Genre Forms Research Articles

The Malaysian Nasi Lemak Story as Reviewed Online: A Genre Perspective

As a multiracial country, food is a significant component of the Malaysian culture. Local cuisines serve to portray the different ethnicities which make up its population. Reflecting the nation’s unique identity, Malaysian Heritage Food (MHF) has become internationally acclaimed due to the rise of the digital era. The Internet has enabled easy access to information on various local and international cuisines, ranging from personal food vlog channels to dedicated culinary expert websites. The quest and appreciation for famous cuisines and technological convenience give rise to a relatively prominent digital genre: online food reviews, a significant source of information for gastronomes worldwide. Thus, this paper explores online food reviews focusing on Nasi Lemak, a specific MHF Malay cuisine and Malaysia’s national dish. Employing a genre perspective, I investigate the roles of text and visuals in these reviews to make sense of the form, function and meaning of this digital genre. This paper establishes the interdependence and integration between the textual and visual modes to decipher the online representation of Nasi Lemak in a Malaysian context and the digital space. The online Nasi Lemak review as a genre illustrates the significance of its multimodal nature in describing the Nasi Lemak story, simultaneously offering potential early insights into the sociocultural nuances surrounding this MHF.

Художественная циклизация в эпической прозе (к проблеме сопоставительного анализа жанровых форм цикла и романа)

The article studies the relationship between the prose cycle and the novel. Looking at the development of the novel as a genre from a diachronic perspective, it is possible to see that between novels (Greek and antique, medieval and Rabelaisian, the Bildungsroman and the novel of formation, classical and modernist and postmodern novel) there is always a kind of intermediate ‘zone’ in which the process of preparing a new type of novel takes place. In literary studies, this ‘pre-novel’ genre form is called a prose cycle. However, in the studies of prose cyclization, there is still neither a theoretically developed approach to such literary phenomena nor unanimous opinion about their ontological connection with the novel genre. In our opinion, the theory of novel developed by M. M. Bakhtin, which deals with the fundamental features of the novel (folk culture of laughter, the incomplete present novel tense, marginal connection with reality, polyphony, multilingualism), may serve as the theoretical basis for the consideration of prose cycles. The relation between the cycle and the novel in this case is considered from the causal perspective as the relation of aprototext to the text or of a presupposition to the illocution. The paper considers contemporary literary studies on cyclization (by M. N. Darvin, V. I. Tyupa, A. S. Yanushkevich, and other researchers) in the context of the Bakhtin’s theory of novel on the basis of the assumption that there is an ontological connection between these two ‘illegal’ genre forms. In the process of analyzing these works, examined through the prism of Bakhtin's theory, one can see a gradual transformation of the cycle into the novel: from the cycles of the 1820s-30s, through Belkin's Tales, to the Russian classical novel. This opens the way to the interpretation of prose cycles taking into account the presence of the novel features in them.

Reception of the Christian Tradition in the Works of Marina Paley’s Prose

The author argues that Marina Paley, being an intellectual writer, tries to find out genre form for proper representation of her worldview and aesthetic values. Consequently Paley pays attention to the Christian literary tradition The purpose of writing the article was to study the writer’s embodiment of the author’s consciousness in the genre forms of the Yuletide/Christmas story (“An Enclave for two”) and parable (parable novel “Choir”). The objective of the article is to analyze the embodiment of the writer’s consciousness in the genre forms of the Yuletide/Christmas story and parable. The article reviews the characteristics and peculiarities of modern Yuletide/ Christmas story. Many contemporary Russian writers use this genre form to criticize the immorality and lack of spirituality of society. Marina Paley also interprets the motive of the miracle in her own way. The miracle is the result of personal efforts. However, there is no spiritual rebirth or revelation with the character, she remains true to her conviction. Th us, Christmas time also acts as a test of a person’s character. The Christmas motifs are also can be found in the play “The Immersion” that shows a sharply critical view of the social structure. In contrast to the story “An Enclave for Two”, the eff orts of the characters do not bring results, the Christmas miracle does not happen, and the Yuletide and Christmas elements in this play emphasize only the absurdity of the soulless reality. The interpretation of the parable genre allows the author, without descending to a moralizing text with an action guide, to create a work that encourages an analytical look at the nature of human relationships and Divine Providence. Keywords: Marina Paley, literary tradition, parable, Christmas story, Yuletide story, tragicomedy buff.

