Genre Components Research Articles

THE PROBLEM OF FUNCTIONAL GENRE IN AZERBAIJANI FOLKLORE STUDIES

In this article the problem of functional genre, which is an important issue in folklore studies, is studied scientifically and theoretically. The formation of a new genre as a result of the process of deriving a genre from a genre has been brought to attention on the basis of specific texts. These genres are called functional genres and it has been considered on the basis of which specifics functionalize the genres such as “bayati”, “gerayli”, “goshma”, “temsil” and fairy tales. Thus, it was initially noted that the genre of “bayati” (quatrain) is not a specific genre, like many other genres, but, in fact, a literary formula. Because many genres are formed on the basis of the genre “bayati”. Among them are quatrains, lullabies, folk songs, ceremonial songs, elegy and other folklore genres are studied in the article and brought to the attention, due to this functionality, even before it was also considered that it was called a literary kind by A. Abid. In particular, it has been observed that the genres created on the basis of “bayati” are widely included in the ceremonial folklore and from the genres of “bayati” forms created in this direction such as wishes, lullabies, Novruz songs, beliefs, occasions, religious holidays, laments, etc. have been looked through. As a functional genre “garayli” like the genre “bayati” has been put forward as a new problem in theoretical and methodological research and garayli, folk songs and important parts of epics, which appeared on the basis of the genre garayli can serve as an example of it as the main genre component. In the article the genre “goshma” is also studied as a functional genre. So, on the basis of this genre “goshma”, “tajnis”, the verse part of epics, “ustadname”, “vujudname”, “gifilbend”, “baghlama” and other genres were formed. Fables have also been brought to the attention as a functional genre, such as representation derived from this genre, allegorical narrative, examples that arise in written and oral literature, etc. can be examples for it. At the same time the representation is manifested both in fairy tales and the fairy tale itself has spawned many genres from itself. The genres of fairy tales, garavelli, anecdotes, jokes and other genres have been reviewed. The theoretical problem proposed in the study is rich in important innovations for the scientific community.

Genre Structure and Writer Identity in EFL Students’ Application Letters

Writing for academic and professional purposes has been increasingly challenging for applicants as it requires a certain degree of proficiency to promote themselves as potential workers in the desired position. Considering the significance of English as the global lingua franca, there is an increasing need to ensure that formal writings, in different fields and contexts, adhere to the generic and linguistic standards necessary for effective written communication. This study presents an examination of genre features and rhetorical strategies of job application letters written by Tunisian Business students. More specifically, it intends to investigate how far novice non-native English candidates are able to successfully use the genre components and persuasive strategies of the target language. A corpus of 30 undergraduate job application letters was subject to move analysis, using top-down approach, basing on Khan and Tin’s (2012) model as an analytical framework. The results indicated that the participants showed different types of rhetorical patterns preferences used in various sequences and frequencies to articulate the same communicative purpose of the genre. The analysis revealed also that Addressing, Establishing credentials and Ending politely proved to be the most preponderant moves in the corpus. Yet, although the majority of applicants have commonly attempted to use an appropriate schematic structure in writing their job application letters, most of them failed to prove any creativity in elaborating their unique characteristics and achievements. The paper concludes with the possible linguistic and pedagogical implications of the study.

Stylistic Features of National Chinese Vocal and Song Creativity

The article is devoted to the consideration of Chinese song culture from the standpoint of its development based on folklore. The purpose of the article is to identify national stylistic features of Chinese vocal and song culture in accordance with regional characteristics, as well as in the process of socio-cultural changes in the country. Among the main tasks of the study was to highlight the significance of the musical folklore of China in accordance with its place in the composer's creativity, as well as in the context of socio-cultural changes. The research methodology: the dialectical method as a way to distinguish the stylistic components of Chinese composers’ work as a unity of traditions and innovations; the deductive method due to the research orientation from the general (socio-historical context) to the specific (reference to the genre); the historical and cultural method to identify general stylistic regularities of the aesthetic, ideological, and socio-cultural levels in the context of historical changes; elements of genre and style analysis to identify the genre component of chamber vocal music. The scientific novelty of the obtained results lies in the fact that for the first time in the Ukrainian scientific space, the influence of national traditions as a permanent quality of vocal and song creativity is considered; the study of the regional component in accordance with the development of Chinese vocal and song culture is in-depth. Conclusions. The result of the study was the highlighting of Chinese vocal and song creativity as a synthesis of folklore and academic influences, where folklore, associated with the peculiarities of phonetics and vocabulary, intonations of the national language are of central importance. In its development and formation, the Chinese vocal and song composing school has created a powerful base that determined the further vector of Chinese song culture in general, namely vocal arrangements of folk melodies, which logically entered the genre of chamber music, where national and stylistic origins later intersected with models of the Western song-romance style.
 Key words: national style, vocal lyrics, Chinese music, folklore.

