearity of the character-narrative organization of the dialogue, the retrospective organization of the action, and the construction of the monologue based on associations of events, intimate-personal connections and perceptions, where the monologue is the real action of the character. The demonstrativeness and creolized nature of such text gives us the right to define such texts as “action art”.

EVOLUTION OF THE DYSTOPIAN GENRE

The article examines the stages of the formation of the genre of dystopia in the context of the world literary process. Dysutopia, which is a model of forecasting the future, reacts particularly acutely to the problems and challenges of modernity, projecting them onto imaginary societies of the future. Thanks to this, it gains special popularity in modern literary discourse, attracts the attention of more and more readers. As a result of the analysis, three stages of the development of the genre were established. The first stage covers the first half of the 20th century and is characterized by the design of the main genre features. In particular, the important features characteristic of this genre are the presence of a closed, linear space, the futuristic and prognostic nature of dystopian works, the conflict between a strong personality and the repressive apparatus of a totalitarian state or a unified, mechanized society. In the dystopias of the second period, which is the second half of the 20th century, we trace the expansion of issues, the variety of new artistic stylistic and compositional techniques, as well as the acquisition of features of other genres. The third period is the 20s of the 19th century, characterized by multi-vector development, processes of genre diffusion and convergence, which caused the appearance of a large number of genre varieties. The works are characterized by parody, grotesqueness, and violation of genre canons. We consider the dystopia of this period as a metagenre, which allows us to identify different genre variants of dystopia.

Artistic Creation of Joan of Arc: Taking Roles of The Epilogue in George Bernard Shaw’s Saint Joan as An Example

In the recent century, researchers have become increasingly focused on the famous English writer George Bernard Shaw’s historical play Saint Joan. It is generally accepted that Saint Joan is one of Shaw’s best works and seems to illustrate Mr. Shaw’s mind more clearly than anything he has written before. Most of these researchers have discussed general features of the French military figure Joan of Arc. While this point of view has been very productive, particularly in portraying personalities of the historical prototype and enriching readers’ cognition about Shaw’s comments on Joan and background knowledge in understanding that piece of history, this initial perception fails to take into account Shaw’s fundamental differences from other cultural depictions: that Shaw has his special views of the miserable condition of Joan, which is mainly shown in the last Epilogue of this book. To date, it has been universally acknowledged that among all the “Joans” in previous works, Shaw’s is simultaneously “the most intriguing”, “the most ambivalent”, “the most dramatically round” and “the most revealingly relevant to leadership”. As Herbert indicates in his George Bernard Shaw: Saint Joan (1988), Saint Joan is “a tremendous success” and “the humor, fantasy, and anachronisms” that the critics have found in Saint Joan become “accepted characteristics of the new genre of historical drama”. Besides, some critics such as Michael Holroyd has characterized the play as Shaw’s “only tragedy” and they tend to study Shaw’s thought by analyzing the long Preface included in the text of the published play. Generally speaking, Shaw’s play Saint Joan has much to say about characteristics of Joan of Arc and it has become public property. However, there has been scant systematic investigation of Saint Joan’s special arrangement. This study will address the overall problem of the role of the epilogue.

Фольклор челябинских башкир: История и перспективы изучения

The article is devoted to folklore and traditional customs of the Chelyabinsk Bashkirs. The purpose of the study is to show the degree of knowledge of Bashkir folklore in this area. Archival data, expedition materials, publications of folklorists devoted to folk art and culture of the population of this region are used as sources, unique features of various folklore genres are highlighted. Many of the texts recorded by folklorists in this region have already been published in the volumes “Bashkir Folk Art”, at the same time there are many unpublished ones. The folklore of the Bashkirs of the Chelyabinsk region today is represented mainly by the following genres: rituals, religious and mystical legends, songs, lament songs, munajats, spiritual poems, proverbs, sayings, beliefs, omens, prohibitions, ditties. Calendar holidays such as Rook porridge, goose help, as well as sabantui, held in honor of the end of sowing, have been preserved in the villages. Of the religious rites, the most stable are Ayat ukutyu (reading the ayats of the Quran), Nikah ukutyu (reading nikah), Korban bayram (Feast of Sacrifice), and the performance of funeral rites in accordance with the canons of Islam. One of the peculiar rituals of the local Bashkirs is the holiday “Aumala bayramy” (Aumal Holiday). Of the family rituals, the wedding ceremony is most different, which has many features. For example, holding a kuresh fight during a wedding is associated with the ancient custom of choosing a groom. As it is known from Bashkir epics and fairy tales, in ancient times, a girl chose the husband of the one who won the kuresh fight. As evidenced by the materials of recent expeditions, informants well remember toponymic legends, anecdotes-kulyamas, riddles, proverbs, sayings, beliefs, omens and prohibitions. However, genres such as fairy tales, historical legends and legends, baits, and games have become less common. The author concludes that the folklore of three districts has been studied more systematically: Argayashsky, Kunashaksky and Sosnovsky, therefore there is a need to organize scientific expeditions to collect folklore and ethnographic material to the rest of the region, where Bashkirs live compactly.