ЕМІГРАЦІЯ ЯК ЛІТЕРАТУРНИЙ СЮЖЕТ У НОВІТНІЙ УКРАЇНСЬКІЙ ПРОЗІ: ХУДОЖНІЙ ДОСВІД ТАНІ МАЛЯРЧУК

The article is devoted to the topic of emigration in modern Ukrainian literature. It is noted that its various variants - motives for departure, actions, deeds, psychology of migrants, their achievements and illusions were artistically interpreted in the latest Ukrainian prose, most often in the novel genre (the works of Irene Rozdobudko "Morning cleaner", 2004, "I know, what do you know, what I know", 2011, V. Eshkilieva "Paphos", 2002, Natalka Doliak "Gastarbaiterka", 2012, Natalky Snyadanko "Frau Müller is not ready to pay more", Irena Karpa "Good news from the Aral Sea", 2019, A. Chapaia "We have arrived”, 2015, Olga Slonivska "Lost in Time", 2018, as well as the British writer of Ukrainian origin, Maryna Levytska "Two vans", 2008, "A short history of tractors in Ukrainian", 2013, and others). Similar topics and issues are raised by Tanya Malyarchuk in another genre format - in the story "Frogs in the Sea" (2019), written in German and awarded the Austrian Ingeborg Bachmann Literary Prize. For this, the author chooses a "plot of external displacement" (Olena Romanenko), focusing on the fate of two lonely, abandoned people from different worlds - a Ukrainian emigrant Petro and an aristocratic Viennese Frau. In the development of the plot, the writer combines external (life without a passport in a foreign country, violation of the law, constant desire to be unnoticed, to do the dirtiest work) and internal (reflections on one's own life) conflicts, focuses on the loss of the usual coordinate system by the main character - not only in a foreign country, but also in the homeland, where no one is waiting for him - neither his mother nor his lover. Therefore, with the help of the symbol that was included in the title of the work (frogs in the sea), intertextual elements (allusions to the image of smoke in the poetry of Lesya Ukrainka, the images of Natalka and Peter from I. Kotlyarevsky's drama Natalka Poltavka) the author, starting from the theme of emigration, raises essential, common human problems: about the meaning of human life, about love as the highest measure of humanity, about the inevitability of time, about a person's right to choose and responsibility for it.

Comparative Genology: Genre Modifications and Genre Metamorphism

The article under studies deals with the issue of the comparative aspects of genre. Particular emphasis has been placed on the genre form (in the sense of a characteristic matrix/canon as a complex of specific factors), which functions in terms of a continuous literary process and, accordingly, adapts to its contextual changes, deviations, objections, innovations, correlations, needs of the receptive environment. The author’s and the reader’s perception of the meanings, contained in a particular genre, do not necessarily coincide. Consequently, the issue of the so-called multiplicity of genre logic ( Jean-Marie Schaeffer’s proposal) directly appeals to the comparativistic experience of studying typological coincidences or borrowings that affect the genre as such. Fyodor Dostoevsky’s novel The Adolescent is taken as an example of genre modification. Its genre is regarded in contamination with the genre of confession by means of comparing the individual plot lines and interpreting the main characters, which are perceived in the biblical context. Besides, it acquires a different perspective in clarifying the general author’s idea. Finally, the article singles out such terminological syntagms as genre polymorphism, genre modifications, and genre metamorphism.

