Nature Of Genre Research Articles

Tracking Interpersonality in Research Article Abstract: A Diachronic Study of Dynamic Nature of Genre

This study reports on interpersonality in a diachronic-contrastive investigation in Research Article (RA) abstracts. The study analyzed a corpus of 180 RA abstracts from two journals of Psychological Bulletin and Personality and Individual Differences over the last three decades. This paper uses Hyland’s (2005b) Stance Model of Interaction and Hyland & Tse’s (2005) Classification of Sentences Containing Evaluative that in order to explore interpersonality. The results of this study revealed that authors of these journals adopted different stance and positioning over time in their writing. In addition, the findings of this paper did not corroborate previous research findings that RA abstracts exhibit high number of boosters. In relation to writing pedagogy, the results of this study can help the scholars to frame their papers in order to publish them in English-medium journals.

The genre of folk song settings: the ways of interaction of traditional and professional musical art

The genre of folk song settings: the ways of interaction of traditional and professional musical art

Instrumental Concert in the Creativity by Francis Poulenc: Genre Projections

Instrumental Concert in the Creativity by Francis Poulenc: Genre Projections

Between small village and world: trilogy “Ost” by Ulas Samchuk

The paper considers the trilogy of novels by Ulas Samchuk “Ost” as a genre variety of a family chronicle. The main issues are its genre nature, correlation of the work with traditions of the classic Ukrainian novel and the modern novel forms, its relation to the concept of “high literature”, the ideological and aesthetic views of the author.
 The main point of the paper is the interpretation of Ulas Samchuk’s novel as an attempt to implement the idea of high literature substantiated by him. The concept of high literature in Ulas Samchuk’s sense is related to the concept of classical literature, and the very idea of literary work in exile is connected with the idea of the lost statehood.
 The realistic basis of Ulas Samchuk’s novels originates in his understanding of realism as an artistic style and principle of depicting reality, the “universal key to the door of reality”. At the same time, the researcher testifies to the blurring of style shapes in Ulas Samchuk’s postwar prose and points to the combination of realistic traditions and modernist tendencies in it.
 Focusing on the concept of generation and family in the novel, the author emphasizes the relations between the generations, because each one plays its significant role in the complex drama of the family and national histories. The family, as the subject of action and one of the main actors in the theater of history, becomes a symbolic embodiment of the trauma generated by history.
 The notion of idyllic chronotope is connected with the sacred space of family, the motive of searching harmony. The basic element of such chronotope is the topos of hamlet as a form of ideal national existence. The idea of destroying the hamlet during the revolution is related to the process of destroying the family idyll. In general, the history of Moroz’s family in Ulas Samchuk’s novel is a reflection of the national history, and the destroyed space of the family is a field in which the Soviet totalitarianism repressive mechanisms were tested.

Les particulariteś de la technique narative dans „Le page disgracié” de T.L’Hermite

The article deals with the features of narrative technology in Tristan l'Hermite’s novel Le Page disgracié (1643; “The Disgraced Page”). The genre nature of the work remains uncertain. The intertwining of autobiography with well-known literary models generates a great deal of heated debates in the scientific community. The author's narrative strategy is currently poorly understood, but it is precisely this that can clarify the artistic nature of the work. The author uses different spheres of novel understanding of reality, using personal, individual experience, trying to bring the novel’s world closer to reality. The combination of elements of different novel poetics and innovations in the narrative structure are the important steps in the development of the genre of novels in a historical perspective.

The genre of folk song arrangement at the present stage: cultural and historical aspect

The genre of folk song arrangement at the present stage: cultural and historical aspect

Stylization of Baroque genres in the Ukrainian violin miniature of the early 21st century: specifics of musical consciousness formation

Stylization of Baroque genres in the Ukrainian violin miniature of the early 21st century: specifics of musical consciousness formation

The Potential of Literary Translation in Intercultural Communication: Ota Pavel’s Short Stories for the Russian Reader