‘You’re really going to be fine’: celebrity cameos, toast (2010) and the British biopic

ABSTRACT When a biopic includes a cameo appearance from the subject themselves, it can serve as a persuasive claim to authenticity: what more powerful endorsement is there than figures appearing in their own life stories? Less common is the interaction between the subject and their on-screen surrogate which occurs in Toast (2010), an adaptation of food writer Nigel Slater’s memoir. Slater himself appears in the film as a Savoy chef who offers his younger self (played by Freddie Highmore) a job in a London kitchen. This interaction visualises characteristics of the memoir genre, the meeting between a past and present self, and affords rehabilitation: in representing visually the memoirist as witness to their own traumatic past, the adaptation suggests a ‘working through’ of childhood traumas associated with an abusive father. Toast also hints at the cameo’s capacity to intervene in the memoirist’s past in a manner which reflects the ‘corrective’ possibilities evident in different forms of life-writing. In having Slater offer his younger self reassurance – ‘you’re really going to be fine’ – the memoirist embodies the caring father he himself lacked. In Toast’s telling, time really is a great healer, provided you are willing to exploit the potential of the cameo appearance.

Genre of “Promise” as a Reflection of Intentional and Linguistic Organization in Virtual Pedagogical Discourse

This research is situated within the context of contemporary discourse studies. It examines the genre of “promise” functioning within virtual pedagogical discourse. The study explores the genre features of a speech act, considering their potential determination by the pragmatic properties of discourse. Drawing on existing models of speech genres in contemporary genre theory (models by Т. V. Shmeleva, N. B. Lebedeva), two types of genre features of promises are identified. The first type includes invariant characteristics of the genre “promise”: a) the communicative goal of the utterance, linked to a voluntary commitment by the subject to fulfill something; b) linguistic markers of the genre — syntactic constructions containing performative “I promise,” predicates “I swear” / “commit” / “give (<my word>)” with direct objects or explanatory clauses indicating the object of the promise. The second group of features comprises genre characteristics of the text, determined by its discursive nature: a) the dictum content of the genre (theme of “Education”), b) the status roles of participants in institutional-pedagogical discourse; c) properties of the speech act determined by the structural-functional features of the messenger (interactivity, media files). Ultimately, a promise emerges as a genre realization of shared and simultaneously adapted speechthinking intention and discursive means.

К вопросу о жанре эпистолярного произведения

The purpose of the article is to characterize a letter to the editor as a separate genre in terms of its structure, function, relationship between the author and the addressee, specific content and linguistic means that make up the scope of this form of communication. The Introduction draws attention to the anthropological dominance of modern philological research. References to the writer’s archive, the rendition of the epistolary heritage both as a fact of their creative biography and as a historical and literary phenomenon is proposed. The theoretical part is devoted to the understanding of the most important approaches to the theory of genre, including writing as a special genre of documentary prose. The problem of research analysis and perception of letters is updated. The content and formal indicators of the genre are characterized. The analytical part is presented by a model of historical-functional analysis and interpretation of a letter to the editor. The attention is focused on its functional specificity. It is proved that the genre of a letter to the editor can be removed from the sphere of journalistic genres to a literary genre with its historical and literary significance. In the Conclusion a letter is presented as a separate genre in terms of its form and function; the main genre characteristics are given. It is emphasized that motivation, purposefulness, dialogism as genre signals allow a letter to the editor to be classified as a work of literature.