АВТОБІОГРАФІЧНА УТОПІЯ НАТАЛІ РОМАНОВИЧ-ТКАЧЕНКО

The article is devoted to researching the work of N. Romanovych-Tkachenko, a representative of the generation of female writers of Soviet Ukraine in the 1920s, from the perspective of gender discourse. Women's literature of Soviet Ukraine in the 1920s-1930s is an understudied and not updated phenomenon of the Ukrainian literary process of that time. Most of the texts of women writers were unnoticed by literary critics, and the problems that were raised in their texts turned out to be "uninteresting" for the then, generally male, literary critics. Instead, we note the emergence of a new generation of women writers in Ukrainian literature, formed not only by the national tradition, but also by the first wave of European feminism. They radicalize the women's issue and put forward other, unlike their predecessors, aesthetic demands on artistic texts. At the same time, it was women writers who continued the traditions of modern Ukrainian literature, in particular bright individual writing. Most of them told the reader about their biographies for the first time in the form of memories, diaries, memoirs. The peculiarity of these biographies is that they reveal a striking discrepancy between the expectations of women from the gender policy of the Bolsheviks and the revolutionary, post-revolutionary reality. We can see two biographies of the writer by comparing the artistic texts and autobiographical memories of N. Romanovych-Tkachenko. One of them is imaginary, constructed by the author on the basis of her own life project, and the second is real, as the writer lived. These two biographies in different genre forms are presented in the writer's work. Imaginary biography is described in the experience of the characters of fictional texts, while real biography is represented by the memoir genre, in particular, the diaries and memoirs of the author. The difference between these two life scenarios shaped the feminist outlook of N. Romnovich-Tkachenko and many other modern women writers.

ЛОКАЛЬНА СВОЄРІДНІСТЬ ГУЦУЛЬСЬКИХ ЗАГАДОК

Contemporary folklore studies require both new innovative approaches to the study of the modern genre of the Ukrainian folklore and comprehension, reprinting, as well as research of the works of folklorists of previous centuries. Given that riddles, as a genre of folklore, have attracted researchers’ attention within the context of studying other genre formations such as fairy tales, legends, folk lyrics, calendar customs, and family rituals, exploring the genre in various conceptual directions appears promising. Riddles were incorporated into compilations of the Ukrainian paroemias during the 1840s, often organized within distinct sections that typically lacked a formal classification framework. Scholarly exploration of the genre commenced in the latter half of the nineteenth century characterized by sporadic publications. The exploration of regional particularities in the formation of the riddle genre remains largely unexplored within the Ukrainian riddle studies predetermining comprehensive investigation. The article undertakes an examination of the texts extracted from the compilations of V. Shukhevych’s Hutsulshchyna (Vol. 5, 1908), H. Ilkevych’s Galician Proverbs and Riddles (1841), and M. Nomys’s Ukrainian Proverbs, Sayings, and so on (1864) aimed at discerning localized characteristics at the textual level excluding dialectal linguistic forms. The inquiry focuses on the analysis of congruences between the metaphorical components of textual questions in riddles documented in the Hutsul region and those found in riddles collected from other regions of Ukraine. The research yields the following conclusions. Riddles were prevalent across Ukraine exhibiting primarily universal elements alongside distinctive local traits. Consequently, the riddles documented in the Hutsul region manifest disparities across various dimensions, i.e. compositionally (via the original method of riddling involving the addition of a consistent opening to the text), lexically (through the use of dialectal expressions), and pertaining to a subject matter (notably encompassing riddles concerning indigenous flora, regional fauna denominations, tools, types of economic pursuits, and so forth).