The purpose of this article is to reveal the specifics of the translation of cross-cultural texts by the Czech writer Ota Pavel. The main research methods are a description of potential difficulties and possible solutions, a comparative analysis of the translation and the original, contextual analysis, the use of analog texts to indicate the genre nature of the translated text. The main conclusions of the article are as follows: to convey the style of Ota Pavel, the translator must recreate the model of the world presented in the original text, which includes the specific features of Czech and Jewish cultures, by transmitting such characteristics of the text as slow narration, an abundance of retreats, repetitions, details, comparisons, specific Jewish humor using such translation tools as historical and cultural translation comments and compulsory translation transformations. The latter include: lexical transformations (translational transcription, tracing, lexical-semantic substitutions); lexical and grammatical transformations (explication, transformation); grammatical transformations (syntactic assimilation, division of sentences, combining sentences, grammatical replacements).
 Keywords: cross-cultural texts, analog texts, contextual analysis, adaptation, translation transformations

Terra incognita: українська авантюрно-пригодницька проза першої третини ХХ століття. Рецензія на монографію Л. М. Кулакевич «Жанрові стратегії української авантюрно-пригодницької прози першої третини ХХ століття» (Дніпро, 2020)

The paper reviews the monograph by L. Kulakevych, states the relevance of studies in the field of Ukrainian adventure literature of the first third of the 20th century. The review emphasizes that the monograph is devoted to a virtually unknown but powerful layer of Ukrainian adventure literature of the first third of the twentieth century. Some of the works studied in the monograph are only mentioned in the general reviews of the writers’ literary legacies while the other works remained unknown for the literary critics for almost a century. For instance, such works as «Opovidannia pro Sofochku y Dzhyma» (The Story of Sofochka and Jim) by D. Buzko, «Zaradynei» («For Her Sake») by I. Dniprovskyi, «Vurkahan» («Criminal») by Y. Miakota, «Viter z hir» («Wind from the Mountains») by S. Skliarenko, and «KniazBartsila» (Prince Bartsila) by O. Slisarenko. The importance of the monograph lies in the study of the works against the background of global cultural processes. The first section «The Nature of Genre in Adventure Literature: The Theoretical Aspect» pays special attention to the introduction of the contemporary Ukrainian literary processes into the global trends. In particular, it highlights the increased interest in adventure works, which, according to the literary critics of different countries, remained unnoticed due to colonial and gender discourses, demonstrating, to put it mildly, the «unattractive» side of European cultural expansion. This section also contains a detailed analysis of the existing definitions of «adventure» literature, the author of the monograph works on the disambiguation of the terms concerning «adventure» and providesmore clear and precise definitions. In the second chapter, L. Kulakevych analyzes the novels which, according to her, are the examples of the new genres in Ukrainian literature: frontier, western / eastern, robinsonade, roxolania. In the third section, the author studies the texts-representatives of the printed series, travelogue, and action genres. While analyzing the texts, L. Kulakevich points out the artistic components that serve as markers to attribute the texts to a certain genre. The fourth chapter is dedicated to the innovative quest of Ukrainian writers of the 20-30s of the 20th century, in particular, the development of the new genres in Ukrainian adventure discourse – noir novel, horror, detective, spy narrative, novel-quest. While substantiating the affiliation of the work to a particular genre, the researcher uses the theses of modern foreign experts in the field of literature and cinema to support her ideas. In the fifth chapter, L. Kulakevich investigates the texts, whichcontributedto the Ukrainian fiction with the new genres of chrono-travel, thriller, and alternative history. It is evident, that in the research of L. Kulakevych the Ukrainian adventure literature of the first third of the 20th century appears as an extraordinary and multidimensional phenomenon that synthesized the achievements of world culture and innovations of Ukrainian writers. In general, the monograph is highly praised for up to date factual basis, original approach to the analysis of literary works, and informative presentation.