THE SCORPION FROM THE ALTAR: LITERARY AND HISTORICAL ANALYSIS

This article is dedicated to the literary and historical analysis of the novel "The Scorpion from the Altar." It examines the system of characters, plot and genre features, as well as the author's style and the cultural context of the novel. The research reveals the author's creative style and attitude towards the events of the time, highlighting the relevance of its themes and characters in contemporary society.

성장소설의 특성에 관한 고찰

Based on Ranciere’s discussion, the genre characteristics of Korean growth novels were attributed to the historical specificity of modern and contemporary Korean history. The politics of Korean growth novels can be noted as the politics of revealing the order of society, which forms the background of the novel. Korea’s modernization is a process in which political turmoil has continued through a series of historical situations such as colonization, war, and division. The absurd social order inherent in the Korean Peninsula’s political landscape acts as a factor that hinders and deprives individuals of their desire to acquire spatial subjectivity. The protagonist of the growth novel, who has lost their spatial subjectivity, display a defensive and compromised growth process and a small citizen’s life. The violence of the times allows individuals to name themselves as minor citizens. In the growth novel, a character's defensive definition of their identity is a choice without an al ternative made by an individual who recognizes the reality that they cannot escape from an absurd society. Through the compromised growth process exhibited by the protagonist and the appearance of a small citizen’s life, the growth novel functions to accuse the hidden absurdity inherent in the society of the time.

Genre Features of Professional Screenplays in Russia in 1910s: Theory and Practice

The article explores the genre dominants of Silver Age screenplays. Theoretical concepts of film dramaturgy are applied to the texts of A. A. Khanzhonkov’s “From the World of Mystery” (1915) and A. S. Voznesensky’s “God” (1918). The scientific novelty of the study lies in the comprehensive analysis of these screenplay texts for the first time. The relevance is justified by contemporary philology’s interest in the intermedial aspect of literature. The screenplays exhibit an orientation towards literary models: a wide range of linguistic devices (metaphors, similes, inversions), complex composition, psychological depth, and more. Cinematic expressiveness is realized through a system of modalities (real time, memories, dreams, imagination, altered consciousness, etc.), description of character movements, and “visual sound.” The study suggests that the genre of screenwriting in silent cinema fundamentally differs from subsequent eras and tends towards the epic rather than the dramatic genre. Discrepancies between directorial and literary scripts occurred early in the genre’s formation. A comprehensive examination of original realized screenplays could be key to understanding the reasons for the unsatisfactory results of writer-filmmaker interactions.

Linguistic features in narrative and opinion genres and their relations to writing quality in fourth grade writing

BackgroundWe examined linguistic features in fourth graders' narrative and opinion writing and their relations to writing quality. We analysed narrative and opinion essays in terms of lexical sophistication and diversity as well as syntactic complexity, syntactic accuracy, and morphological complexity.MethodsData were from English‐speaking students in Grade 4 (N = 129; 50% female) in the United States, majority of whom were from low socioeconomic status background. Paired t tests were used to analyse differences of linguistic features between the two genres. Hierarchical regression models were run to examine how language features are related to writing quality.ResultsWords in the narrative task were more diverse and included more diverse verbal inflectional morphemes than those in the opinion task; syntactic complexity was significantly greater in the opinion genre, manifested by longer T‐units and the more frequent use of adverbial and relative clauses. Approximately 80% of T‐units were grammatical and 20% were ungrammatical. Syntactic accuracy and verbal morphological complexity of words were positively related to writing quality in the narrative task. Additionally, syntactic complexity measured by clauses per T‐unit, verbal and nominal morphological complexity of words were uniquely related to writing quality in the opinion genre.ConclusionsThe findings highlight the limited extent to which Grade 4 students use complex syntax in their writing. The study also supports the critical role of linguistic features in writing quality and shows both similarities and differences in language use in two important writing genres, narrative and opinion, in elementary grades.

