Genre Peculiarities Research Articles

Lingual Means of Creating Cinematic Effect in the English Literary Text

The article is devoted to the cinematic effect within a descriptive language register of the English literary text. The article reveals the essence of cinematic effect as a literary technique based on cinematographic montage composition style that is the use of certain compositional-syntactic means to create brisk, dynamic description and represent a viewer’s shifting perspective. Cinematic effect enhances the plausibility of the literary text and should be considered more than just an imitation of
 cinematographic montage techniques but rather a lingual reflection of the natural process of perception and interpretation. The article reveals the concept and characteristic features of the descriptive language register of a literary text as a model
 for representing events, where the speaker describes what is actually observed at the moment of speech through sensory experiences. The article provides a thorough analysis of linguistic means of creating a cinematic effect within the framework of the
 descriptive language register of a literary text. The special attention is paid to lingual means that manifest the perception by various modalities, and their role in creating a cinematic effect within the descriptive language register of a literary text. The author concludes that the use of the reproductive register is predefined by the genre peculiarities of the material under study, since the way of representing events within the framework of the descriptive language register is most conducive to conveying viewer’s shifting perspective, the effect of the reader's direct presence at the events described, i.e. cinematic effect

CLAUDE DEBUSSY FIRST 12 PRELUDES FOR PIANO

The article is devoted to the piano preludes of the greatest French Impressionist composer Claude Debussy. The first 12 preludes, their figurative content, structure and stylistic features are analysed in detail. Their figurative content, structure, stylistic peculiarities, the composer's innovative approach to the traditional genre of the prelude and the peculiarities of this famous genre caused by it are analysed in detail.

Features of translation of English-language horror filmonyms into Russian and German

The subject of the research of the article is the general features and specific features of the translation of horror discourse filmonyms from English into Russian and German. The object of the study is the original English-language and translated Russian- and German-language filmonyms of horror discourse. In our work, we will be interested in strategies and techniques for translating English-language horror discourse filmonyms, since the horror film genre is one of the most popular at the moment, and a large number of films are being released in English. When translating movie titles, a translator faces a number of difficulties and must solve them by choosing a translation technique and strategy. Often, the translation of a filmonym is accompanied by a shift in its leading function, or a change in the type of filmonym according to the peculiarities of its perception by the viewer. The work uses the continuous sampling method, comparative linguistic analysis of parallel filmonyms, as well as quantitative data processing methods. The research material was a sample including 150 original English-language horror-discourse filmonyms and their translation options into Russian and German. The scientific novelty of the study lies in the fact that the features of the translation of film names are studied in a comparative aspect using the example of Russian- and German-language horror discourse based on the material of the titles of films released over the past two decades. A methodology is being developed for a comparative study of the features of translating film names into different languages. As a result of the analysis, it was concluded that the domestication strategy of filmonyms is high-frequency; for German-language translated filmonyms, the use of a forenization strategy is much more typical. A feature of the German film distribution is the high frequency of combining two translation strategies, when the first forenized part of the filmonym is combined with domestication in the second part of the movie title after the dash sign. Due to the fact that German translated film names undergo less transformations, they are less characterized by a functional shift compared to translated film names in the Russian film distribution. When translated into Russian, preference is given to tonal-type filmonyms, which corresponds to the peculiarities of the horror genre.

В поисках подлинной реальности: специфика жанра и драматургии в опере Пера Нёргора «Сиддхартха»

The article focuses on the peculiarities of genre and dramaturgy of the opera Siddharta (1974‒1979, revised 1984, libretto by Ole Sarvig) by Danish composer Per Nørgård. Its plotline is based on the story of young Buddha, his birth, growing up and encounter with human sufferings, from which the prince had been artificially shielded by his father. The author of the article connects the opera’s singularity of genre with its character of modulation from a mystery to a drama, which is confirmed by the changes occurring in the libretto’s lexical structure, in the chronotope of the composition, which reflects consistently the various models of time (the mythological, the artistic, and the psychological), in the choice of different opera forms for each act, and in the dramaturgical process directed from the outward eventful plane to the inward psychological dimension. The article reveals the compositional strategies that helped Nørgård manifest the conflict between the genuine and the inauthentic world on a musical level: the rhythmic transformation and the metric reaccentuation of the themes, the combination of the overtone and the undertone pitch sets, the rejection of the hierarchical system at the end of Act III, symbolizing the main protagonist’s estrangement from the world of his past. In connection with the artistic crisis experienced by Nørgård after he composed Siddharta, the author presumes that the opera may be interpreted as a self-reflection of artistic activity.