ВКЛАД Е. М. МЕЛЕТИНСКОГО В КАВКАЗСКОЕ ЭПОСОВЕДЕНИЕ: К 100-ЛЕТИЮ СО ДНЯ РОЖДЕНИЯ УЧЕНОГО

The article analyses the contribution of Meletinsky to Caucasian epic studies. The role of Caucasian epic traditions in the study of the problem of the origins and the early forms of the epos is considered. A significant number of the comparative-typological studies of Meletinsky are based on the materials of mythoepic cultures of Caucasus mountain people. The scholar singled out the Caucasian epics, along with some other traditions, as the special early stage in the history of the epic. Meletinsky was one of the pioneers in the fundamental studies of the Caucasian Nart epics. Based on the analysis of materials available to him at that time, Meletinsky comes to the fundamental conclusions on the genre nature, national versions, images, subjects and motifs of the Nart epic. The scholar considered Sataney and Sasrykua to be the earliest characters in the epic, whose images clearly reflected the features of a cultural hero, especially in the close Abkhaz and Adyg versions. Furthermore, according to Meletinsky, the Transcaucasian legends about the chained heroes – Abkhaz Abryskil, Armenian Mger and Georgian Amiran – represent a kind of interweaving of mythological epic and heroic tales, in which the motives of cultural exploits are largely supplanted by episodes of the heroic struggle with Giants. In the studies of Meletinsky, the epic traditions of the people of the North Caucasus and Transcaucasia are subjected to the deepest analysis at a very high level of comparative studies.

Функционирование литературных антропонимов в произведениях Э. Канетти и К. Хоффера

The author studies the works of Austrian writers Elias Canetti “Earwitness. 50 characters” (“Der Ohrenzeuge. 50 Charaktere”) and Klaus Hoffer “In Graz” (“Bei den Bieresch”). The relevance of the study is determined by the need to comprehend the literary process of Austria in the second half of the twentieth century. A review of the existing points of view regarding the significance of the analyzed works of both authors and in modern Austrian literature is performed. The debatable nature of Canetti's book genre and the originality of the poetics of the Hoffer novel are noted. The authors of the article proceed from the fact that Canetti's work is a “collection” of literary miniatures; Hoffer's novel can be considered as an example of the initial stage of development of German-language postmodern literature. The narrative strategies used by Canetti and Hoffer to create a surrealistic context and “fantastic reality” are drawn into consideration. The authors dwell on the study of the functioning of literary anthroponyms in the text space of works. It is proved that fictional onomastics is involved in the creation of semantic multidimensionality of a literary text. Hoffer’s novel traces Canetti’s borrowed method of creating a verbal image with enriched contextual semantics using proper names. The translation aspect remains outside the scope of the article.

“For me, this is a particularly attractive subject…”: On the Visual Imagination of Pavel Bazhov

This article examines the role of the visual in the artistic consciousness and texts of Pavel Petrovich Bazhov, as well as in the reception of his works by illustrators and modern readers. The authors explore the phenomenon of Bazhov’s visual imagery employing the research methods of visual studies, i.e. the study focuses on the “scopic mode”, understood as a constructed and historically determined model of the gaze of the beholder. The analysis of tales (Rus. skazy ), epistolary works, and illustrations to Bazhov’s prose allows the authors to assert that the visual is one of the main semantic codes of the writer’s artistic thinking. For this reason, he was not impartial when evaluating illustrations for his works. Bazhov’s letters reflect the variant of illustrations adequate in the writer’s opinion: the frontispiece to The Malachite Box by artist K. V. Kuznetsov represents an ideal model of the author’s vision. It is characterised by a dominance of the imaginary and a tendency to the visual tradition of Russian modernism, which is especially notable in the accentuation of floral ornaments. The modernist substrate, explicated in the writer’s visual imagination, is latent in the verbal organisation of Bazhov’s texts, which is explained by the peculiarity of their narrative organisation. The genre and stylistic nature of the skaz speech of the narrator, a man of the people, does not imply an imaginary vision, and the perception of beauty by the character, who is a master and an artist, remains in the sphere of his consciousness, which creates an atmosphere of understatement and mystery in Bazhov’s tales. The authors of the article conclude that visual imagination is not only a generative model in Bazhov’s works, but it also sets a code for its reception. Modern interpretations of the writer’s works are characterised by visual representations that reinforce Bazhov’s individual mythology by means of new screen media. The analysis demonstrates that Bazhov’s imagery (especially the Mistress of the Copper Mountain) are in great demand with modern popular culture.