The Role of Ballet Scenes in the Magic Opera “Ilya Bogatyr” by C. A. Cavos and I. A. Krylov

. The article is devoted to the opera “Ilya Bogatyr” created by composer C. A. Cavos and playwright I. A. Krylov in line with Pre-Romantic trends characteristic of the Russian art of the early 19th century. The performance refl ected the authors’ desire to create a national sample of the magic opera genre. The undoubted advantage of the opera “Ilya Bogatyr” was a variety of dance scenes: a comic ballet of heroes; light dances of nymphs and geniuses focused on ancient images; character dances in the Russian folk style; fairy-tale dances of evil spirits and oriental maidens. All ballet scenes are integrated into the action development, in which, depending on the context, their fi gurative and dramatic functions are revealed. This approach to the interpretation of ballet scenes asserts them as a specifi c genre component of Russian opera and in many ways anticipates the creation of spectacular dance compositions in operas by M. I. Glinka.

Bolivian “Music of the Wind” in guitar works: aspects of artistic implementation

The relevance of the article is to consider Bolivian guitar music as an important component of the modern South American repertoire. On the example of the works of famous composers and performers Alfredo Domínguez, Fernando Arduz, and Jilberto Rojas, connections with the folklore traditions of the country, the poetics of Bolivian "wind music", and its timbre specificity have been revealed.
 Main objective of the study is to reveal aspects of the artistic embodiment of Bolivian «music of the wind» in academic guitar work. The scientific novelty of the article lies in the introduction of materials about Bolivian musical culture and guitar creativity into domestic musicological circulation.
 The methodology includes methods of historical, comparative, phenomenological, structural and functional analysis to study: genre and style elements of Bolivian folk music of Indian and Creole origin in academic guitar work; organology of traditional instruments and timbre characteristics of sound; phenomena of imitation of the voices of nature, the timbres of Bolivian wind, percussion, and string-plucked instruments by modern guitar means of sound production; genealogy of rhythmic structures and their manifestations in the researched works; decorative and visual ritual attribution; correlation of associative-figurative series with timbre connotations, specific genres and intonation and chord patterns; anthropological connections of the sound space of «music of the wind» with the surrounding natural and landscape environment and the state of metaphysical dialogue of man with the surrounding world.
 Results and conclusions. In the analyzed compositions («Feria», «Por la Quebrada» by A. Dominguez, «Despedida de Los Chunchos» by F. Arduz, «Guadalquivir» by J. Rojas) various resources of performing guitar technique used to imitate the voices of nature, authentic timbres of ancient Bolivian aerophones quena, erke, сaña, membranophones caja, local chordophones charango, relevant in modern conditions of collective ritual music-making practice. Sound and image connotations are correlated with the voices of Bolivian folk instruments, ritual decorations, plasticity of dance movements, visualization of natural landscapes and attribution of totemic cultures. In the process of defining genre components, the contrasts of juxtapositions were demonstrated: takirari, tonada and Andean huayño, ceremonial Indian ceremonies and sardana dance of Iberian origin, metric fluctuations of Creole and Indian rhythms, melodic movements of pentatonic nature with melismatic ornaments of the Andean type. Linguistic and genre characteristics of guitar works were investigated taking into account the anthropological experience of Bolivian scientists studying their musical and ceremonial culture, which in particular determined the search for the historical roots of musical phenomena among the exhibits of archaeological museums, exhibits of musical instruments, and artifacts of the life of indigenous peoples.