PERSUASIVE STRATEGIES AND TACTICS IN ENVIRONMENTAL TED TALKS

The article focuses on strategies, tactics and linguo-stylistic means of persuasion in such a prototypical speech genre of media environmental discourse as TED talks: the analysis of TED talks genre peculiarities is presented; the two main communicative strategies of media environmental discourse are identified – the strategy popularizing eco-friendly activities, and the strategy discrediting eco-unfriendly activities; depending on the argumentation principle employed, the three groups of tactics for expressing logos, ethos and pathos are singled out; the most frequent linguo-stylistic means of persuasion in environmental TED talks have been identified. The strategic approach emphasises that to achieve the desirable effect in public speaking within the TED format it is necessary to employ the combination of persuasive tactics to maintain a balance between the ethos, logos or pathos components of argumentation and provide a persuasive impact on the addressee increasing their environmental consciousness and promoting environmentally competent behaviour.

Stylistic peculiarities of the fantasy genre (based on the novel “A Game of Thrones” by George R.R. Martin)

The article is devoted to the results of the analysis of the stylistic peculiarities of the fantasy genre, based on the novel by G. Martin “A Game of Thrones”. The study was built on the level classification of stylistic devices by I.R. Galperin. The method of continuous sampling was used to identify 860 stylistic units, 70 % of which are lexical, 26 % are syntactical and 4 % are phonetic stylistic devices. Among lexical ones, metaphor showed the highest frequency, among syntactical ones — aposiopesis, and alliteration was the largest part of phonetic devices. Based on the study, the author came to the conclusion that almost the entire spectrum of expressive means is used to create a fantasy world, and the prevalence of lexical stylistic devices confirms theopinion that they have the most extensive expressive capabilities in the language.

Жанровая палитра литературных материалов на страницах газеты «Саратовский вестник» 1910-х годов

The article deals with the newspaper genres, used for literary materials in the newspaper “Saratovsky Vestnik” (Saratov Herald) in 1910–1913. This is the time when Saratov’s newspaper culture is taking shape: the structure of the newspaper page, its layout and arrangement of materials, the link between the visual range and the genre palette. The Vestnik features the genres of newspaper advertisement, as well as chronicledocumentary articles. The preference of fact over commentary testifies to the high journalistic culture in the “Saratovsky Vestnik”. The newspaper publishes notes, feuilletons, letters to the editor, reviews. Genres, reflecting the newspaper’s enthusiasm for literature and theatre, are presented abundantly. The deaths of Tolstoy and Chekhov are perceived by the newspapermen as a disaster that has hit the whole Russian social life. As a result, the genre of the passionate obituary is born. The genre diversity of the Vestnik’s literary materials suggests a unified context for the paper provided by the continuity of the authors and the editorial staff. Literary figures and literature often provoke conversation about contemporary life. One of the genre peculiarities that distinguishes the newspaper culture of the “Saratovsky Vestnik” is the way the authors of news lines, feature articles, and reviews of the political life of the city and the province, use literary images, writers’ statements, and aphorisms from works of fiction. It proves not only that the Vestnik’s authors were literary-centric, but also that the newspaper was created for Saratov intelligentsia and people of other walks of life who focused on literature as their main criterion of truth. Readers‘ intentions in the “Saratovsky Vestnik” were a form of popularizing newspaper genres, a way of recognizing them, and of expanding the boundaries of the audience.