ЖАНРОВИЙ ЗМІСТ І ПРОБЛЕМАТИКА ЩОДЕННИКІВ ЛІТЕРАТОРІВ XIX СТОЛІТТЯ

The article is devoted to research of specific genre of diary in creative heritage of P. Kulish, O. Nikitenko and T. Shevchenko. Intraliterary comparative analysis allowed to comprehend nature of genre and to define his basic characteristics. The special attention is spared to the general moments in diaries language, orientation on a future reader, atmosphere of “expectation”. In the diaries the author acts as a part of the action, moreover, he is the hero of the story, it is therefore obvious that description of all adventures are typically narrated from the author’s perspective so the author and the narrator merge – and the narrative adopts a first person narrative. The communicative techniques in the structure of the text are described briefly – implicit comparative studies, evaluative judgments, creation of the image of a stranger, “other”, address to the reader, etc. Also are comprehended separate theses about correlation of looks of writers on religion, friendship, the phenomenon of silence in the text. The multidimensional character of silence opens up, the specific of silence (silence’s philosophical potential) in text: variants of literary pausing/silence can be found throughout diary, they are expressed by several types of figures of silence. The meaning of silence shifts according to its context in diary. The especially interesting discoveries are based on general moments in both diaries – critical thinking, engaging the reader in the text, deep existential thoughts, digression (partial retreat from a main theme in text). Comparison of texts of diaries gives an opportunity to trace an origin, forming, statement in Ukrainian literature of such variety of diary as a writer.

«ЛУЧШЕ, КОГДА ЭТО РЕШЕНО ДЛЯ ВСЕХ»: ИНДИВИДУАЛЬНОЕ И СОЦИАЛЬНОЕ В ОСМЫСЛЕНИИ СМЕРТИ В ЗАПИСКАХ Л. Я. ГИНЗБУРГ 1920–1940-х гг.

The article considers how during the 1920–1940s the problems of death, finality of human existence, immortality, postmortem ritual, guilt and repentance were thought through and developed by the outstanding Russian literary critic and thinker L. Yа. Ginzburg in the interesting and peculiar forms of ego-documents. The borderline nature of genre of her notes and autobiographical “narratives” — between ego-documents and literature — have led to a close interweaving in her reflections of personal, social and historical experience, as well as the intellectual tradition of thinking about the finitude of life and contributed to the creation of an original author’s system of ideas about death. The article shows the stages of formation of these perceptions correlated with the aspects of death actualized in this or that period of Soviet history in the 1920–1940s. From the reflection of the mid-1920s on the “lightness” and unremarkableness of death, a reverse side of the devaluation of life, Ginzburg came in the second half of the 1930s to the necessity of conceptual thinking about death, without which understanding the meaning of life was impossible. Experience of the war and blockade fills this reflection with an understanding of the nature of heroism and heroic death (as the only possible freedom in conditions of unfreedom of war), of the mechanisms of the work of grief, guilt and remorse as a tragic near-death experience in the event of loss of loved ones. The understanding of death, imbued with humanism and sociality, with a sense of experience of common human connections, has become an essential part of Ginzburg’s concept of human life in the postindividualist era.