Стендап в аспекте межкультурного взаимодействия

In the era of rapid development of information technology, stand-up is becoming increasingly popular as one of the forms of the conversational genre, as a comedy art, a show with a spectator in which, often, one performer performs in front of a live audience. Stand-up is based on stories told by storytellers who communicate directly with the viewer. These can be fictional situations, cases that happened to the author or his friends and relatives, it can be a commentary on events taking place in the country and the world – that is, any story interesting to the speaker and listeners. The study is due to the relevance of the phenomenon itself in the aspect of intercultural interaction and the development in our country of the practice of stand-up, which has unexpectedly become popular in modern society, to a greater extent, in the sphere of youth audience who seek to avoid conservatism, over organization, edification, standard phrases in the process of communication. At the same time, Kazakh scientists have not sufficiently studied the topic of using stand-up. We devoted our work to the analysis of a new format in mass communication – stand-up comedy, which is gaining popularity among young people in response to changes in public life. The analysis of the formation of stand-up comedy in the Republic of Kazakhstan is presented.

The role of Uzeyir Hajibeyli in the formation of feuilleton genre

The role of Uzeyir Hajibeyli in the formation of feuilleton genre

Готические составляющие генеалогии научной фантастики

Science fiction can be defined as the literature about cognizable unusual phenomena which represents hypothetical scientific, technical and social products of their rational exploration. Before the genre emerged, the subject of exploring the unusual was developed mainly in the field of mythological fiction, which became the basic element of Gothic literature. In Gothic, the features of science fiction began to form: in M. Shelley’s novel “Frankenstein, or the Modern Prometheus”, the motives of the supernatural are rationalized through the use of scientific and technical issues. The goal of the presented research is detecting the nature, methods and specif­ics of the transformations of the Gothic plot that led to the formation of the science fiction genre. It is achieved by the use of comparative, historical-genetic, hermeneutic, mythopoetic methods. Gothic literature reacted to the growing interest in scientific and technological progress by attempting to rationalize the elements of the supernatural plot: demons, werewolves, the living dead could be presented either as a result of experimentation or as an object of scientific exploration. In Russian literature, V. F. Odoevsky made a move from Gothic poetics towards long-term social, scientific and technological forecasting in a fiction text. The role of Gothic in the genesis of science fiction is clearly visible in the artistic world of H. P. Lovecraft who elaborated supernatural horror in the form of nonhuman manifestations of the indifferent Universe. The protagonist scientist is involved into the knowledge of it and, therefore, is put in the situation of a mythological cultural hero, reinterpreted in the coordinates of the plot of scientific research.

Балетные «двойники» в русском театре екатерининского — александровского времен

The European Ballet Theater has a long tradition of replenishing its repertoire with plots of operas, dramas and popular ballet productions. So on the stages of the capital's Russian theaters, since the formation of the ballet genre in the XVIII century, twin performances with the same names have appeared. This phenomenon of transformation of the work is almost not studied. In this regard, questions arise: what in the new version of the play can be considered original material, and what is borrowed? Does the plot, music, and set design remain in it? To solve these tasks, documentary sources are involved: unknown librettos, musical manuscripts of the studied ballets and compositions that form the basis of new theatrical versions. The original ways of «processing» are revealed, including with and without preserving the plot, with musical quoting of fragments of the original source and without quoting. It is proved that the presence or absence of borrowings is confirmed only by a scrupulous reconciliation of literary and musical texts of the original and derived compositions.

Animalistic genre in Flemish and Dutch Golden Age art and its influence on West-European and Russian painting of the 18th and the first half of the 19th century

The formation of animalistic genre was a part of general process of West-European art development in the late 16th and 17th centuries. Flemish and Dutch masters acted as genuine innovators in the new field and determined the genre evolution in European countries for a long time. The article presents a typology of animalistic images and motifs in the art of Flanders and Holland and their influence on the work of Belgian, Dutch, German, English and Russian painters of the 18th and the first half of the 19th century.