GENRE FEATURES OF “DAUGHTER OF THE TALE” BY LYDIA CHARSKAYA

An object of the article – a fairy tale of writer of the early twentieth century Lydia Charskoy « Daughter of the Tale». Scientific works about this work while absent. The purpose of the author of the article is to compare author’s and folklore fairy tales, define genre peculiarities of fairy tale by L. Charskaya. Such study must help to reveal the main patterns of development of genre literary fairy tales in the literature of the early twentieth century. Speech is about an era when creativity of neo-romantic and symbolist writers intensifies the author’s tendency to express himself as main goals art. With this is connected process of author’s departing from traditions of folklore fairy tales and amplification in their works to artistry, based on the tendency to individualization of the personage’s characters and of the author (expression of his individual concepts). The main method of research in the article is typological (author compares folklore and literature works, as well as images of the main characters of the work: their portrait, their attitude to those. who around them). Article author comes to the conclusion about the presence in the tale of L. Charskaya signs of her orientation for experience of folklore fairy tales. These are traditional plot motives (appearance of trouble as an incentive to start actions; wedding tests suitors; rivalry women’s characters and desire senior women – stepmothers – get rid of their daughter), a picture of space (forest and garden as isolated topos with their own laws), the presence of miracles. At the same time Charskaya a lot of attention gives to descriptions that _ distinguishes her piece of folklore fairy tales. And that even more importantly, actively refers to the allegory that does her a fairy tale not similar to folklore and brings it closer to such a genre as a parable.

Creative interaction of the Eespere brothers and its reflection in the René Eespere’s Piano Concerto

Statement of the problem. The piano heritage of René Eespere, despite its uniqueness, has been neglected by researchers. Nowadays, there is no evidence that the Estonian master’s works have ever been mentioned in the national musicological literature. The Piano Concerto was composed on the initiative of the Estonian pianist Tarmo Eespere, the composer’s brother. In its first version, the work was performed only once. Thus, the composer’s piano music, in particular the Piano Concerto, as well as Tarmo Eespere’s interpretations, require detail research and comprehensive coverage by musicologists. The context of creative communication between the two Estonian musicians is of particular interest. Recent research and publications. The article relies on the works of foreign authors who highlight the piano work of Estonian composers in the context of general trends in the development of Estonian musical culture – H. Olt (Olt, 1980), J. Tall (1983); press materials – E.Arujärv (2013), interview– E.Colucci (2012), as well as private correspondence of the author of the article with the composer and the first performer of the concert. The theoretical basis of the article includes the works of Ukrainian musicologists dedicated to the genre of the concerto – V. Rakochy (2021), the analysis of interpretations of musical works – V. Moskalenko (2013); the compositional techniques of the second half of the 20th century – D. Malyi (2021), K. Onyshchenko (2019), and also the articles by Ukrainian scholars – T. Verkina and others (2020), I. Ivanova and others (2020), L. Serhaniuk and others (2021), which are aimed at highlighting the performance issues and typology of composer styles. Objectives, methods, and novelty of the research. The purpose of the study is to establish the role of the creative interaction of the Eespere brothers through the identification of the basic semantic features of René Eespere’s Piano Concerto and their representation in the performance version by Tarmo Eespere. The genre-stylistic, functional-structural, and interpretative methods of analysis are used in the study. The article discusses aspects that contribute to the understanding and implementation of the content of the Piano Concerto. The author’s and performer’s concepts of the work are revealed. For the first time, not only in Ukrainian musicology, but also in the world one, René Eespere’s Piano Concerto became the focus of attention. Research results and conclusion. The article analyses the principles of the Piano Concerto dramaturgy, the complex of its expressive means, and the interpretative peculiarities of the concerto genre. Brief description of the content and musicological analysis of the work is given. The interpretation of this Concerto by Tarmo Eespere is characterized. The conclusions emphasize that René Eespere created an original, in terms of content and intonation, work based on European classical canons, where the national is embodied primarily through the world perception, intonation, and rhythm. In the second version of the Concerto, the composer achieved a classical balance between the solo and orchestra parts. The prospect of further study of the topic is identification of the composer and performance concepts of other René Eespere’s piano works.