КОМИКС В РОССИИ: ТРАНСМЕДИЙНЫЙ НАРРАТИВ И ИЗДАТЕЛЬСКИЕ СТРАТЕГИИ

Mass culture creates genre-and-style phenomena that possess both the illusion of a simplified understanding and a complex aesthetic nature. Comics is a phenomenon reflecting trends in the development of mass culture at the turn of the 21st century. In comics, the plot and genre are secondary (graphic novel, various adaptations and retellings), the aesthetics is ambivalent (playful and serious; secular, amateurish and professional), the text has a complex artistic nature (creolisation, polycodedness, centaurism, transmedia features) and, at the same time, an essential goal for reaching commercial success and facilitated consumption/perception. The article aims to describe and analyse the genre-and-style features of the comic strip as a transmedia phenomenon of mass culture. These features give grounds for assessing the principles and tendencies of the presence of the comics in the domestic book market, in particular, the ways of forming the publishing repertoire. The general trend of the modern study of comics (in addition to analysing specific samples of the genre) is the reflection of visual aesthetics in the artistic structure of its text. It is the basis for the inclusion of this genre into mass literature. The peculiarity of the poetics of the comic book lies in the transmedia and sequenciality means that organise the dramatic narrative and visual plot as equal artistic spaces. In combination with the experience of visual media, the genre, style, and discourse of mass culture acquire attributes of transmedia, marginality, and transfer, i.e. tendencies to the mobility of the borders of the traditional genre-and-style system and going beyond them with the help of several different media (visualisation). They have an impact on the genre-and-style features of the comics, and the features of the multimedia information space built on repetition and convergence—sequels, remakes—are becoming more and more familiar. The intention to replicate recognisable stories readers demand encourages major publishers to rely on comic book remakes, comic book adaptations, comic book sequels. There is an extensive development “in depth and in breadth” of the already familiar successful plot, character, aesthetic discourse. Publishing houses are not interested in expanding the thematic repertoire of the comic book, but they seek to update and deepen the reading experience through the emergence of national genre patterns, the discovery of new authors’ names. This leads to a non-linear dynamics in both book publishing and book selling practices in the comics industry and in the genre. The change in the range of comic books is mainly due to various types of remakes, including plot (plot and style, when the aesthetics of the narrative changes) variants of a well-known story. Thus, publishers are faced with common problems in their marketing strategies: objective, related to the lack of understanding of the genre nature and existence of comics, and specifically publishing—the emergence of special technological operations in the production of comics as a publication.

Методика вивчення студентами-словесниками жанрової природи оповідання з урахуванням національної специфіки

Методика вивчення студентами-словесниками жанрової природи оповідання з урахуванням національної специфіки

«НЕЕВКЛИДОВА ГЕОМЕТРИЯ» РУКОПИСИ: ЦИФРОВОЙ АРХИВ МИХАИЛА БУЛГАКОВА

The article examines the problem of access to archival sources, many of which are currently closed for research due to a number of reasons, including epidemiological ones. The author sees the solution to the problem in creating special unified electronic archives, in which all information about manuscripts is placed on the Internet site or portal, regardless of where they are located geographically. In the author’s opinion, electronic resources of the “second generation” meet the most complete tasks of scientific research: digital archives that allow not only quickly selecting sources, but also working with an electronic copy of the document identical to the original. Regardless of the scientific qualification of the researcher and the state of the original, any Internet user gets direct access to the electronic copy: they can study it, clarify it, quote it in their works and distribute links to the source. On the material of the “Autograph. The 20th-Century. Digital Archive of Russian Literature” portal, the author describes the process of creating a digital archive as a research work that is located at the junction of two Humanities disciplines: source studies and textual studies. In the course of the research, the author turns to the new materials of the portal – the digital archive of Mikhail Bulgakov. The author gives a detailed description of the history of the writer’s archival collections in various organizations (Institute of World Literature, RAS; Russian State Library; Russian State Archive of Literature and Arts), as well as a description of research works of the past decade on Bulgakov’s artistic heritage. During the writer’s lifetime, the archive was kept by Bulgakov himself, then by his widow, Elena Bulgakova, with a full understanding of the value that the collection as a whole represents. As a result, a huge, interconnected and actually commented complex of manuscripts, albums, correspondence, and visual materials was created. Then the archive was divided into two unequal parts (the Bulgakov-prose writer archive and the Bulgakov-playwright archive) and transferred to two different repositories: the Pushkin House (Fund 369) and the Lenin State library (Fund 562). The Bulgakov collection of the Pushkin House is “adjacent” to the Russian State Archive of Literature and Arts funds, which reflect the history of the text based on the materials of organizations (Glavrepertkom, archival funds of theaters, magazines and publishing houses). The author further describes the materials from the Mikhail Bulgakov Fund at the Institute of World Literature, RAS, presented on the “ Autograph. The 20th-Century” portal. The author cites unpublished (or published with notes) sources from the least studied part of the archive – the collection of theater albums. Comparing the theater album devoted to the stage history of the play The Days of the Turbins (The White Guard, The Brothers Turbins) and the text of Theatrical Novel (A Dead Man’s Memoir), the author infers that the album is a kind of a autodocumentary source of the novel, clarifying many controversial points in its interpretation. The genre nature of this type of album requires a separate study. In conclusion, the author emphasizes that the ideal material for such research can be the digital archive of Mikhail Bulgakov.