ПРОБЛЕМЫ СОВРЕМЕННОЙ ОТЕЧЕСТВЕННОЙ ОПЕРЫ: ОБРАЗОВАТЕЛЬНЫЙ ПРОЕКТ

The purpose of the article is to draw attention to modern Russian opera, its multifaceted study in university courses. In this regard, the operatic heritage of Russian composers of the last decades of the twentieth century is a significant artistic phenomenon. Note an undoubtedly important point: the search for new forms of synthesis on the musical and theatrical stage is not an end in itself for Russian masters, but rather an opportunity to embody current topics and ideas through the artistic prototypes they choose. At the same time, one of the characteristic trends of the end of the last century was the peculiar immersion of opera in its own historical past, which contributed to the disclosure of the deep properties of its genre components. Let us name just a few works that have attracted the attention of directors, conductors, performing musicians, and researchers. These are “Mary Stuart”, “Visions of Ivan the Terrible” and “Hamlet” by S. Slonimsky, “Till Ulenspiegel” and “The Mystery of the Apostle Paul” by N. Karetnikov, “Lolita” by R. Shchedrin and “The Foam of Days” by E. Denisov, “The Prophet” and “Young David” by V. Kobekin, “Antigone” by V. Lobanov and “When Time Runs Out of the Banks” by V. Tarnopolsky. On the example of N. N. Karetnikov’s large-scale opuses "Till Ulenspiegel" and "The Mystery of the Apostle Paul", the modern principles of musical and theatrical dramaturgy and features of genre formation are revealed.

Syncretism of Song-Aria-Hymn in Solo Numbers of K. Orff's Primitivist Thinking

The purpose of this article is to determine the genre components of solo fragments of K. Orff's singing based on the material of the arch-popular numbers from "Carmina Burana" cantata and «Die Kluge» («Intelligent woman») opera, intended for soprano, which, based on the timbral-register and texture-range indicators of singing, we specify in the features of the lyric. The methodological basis of the research is the intonation approach in the traditions of the school of B. Asafiev in Ukraine, as presented in O. Markova’s and O. Muravska’s works, Liu Bingqiang, Wang Minjie in China, in which a comparative stylistic and hermeneutic-content analysis of the expressiveness of vocal acquisition constitute the dominant factor of research methods. The scientific novelty of the work is determined by the original perspective of the study of the genre section of K. Orff's works, as well as by the identification of the timbre and role of the lyric soprano in the analysed vocal formations. Conclusions. The vocal fragments from K. Orff's cantata and opera highlighted in the analysis demonstrate the hymnic and aria basis of the song presented, as the name suggests, in "Carmina Burana" ("Beuron songs"), while the number from the part of the Intelligent Woman from the opera of the same name is based on an aria, but contains signs of both a song (lullaby) and an incantation with hymnal endings. The presence of hidden polyphony in the melody emphasises the ariad background of the expression, in which the tenderness and sobriety correspond to the timbre-function capabilities of the lyric soprano. Key words: genre syncretism of song-aria-hymn, genre in music, musical style, primitivism in art and music, musical thinking

РОЛЬ ТЕЛЕБАЧЕННЯ У ФОРМУВАННІ ПОДАТКОВОЇ КУЛЬТУРИ В УКРАЇНСЬКОМУ СУСПІЛЬСТВІ

<p><strong><em>The purpose </em></strong><em>of the study</em><em> is to cover the role of television in the formation of tax culture in Ukrainian society.</em></p><p><strong><em>Research methodology.</em></strong><em> In the course of research, the following methods were used: analysis, synthesis, generalization, comparison during the elaboration of sources on the relevant subject and comprehension of scholars’ opinions; method of comparison was used to identify trends in the coverage of tax issues in the media; methods of observation and description were used to find out the accents in television stories; sociological survey was used to identify the views of student youth on the role of television in the formation of tax culture in Ukrainian society.</em></p><p><strong><em>Results.</em></strong><em> The work of the state on the general level of tax culture of ordinary citizens (taxpayers), the work of the state with governmental authorities and officials of these bodies, which are related to the administration of various taxes, fees (mandatory payments), should be well planned and based on stable regulations base, to be feasible for its citizens, and the mass media, which represents their interests and satisfies information requests, will contribute to the formation of tax culture. Television has the opportunity to contribute to the formation of tax culture by creating relevant projects and stories. Modern media content is analyzed with an emphasis on its thematic and genre components, the importance of the image of journalists and involved experts is noted. The position of students on the role of television media in the formation of tax culture in Ukrainian society is clarified.</em></p><p><strong><em>Novelty. </em></strong><em>The directions of rethinking the role of television in the formation of tax culture with the involvement of media content in recent years are outlined and students</em><em>’</em><em> opinions on this issue are revealed.</em></p><p><strong><em>Practical importance.</em></strong><em> The obtained results can be used in the educational process in higher education institutions that train specialists in the </em><em>«</em><em>Economic Journalism</em><em>»</em><em> </em><em>and </em><em>«TV presenter» </em><em>specialties, and for further research in the direction of solving the outlined problem.</em></p><p><strong><em>Key words</em></strong><strong><em>: </em></strong><em>expert, journalist, image, public opinion, tax culture, television.</em></p>