ФОРТЕПИАННЫЙ КОНЦЕРТ В ТВОРЧЕСТВЕ КИТАЙСКИХ КОМПОЗИТОРОВ: К ИСТОРИИ СТАНОВЛЕНИЯ ЖАНРА

The article is devoted to the history of the formation of the piano concerto genre in the musical art of China. Due to the late development of the piano, an instrument alien to the culture of the Celestial Empire, all the stages of mastering the piano and comprehending its specifics by Chinese musicians have been completed in just over a hundred years. Despite the fact that the piano concerto came to the attention of Chinese authors much later than other European genres, it turned out to be very consonant with their mentality. The work chronologises the gradual development of the piano concerto in Chinese musical culture — through the “introduction” of classical examples of European composers into the repertoire in the early XXth century, to its development first by the Russian-born composer A. Avshalomov, and then by Chinese composers Jiang Wenye and Zhang Xiaohu. Based on the research of musicologists Guo Hao and Wu Jiajun, the article defines the periodization of the formation of the piano concerto in China and notes the characteristic trends in the work of Chinese composers in their approach to the interpretation of this genre and their special attitude to the programme. The paper reveals the constant features of the classical piano concerto mastered by Chinese composers and the new things they brought to this genre in the process of adaptating it based on the national musical tradition.

I devoted my life to the party, and it turned against me (a serious challenge in Kemel Tokayev’s creative path)

The article examines the creative path of Kemel Tokayev, one of the founders of the detective genre in Kazakh literature. The author draws attention to the peculiarities of developing a new literary trend and creates a connection with the writing activities of the person under study. In the study, the author primarily describes a brief biography of the person, the war period and difficulties in the creative path. It shows that the writer worked on writings with historical overtones in the detective genre, using secret documents. As a result, they emphasized that representatives of the higher leaders of government agencies persecuted him. When studying the topic, using Kemel Tokayev as an example, one can see that there are specific problems in the society and power structures of the Kazakh Soviet Socialist Republic, despite the cultural boom and communist ideology. The author provides new information about the writer’s life, based on Kassym-Jomart Tokayev’s memoir work and personal correspondence between his father and son. The article uses archival documents, photos from the private fund of Kemel Tokayev of the Central State Archive and the National Academic Library, and materials from the periodical press of Independent Kazakhstan. The scientific work pays special attention to the significant contribution by Kemel Tokayev to Kazakh literature. It evaluates him as a worthy representative of the liberal community of his people, who deserves a decent place on the pages of a challenging test history. The author concludes that the emergence, formation and development of a new adventure genre in Kazakh literature are directly related to the name of Kemel Tokayev.

Creations of Ch. S. Guleri and His Role in the Formation of a Small Narrative Form in Hindi Literature

The genre form of the story appeared in Hindi literature relatively late, in the first decades of the twentieth century. The formation and development of the short story genre in Hindi literature of the twentieth century attracts the attention of researchers both in India and abroad. In this regard, it is important to consider the work of Chandradhar Sharma Guleri, the author of one of the first stories written in Hindi. Together with famous writers Jayashankar Prasad and Premchand, Geleri is considered one of the founders of modern Hindi literature. He wrote mostly short stories. It is noteworthy that some sources drastically reduce their number, mentioning only three stories, although there are almost 20 of them. The writer’s stories attracted the attention of literary critics, who highly appreciated them. Some of Guleri’s stories have been translated into foreign languages, including Russian. The article examines one of the early stories of Ch. Sh. Guleri “She said”, in which the readers see almost the entire short life of the main character, from childhood to his heroic death. The article focuses on the content, characteristics of the artistic and stylistic features of this story, briefly examines its adaptation, and also characterizes a kind of literary continuation — the story of the famous Hindi writer Shailesh Matiani “She didn’t say”, which takes place during the Indo-Chinese conflict. Guleri’s story was translated into Russian in the 1950s, when Soviet-Indian relations began to develop actively.