Версификация как жанрообразующий фактор в венке сонетов «Верен любви» М. Бемурзова

The paper addresses the problem of identifying the role of versification factors in shaping certain genres and genre forms of Adyghe poetry. The study is based on the sonnet sequence “Faithful to Love” by the Circassian poet Mukhadin Hamidovich Bemurzov (1948-2007). The study aims to determine the genre-forming functions of meter, rhyme, and stanzaic structure in a specific literary context. The study is original in that it represents the first attempt to consider the listed components of versification as dominant genre features of sonnets comprising the sonnet sequence “Faithful to Love”. As a result of the study, the determining role of versification in shaping a number of poetic genres and the genre form of the sonnet sequence is confirmed. The adoption of the “solid form” of the sonnet by Adyghe poets is largely explained by their desire to enhance the level of literary skills and fully unfold their creative potential. Sonnet sequences are created with the aim of expanding the genre boundaries of the sonnet and introducing its innovative forms into the national literary process. The paper analyzes the meter and rhyme system and stanzaic structure of the sonnets included in the sequence “Faithful to Love”, determining whether they comply with the genre’s canon.

A novel in verse: poetics of intermediate form

At the turn of the 18th-19th centuries, the genre system restructuring and the leading role of the novel in the literary process leads to the novelization of genres and the emergence of hybrid forms, the internal measure of which is determined by the interaction of different kinds of strategies and techniques. The object of the article is a novel in verse as a result of the novelization of the lyric epic poem, whose status since its emergence has been problematic for both literature and literary studies. The article provides a brief overview of the novel in verse history, the variety of its definitions and themes, it analyses its leading genre features, and attempts to show how the novel and lyric transform each other within this form. The novel in verse is regarded as a literary genre, where the complex multilevel interaction of the prose and poetic word under the influence of the processes of the ready-made word decay and novelization becomes a genre-forming principle. It is concluded that the result of such complex inter-genre interaction is a change in the understanding of the poetic, and the phenomenon of the genre itself accompanies the novel formation, participating in its search for its internal measure, and reflects literature large-scale search for a “reconciliatory” form in the conditions of the value crisis.

ƏSAS MUSİQİ ALƏTİ MƏŞĞƏLƏLƏRİNDƏ MUSİQİ JANR XÜSUSİYYƏTLƏRİ HAQQINDA BİLİKLƏR

Learning the Features of Genres in The Classes of the Main Instrument Summary The presented article is devoted to the topic of studying genre features in the process of teaching students on the main instrument. The article makes an excursion to the main varieties of genres of musical art. The student's orientation in a variety of genres expands the boundaries of his worldview and professional field of activity. As a result of this, the presented article carries methodological value in the educational process. Key words: student, art, music, genre, piano

The Biography and Bibliography of Ivan Antonovich Efremov Expanded with New Materials [Review: Efremov I.A. Women in My Life: Novels; Letters. Moscow, Izd. Yukhnevskaya S.A., 2022. 480 p. A Retro Collection of Adventure and Science Fiction. Ser.: Collections. Complete Works by I. Efremov. Vol. VIII. (In Russian)

This article reviews the first-ever published materials from the archive of Taisia Iosifovna Yukhnevskaya, the late wife of Ivan Antonovich Efremov (1908–1972). The focus is on I.A. Efremov’s collection of autobiographical and erotic short novels titled “Women in My Life”. These fourteen stories (one of which is incomplete) are believed to have been written between the 1950s and 1960s. They fit perfectly with the style of the writer, for whom there was no division between the physical aspects of love and the spiritual development of a normal person. The short novels contain a wealth of personal details, thus offering a new and deeper perspective on the early years of the rising geologist and social thinker. In terms of fiction, they continue the 1940s series “Tales of the Extraordinary” and conform to the genre characteristics of romantic storytelling, as well as colonial and Western novels. There are clear similarities and plot parallels with I.A. Efremov’s other novels such as “Andromeda: A Space-Age Tale”, “The Bull’s Hour”, “Razor’s Edge”, and “Thais of Athens”. An interesting finding is that the letters between I.A. Efremov and his wife bring out an unforeseen side of the writer’s character, especially his ability to inject humor, which is a departure from his usual literary approach.