Achieving Destigmatizing Outcomes by Overcoming Resistance to Persuasion through Combined Entertainment Experiences

ABSTRACT Drawing on theory from entertainment experiences and (narrative) persuasion research, this study investigates destigmatizing responses to a genre-hybrid (human-interest and stand-up comedy) nonfiction television program about minority groups. Using an online between-subjects experiment with 417 participants, we found that the combination of human-interest and stand-up comedy can simultaneously stimulate hedonic and eudaimonic experiences, and that this combination reduces trivialization, but not counterarguing responses compared to its separate genre components. Results also show that combining stand-up comedy with human-interest led to higher perceptions of self-efficacy regarding future intergroup contact with minorities, and that this relation was mediated via counterarguing and trivialization. This study is the first to show the potential and unique workings of hedonic and eudaimonic entertainment experiences to reduce resistance to persuasion to achieve destigmatizing outcomes.

Utopia and Dystopia as Two Facets of Artistic Reality in V. P. Krapivin's novel "Green's Ampoule"

The object of literary analysis in this article is V. P. Krapivin's novel "Green's Ampoule", the subject of the study is the features of utopia and dystopia in the artistic world of this work. Its genre nature is complex and multifaceted, but the signs of utopia and dystopia, from the point of view of the author of the work, are clearly visible in the text. The study of social and moral-philosophical issues characteristic of the genres mentioned above is being conducted. The author also analyzes the features of the poetics of this work, which work to create images of dystopian and utopian worlds. The method of holistic analysis helps to identify the relationship between two toposes: Empire and the city of Insom – and features of two genres: dystopia and utopia. The study of these genre components of "Ampoule Green" is conducted for the first time and allows us to come to the following conclusions. The image of the Empire, which is associated with the dystopian component of the novel, is the embodiment of totalitarianism, and the life of this country is marked by a deep contradiction of the interests of the individual and the state. The image of the Free City of Insk bears the features of utopia. Describing his life, the author uses the technique of breaking expectations. The assumptions of the reader and the hero playing the role of a traveler in a utopian world are motivated by patterns typical of a society that is far from ideal, and they are refuted by the reality of Insk, where goodness and harmony reign in human relations. It is not by chance that the novel presents the hypothesis that Insk arose from the materialized fantasy of children. If the image of the Empire has the features of the world of the beginning of the XXI century, when the novel was created, then the image of Insk is replete with details related to the past. It is natural to assume that dystopian features for the author are embodied in the present, and utopian – in the past, in the memories and impressions of childhood, that is, the world of adulthood is represented as dystopian, and the world of childhood is represented as utopian.

“The Wanderings of San Mao” by Sanbao: the genre specificity of the Chinese original children's musical