The role of Jalil Mammadguluzade in the formation and development of feuilleton genre

The role of Jalil Mammadguluzade in the formation and development of feuilleton genre

«ВТОРИННІ ДЖЕРЕЛА» КЕЛЬТСЬКОГО ТА ГЕРМАНО-СКАНДИНАВСЬКОГО МОДУСІВ В СУЧАСНІЙ ПОПУЛЯРНІЙ КУЛЬТУРІ ЧЕРЕЗ ПРИЗМУ ЖАНРУ ФЕНТЕЗІ

The article deals with the main sources of the modern fantasy genre, presented in the form of several blocks of borrowings. First of all, this is the influence of the figures of the «Celtic Revival», who were engaged the search, recording and systematization of mainly Irish, Scottish and Welsh tales, myths and a wide range of folklore material. This legacy was transformed into an original literary tradition characterized by a combination of legendary heritage with fictional art elements and authorial reworking. Examples of pseudo-translations from Celtic languages presented as authentic, such as the work of James Macpherson. The article identifies the key figures of the «Celtic Revival» and singles out their works, which, in the opinion of the author, had the greatest impact on the formation of the fantasy genre. In particular William Butler Yeats, Isabella Augusta Persse (usually Lady Gregory), Thomas Moore, Edward John Moreton Plunkett (usually Lord Dunsany), Irish writer, poet, painter – George Russell, Irish playwright, poet, writer, collector of folklore – John Millington Synge, Irish writer Alice Letitia Milligan. The Romantic Age in English literature had a significant impact on the fantasy genre. The author analyzed the most relevant creative developments in this connection: William Blake, John Keats, William Wordsworth, Percy Shelley, Samuel Taylor Coleridge, Robert Southey, Walter Scott, Mary Shelley. Gothic fiction and in particular Gothic novels, is an equally important «factor of influence». First of all, it is about Horace Walpole, Clara Reeve, William Beckford, Matthew Gregory Lewis, Ann Radcliffe, Bram Stoker. The author presents a vision of the «wide treasury of inspiration» opus of the main archetypes of European fantasy, which also includes «German Romanticism». It is represented Ludwig von Arnim, Ernst Hoffmann, Ludwig Uhland, Friedrich von Hardenberg (usually Novalis), Ludwig Tieck, Joseph von Eichendorff.

Some Observations on the Importance of the Translation of the Story “The Luminous Resurrection of Christ” in Shaping and Developing the Easter Tale

The article examines the factors that contributed to the formation of the Easter story genre in Russia. The author connects this process with the work of the Slavophiles, analyzes the context in which the European “Christmas” tale was not only translated in Russia, but was built into Russian culture. Emblematic of this transformation was the story of Charles Dickens “A Christmas Carol in Prose,” which was published under the title “The Luminous Resurrection of Christ” in Russia. The article examines some of the changes made to Dickens’ text, on the basis of which it can be posited that the free translation of the work came out of the Slavophil environment. It is assumed that D. A. Valuev and A. S. Khomyakov jointly planned and carried out the translation and adaptation of the story. The author of the article notes that the action is transferred to Russia, the setting of the story and the characters are invested with Russian names, features, habits and customs, and, most significantly, Christmas – the religious holiday at the centre of Dickens’ story — is replaced by Easter.

From Divided to Diasporic: Re-envisioning Italian American Texts through Transformative Translingual Practices

From Divided to Diasporic: Re-envisioning Italian American Texts through Transformative Translingual Practices

Народный театр Вьетнама как предшественник национальной вьетнамской оперы

The article is devoted to two types of folk theater in Vietnam, Сheo and Tuong, that prepared the country’s musical culture for mastering the genre of Europen-style opera. The similarities and differences in their aesthetics and dramatic principles are outlined. The issues of the repertoire of theaters are considered, the main plot motives of the performances are highlighted. The role of music in the performances of Chao and Tuong, its specific genre forms is considered. The national aspects of music in the plays of Cheo and Tuong are emphasized, as well as the compositional features that resonate with some principles of the opera genre.