Дневник как литературный жанр

The specifics of the diary as a genre of literature is considered. An attempt is made to understand the genre nature of the diary and identify the characteristic features of its narrative structure. Turning to the diary entries of Bakhyt Kairbekov, we analyze the subspecies of the diary as a genre and pose the question of the intertextual specifics of the poet’s diaries. We reveal such characteristic features of the narrative structure of diaries as chronology, dating, aphorism, dialogics, evaluation. It is proved that the specific form of the diary is one of the individual style of a artistic person who realizes his abilities in various fields of artistic work. We establish that the diary form of writing is characterized by a number of features that can be implemented to a greater or lesser extent in each diary: 1) the frequency, regularity of recordings; 2) the relationship of records with current, and not with long-past events; 3) the spontaneous nature of the records; 4) literary rawness of records; 5) addresslessness or uncertainty of the addressee; 6) the intimate and therefore sincere, private nature of the notes.

ДИСКУРСИВНЫЕ И ЖАНРОВЫЕ ЭКСПЕРИМЕНТЫ В НОВЕЙШЕЙ РОССИЙСКОЙ ДРАМЕ

The article considers an influence of the genre traditions and discurses on Russian drama of the late 20th and early 21st century. The influence of documentary theater and the illusion of non-fictional speech created in G. Sinkina, A. Rodinov, Yu. Klavdiev, L. Mulmenko drama is noted. Pedaling the authenticity of character’s word is manifested by the verbatim technique – and at the same time returns the drama to the strivings of the early Soviet theater. The article also considers a correlation of the verbal and written discourses, their genre diversity as well as the ratio of the monologue – and dialogic potential of the texts written by N. Kolyada, A. Slapovsky, V. Levanov, V. Zueva, Ya. Pulinovich, E. Grishkovets, I. Vyrypaev, E. Isaeva, N. Vorozhbit, S. Reshetnikov. It takes into consideration the genre forms mixing what determines the structure of the play and its perception by reader-spectator. In particular, the research focuses on the literary and stage manifestations of the diptych – play in works of A. Zenzinov and V. Zabaluev, S. Zlotnikov, D. Gumenniy . The author of the article refers to the interaction of drama with other arts, both the visual (O. Mukhina’s plays) and sounding (I. Vyrypayev “Oxygen”), as well as modern media formats that determine the genre nature of the latest works for the stage (plays by A. Vartanov, R. Malikov). Special attention is paid to “network drama”, which qualitatively changes the structural principles for works in that kind of literature and motivates to rethink the categories of “drama world”, “character”, “conflict”, “plot”.

ВЗАЄМОЗВ’ЯЗОК БАЛЕТМЕЙСТЕРА З ХУДОЖНИКОМ ТА КОМПОЗИТОРОМ ПІД ЧАС СТВОРЕННЯ ХОРЕОГРАФІЧНОГО ТВОРУ

This article provides examples of the choreographer's work with the composer and artist in creating a choreographic work, how they combine their professional knowledge, complement each other, help in creative work, and emphasize small mistakes, which improve joint creative work. The question of how a composer helps a choreographer to create and change certain dance movements in relation to music, so that they would be harmoniously combined with a musical score in creative work, is analyzed. Algorithms of work of a choreographer, composer and artist during the staging of a ballet or dance number are studied, in which it is described in detail what work each of them should perform at a certain stage of creating a performance. The work of a choreographer who creates the dance basis of a performance, whose task is to build a dance or the whole performance in such a way as to maintain and increase the audience's interest, is analyzed, and an important component such as success in a profession that depends on education , a talent that is honed all his life. Talented performers are not always good choreographers. It also describes the work of the composer, who musically gives the mood and character of movements, as well as emphasizes every pose and pause in the dance, whose task is to feel the choreographer's idea and create music that would fully reflect the opinion of the choreographer and help him bring choreography to life. the work of a composer who creates a musical score of ballet, given its theatrical affiliation, due to the stage action and genre nature of the performance. The material of the artist's works is also provided, thanks to which the created choreographic work acquires amazing colors not only in costumes and props, but also powerful design with stage decorations and light, thanks to which the joint work acquires a complete look. artist increases significantly than in solving problems related to the design of a concert number, concert program, but this does not mean that in the latter case, the creative task is easier.