The purpose of the article is to determine the genre specificity of the Chinese original children's musical Sanbao “The Wanderings of San Mao” (2011), created on the basis of Zhang Liping's (1940) comics of the same name. Methodology - historical, comparative, genre. The scientific novelty of the study lies in the establishment of genre specificity of the Chinese children's musical. Genre specificity of the Chinese children's musical is distinguished both by its audience purpose and by the reinterpreted implementation of the features of comics of the same name, the reliance on which determined the storyline, the image of the main character, the dramaturgical features of the stage work. The general genre features of comics and musicals are systematized, the influence of graphic and literary prototypes on the musical “The Wanderings of San Mao”, observed in the system of genetic, historical, genre, and content prerequisites are revealed. The content commonality of comics and musicals is embodied, in particular, in their genre names, which reflect their inherent comedic origins. The historical unity of comics and musicals is due to their gaining popularity since the middle of the 19th century. From a genre point of view, comics (based on the union of graphics and literary text) and the musical (based on the interaction of comic opera and operetta, vaudeville and burlesque, show and variety, ballet and dramatic interlude) have a mixed nature. The Sanbao musical seems to absorb the constituent elements of comic opera, adding them to the context of other genre components of the theatrical whole. Since comics are a kind of literary genre, it becomes possible to interpret them as the libretto of a children's musical. The scene of the musical as a self-sufficient variety number is likened to a drawing from a comic strip, correlated with coherent plot development, the story of the hero's life set out in the short stories. Inheriting the nature of comics as a sequence of drawings, the Chinese children's musical appears as a kind of suite cycle of musical and dramatic scenes-novellas from the life of the protagonist. The discontinuity of the musical's scene-narratives is overcome, as in comic books, by the story of the main character's adventures and dreams unfolding through the story. The author contrasting pictures of the short story musical are united by a thorough plotline, the role of the principle of “three unities” (events take place during one day in the slums of old Shanghai, where a simple child's dream becomes unattainable). Conclusions. The genre peculiarity of the Chinese children's musical “The Wanderings of San Mao” is conditioned, firstly, by the specificity of the audience; secondly, by the embodiment of Zhang Liping's comic book features as a graphic-literary prototype of Sanbao's musical and stage work.

КОНЦЕРТИ УКРАЇНСЬКИХ МУЗИЧНИХ КОЛЕКТИВІВ В НАЦІОНАЛЬНОМУ РАДІОПРОСТОРІ США (ДОСВІД 1933 Р.)

<p><strong><em>The purpose </em></strong><em>of the research is to understand the system of world Ukrainian-language radio broadcasting in the form of its formation on progress at different historical stages to the present.</em><strong><em></em></strong></p><p><strong><em>The methodological</em></strong><em> of the research is based on the implementation of the method of archival research of 303 numbers of digitized newspapers of the oldest Ukrainian-language newspaper in the USA «Svoboda» in 1933; the use of the historical method is extended by the method of analogies in time, the inductive method and the monitoring of the content of press publications of the specified period; The use of qualitative content analysis made it possible to analyze the content of 98 materials of various genres on the formation of Ukrainian-language radio broadcasting in the non-national media space of North America.</em></p><p><strong><em>Results.</em></strong><em> The periodicity, genre component, program plan, content of the first Ukrainian-language radio programs on the air of national radio stations in the USA in 1933 are studied. It has been established that the first programs in Ukrainian heard by North American radio listeners were radio concerts in the form of performances by Ukrainian choirs and orchestras. The documented controversy in modern media in the context of determining the optimal approaches to the development of Ukrainian radio broadcasting in a foreign language environment is analyzed and presented. It is stated that there is no consensus on the ways of formation of radio programs, the choice of content presented on the air, the level of preparation of music groups to work for a wide radio audience. The importance of lively discussion in the society in the context of the quality of the developed radio programs for the progress of the Ukrainian radio business is emphasized.</em></p><p><strong><em>Novelty.</em></strong><em> The place of Ukrainian radio programs in the national radio space of the USA was first documented and deeply comprehended in 1933; the competitive advantages and vectors of development of such programs in the period of the </em><em>«</em><em>golden age</em><em>»</em><em> of world radio are analyzed.</em></p><p><strong><em>The practical significance</em></strong><em> of the research results lies in supplementing the scientific discourse with the facts of the formation of the world Ukrainian-language radio system in the context of its presentation in the US information space.</em></p><strong><em>Key words:</em></strong><em> archival periodicals, media space, national radio broadcasting, radio concert, Ukrainian-language radio broadcasting.</em>

«Sinfonia da Requiem» by Benjamin Britten: Semantic and Constructive Features of the Requiem

Relevance of the study «Sinfonia da Requiem» by B. Britten in modern musicology is essential as this work is demonstrative of four interconnected artistic processes: modification and emancipation of the requiem genre, the evolution of Britten’s art, development of European modernistic symphonism, and reception of musical culture of the middle of the XX century at the events of the Second World War. The artistic and historical content of the symphony allows deepening the general scientific ideas about the specifics of the passing of these processes. The scientific novelty of the study is that B. Britten’s «Sinfonia da Requiem» is considered from the angle of revealing direct and indirect features of the requiem genre. To do so, a purposeful genre-intonational analysis of the thematism of the work was employed for the first time. Main objective(s) of the study: to find key musical components (genre features of the requiem and intonational leitmaterial of the composition) and connect them, thus decoding the ideological, genre, and intonational conception of «Sinfonia da Requiem». Methodology. The methodological orientation of the article provides a detailed analysis of the constructive component of music «Sinfonia da Requiem» to determine the semantic content of the composition as an opus belonging to the genre tradition of the requiem, significantly rethought in the compositional practice of the twentieth century. Results of the study. The way of modification and emancipation of genre features of requiem is considered. The ideological and philosophical essence of this genre is formulated. The context of B. Britten’s creation of «Sinfonia da Requiem» is determined — through socio-historical, biographical, and creative factors. The specifics of the embodiment of semantic and constructive features of the requiem genre in the orchestral composition «Sinfonia da Requiem» are determined. The intonational leitmaterial of the composition, which forms the intonational concept of it, is distinguished. Features of transformation of intonational leitmaterial, including genre modulations are traced. A study of the genre-intonational nature of the symphony’s themathism is carried out and variants of semantic interpretation of the main thematic formations are offered. The nature of the genre component of the composition’s dramaturgy is described, in which three groups of genres are traced: military, dancing, and lyrical. The significance of the research lies in supplementing the scientific panorama of English orchestral music of the first half of the twentieth century and in promoting the formation of a more balanced view of the specifics of Britten’s instrumentalism, which was formed and evolved on the basis of exchange with other, including vocal-instrumental genre traditions.

GENRE FEATURES OF HORROR LITERATURE

The article is dedicated to the study of the genre features of horror literature, its plot matrices and principles of artistic modeling of pictures of the world. The article describes the genre-creating elements that have become basis for systematization of the genre composition of horror literature. Special attention is paid to the typology of characters, the specifics of the arranging artistic time and space, as well as the features of the emotional impact on the reader as one of leading principles of genre classification of this type of fiction. After all, much of the text of the works of representatives of horror literature is devoted to the construction of artistic space and time, in order to introduce the recipient into a certain range of components of the emotional state during reading, to achieve the goal of horror literature. Namely, to scare the reader. Considerable attention is paid by the authors of this type of literature to the modeling of characters as a genre component. The article describes a set of standardized elements and attributes describing the appearance and character of the characters, which creates a "horizon of expectations" for the reader's perception. It also acts as an element of genre differentiation within the cluster of horror literature. The definition of genre varieties of this type of fiction reveals a clear conditionality of the specifics of the reception, the orientation of the author's intentions to create a certain psychological effect. Established artistic constants, which show a fairly high level of variability, serve as a figurative and plot matrix for the authors, which provides a "recognizability" of the genre addressed to a certain readership.

RESEARCH VARIATIONS OF BLOG ANALYSIS: GENRE OR FORMAT?

The author analyzes the approaches to the professional interpretation of blog as a phenomenon in modern virtual mediasphere. Scientific markers of traditional (linguistic) qualification of blog in the system of media genres are defined and commented on. Attention is also paid to the intermediate – hypergenre – status of blog (in genre discourse). A mediainguistic view on blog communication is offered, first of all taking into account its functional dominants – with an emphasis on the non-genre status of blog, in medialinguistic analysis of which the genre component is peripheral.

Genre and style peculiarities of “The Sound of Music” musical by R. Rodgers

The research subject is the musical by the composer Richard Rodgers and the book writer Oscar Hammerstein II “The Sound of Music” - one of the bright examples of classic Broadway musicals. The author describes the main genre and style and dramatic peculiarities of the musical and attempts to solve the following research tasks: to analyze the narrative and genre components of the piece, the intonation complexes of the main characters and the most significant groups of characters and vocal techniques, and to trace back the influence of Austrian national genres on the music fabric of the musical. The author uses the following methods: cultural-historical, comparative analysis, and the methods of music-style and music-history analysis. Despite the obvious significance of this piece of music and its thumping success, the musical “The Sound of Music” hasn’t been studied thoroughly enough in the scientific literature. The author arrives at the conclusion that the special dramatism, the bright plot, the developed music drama, and the multifaceted genre and style alligation are the peculiarity of the musical and form that unique quality that brought success in the past and still makes the musical successful.   

Present day school readers in rapport with the dramatic works of a once-banned Albanian author

The process of reading, rereading, scrutinizing, re-scrutinizing and appraising an author’s work is not fi nite; moreover it is very dynamic and full of suprises. No doubt that the appraisal and re-appraisal is too complex, including cultural, literary, gender and genre components. This becomes more obvious when referring to an author whose works had been locked up in library stacks during the whole 45 years of totalitarian rule in Albania, and whose appraisal process cannot help facing up to the critical thinking led by biased politicization. In this study the appraisal of the works of one of the most outstanding Albanian writers of the 30s of the twentieth century, Etëhem Haxhiademi, will be done by presenting them in rapport with the present-day school, pre-university and university level readers. This re-appraisal is conducted with a cold logic, devoid of the vindictive political principles which brought the distorted evaluation of the authors’ works, as it happened for many other au-thors as well, and is striving to place the writer into the system of the genuine literary values. Once the reader’s inquisitiveness has been satisfi ed, even after reading a less-known or, moreover, an oblivious or banned literary work, he/she begins reading and rereading it, looking closely into it, essaying to fi nd a proper place for this work in the general system of the national, inter-balkanic and international literary values.E. Haxhiademi’s literary work was known by an older generations of readers whose es-thetic satisfaction it brought forth was confi ned in their consciousness: it was unknown or partly known, not by direct reading but by several interpretations of others, by a middle generation of readers who displayed a certain artistic uncertainty and indifference. However, nowadays it is intently being studied although in excessively fragmentary ways and in many cases even unsuitable ones, by the younger generation of readers who should have a more motivated curiosity for divulging its real values.In the history of the Albanian literature, as well as in the other East European Countries, the authors’ biographies and especially their political aspects, were used as selective criteria to appraise authors and their works, instead of being pure cognitive and studying means. This study intends to reveal the present-day school readers’ affi rmative attitudes or even the non-affi rmative ones, regarding Haxhiademi’s literary works, in the process of re-dimen-sioning the author’s values and those of his literary works.

Немецкие островные диалекты Томской и Новосибирской областей (на материале открытого онлайн-архива немецких диалектов Сибири)

The paper interprets the data from the open online archive of German dialects (https:// www.tomdeutsche.ru/dialects/). This work was started ten years ago in Tomsk by Prof. Z. M. Bogoslovskaya and her students. The archive provides the records of the native dialects and folklore of Russian Germans whose speech originates from different mother tongues and has different degrees of preservation. Archival materials were collected on the territory of Tomsk and Novosibirsk regions during linguistic expeditions of recent years. Many dialects of the upper German and middle German types appear to be mixed, containing (primarily in phonological terms) the features of different dialect systems, mixed as early as last century. These are secondary language formations that are exclusively spoken by older people. It is not the case in the German-Mennonite dialect (Plautdietsch), which is based on the Low German language substrate. This dialect has a higher degree of preservation and is spoken not only by older people but also by young people and children. The genre component of the collected samples of folklore and religious practices does not show much diversity. The archive contains only a few samples of songs, ditties, and jokes that old speakers can still perform in their native dialect. A special role is played by literary German – it is the language of liturgical practices, of prayers and spiritual singing. The paper presents a number of dialect material transcriptions.

Choral dramaturgy of the opera «The Way of Taras» by O. Rudianskyi: symbolism of chronotope

Choral dramaturgy of the opera «The Way of Taras» by O. Rudianskyi: symbolism of chronotope

Жанровые слагаемые фортепианного квартета и их отражение в исполнительских интерпретациях (на примере Квартета № 1 Es-dur Людвига ван Бетховена)

Актуальность темы настоящей статьи обусловлена задачами научного изучения жанровых слагаемых фортепианного квартета и их воплощения в современной исполнительской практике. Цель предлагаемой статьи ‒ раскрытие свойств данного жанра в научной и исполнительской практике. Методы исследования ‒ жанрово-генетический и компаративный. Фортепианный квартет вбирает в себя свойства струнного квартета, сольного концерта, различные принципы формообразования и камерно-ансамблевого письма. Способом познания данного жанра выступает анализ исполнения избранного сочинения различными коллективами, один из которых демонстрирует квартетное мышление, другой – концертно-виртуозное.