МЕТОДИЧНІ ПРИЙОМИ РОЗВИТКУ ЕМОЦІЙНОЇ СФЕРИ ДОШКІЛЬНИКІВ ТА УЧНІВ ПОЧАТКОВИХ КЛАСІВ ЗАСОБАМИ ЛІТЕРАТУРНИХ ТВОРІВ

The article considers some methodological techniques aimed at the influence onto and the formation of the preschoolers and primary school students' emotional sphere. A personality's emotional sphere is the various forms of experience: emotions, feelings, moods, and empathy. In the variety of means of influence onto the emotional sphere development of a preschooler and the primary school students fiction plays an important role. Works of fiction help a child to know his or her inner world better, inspire the self-perfection, provoke aesthetic feelings and emotions, form empathy in the process of reading. Fairy-tales are the most favourite children's genre. Fairy-tales are being listened to by the children at their preschool age and they are being read by them while studying at primary school. Working at the text, it is necessary to draw children's attention to the genre peculiarities of the literary work. Children should learn the main genre characteristics of a folklore tale, a literary tale, a legend, retelling, and a short-story. That's why such questions will be appropriate here: – Is this literary work a fairy-tale, a legend, a short-story or a poem? Prove your point of view. – What (fairy) set expressions are used to begin fairy-tales? Recollect and enumerate them. Questions for the heroes' characteristics: – Name the words from the literary work which characterize the heroes. – Which words from the text helped you to understand feelings and the mood of the characters? – What characters did you like more? – Whom do you sympathize with? – Whom would you help with pleasure? – Whom would you give your heart to? Why? Ukrainian folk tales, legends, retelling, literary tales, and short stories are a wonderful basis and rich material for the children's emotional sphere development. They teach children to enjoy the nature, to love it, to admire its beauty and to protect it, to care for the near and dear, to associate and make friends, to sympathize with and empathize people, to understand their feelings.

Скрытые духовные мотивы и символы в «Патетической оратории» Г. В. Свиридова

The aim of the research is to identify the peculiarities of image structure in G. V. Sviridov’s “Oratorio Pathétique” taking into account the Christian ideas and symbols. The paper presents some images of “Oratorio Pathétique”; shows the ways of realizing the elements of Orthodox art in music; depicts the expression of hidden biblical images and symbols in the text of V. V. Mayakovsky. The scientific novelty lies in the study of “Oratorio Pathétique” in the aspect of the spiritual themes manifestation which expands and deepens the perception of the genre peculiarities of this monumental work of the XX century. This new approach consists in the comparison of the Oratorio text with biblical notions and meanings. The results of the research allow us to make the following conclusions: “Oratorio Pathétique” is the versatile work which comprises the themes of revolution triumph and sympathy with the «White Guard», the idea of creating “Eden city-garden” on the earth and love to devastated long-suffering homeland, the principles of socialist realism and Christian symbolism.

ОСОБЕННОСТИ ЖАНРА ОБЗОРА В СОВРЕМЕННОЙ ИГРОВОЙ ЖУРНАЛИСТИКЕ

The article deals with the current state of game journalism, i.e. journalism related to video games. The author of the article discusses how game journalism uses various channels and platforms to communicate with the audience and provide its own content. The main part of the article analyzes the peculiarities of the review genre in video game journalism. Analyzing the scientific literature, the author of the article comes to the conclusion that the genre of review in game journalism does not correspond to the genre with the same name in traditional media. It is argued that despite the rigid framework of the game industry, which assigns journalists primarily advertising functions, some of the reviewers seek to act primarily in the interests of game users, gamers. The review genre is analyzed on the materials of the rubrics of the game Internet portal “StopGame.ru”.

A Byzantine Poetic Form in a Ninth-Century Bulgarian Poem

The paper measures the extent to which the most characteristic features related to the so-called Byzantine dodecasyllable are applied in one of the earliest Old-Bulgarian poems – Azbuchna molitva (‘Alphabetic Prayer’) noted to be written in dodecasyllabic verses. This alphabetic acrostic is dated back to the very end of the ninth century and is attributed to Constantine of Preslav. In this article its text is given after its earliest copy, MS Syn. 262, as it is the only representative of the version closest to the Glagolitic archetype, now lost. The piece is studied in comparison with St Gregory the Theologian’s alphabetic acrostic (as published in PG 37) which Constantine of Preslav quotes just after the end of his poem and which is considered its rhythmical model. The main conclusions are that the Alphabetic Prayer is an early replica of the Byzantine dodecasyllable, follows its rhythmical peculiarities to an extent similar to St Gregory’s alphabetic acrostic, all the previously supposed deviations are motivated by genre peculiarities and rhetorical requirements, which reveals Byzantine schooling of the Old-Bulgarian writer. Nevertheless, the content and intention of the poem indubitably target the neophyte Slavonic audience.

The Holocaust Trauma and Autobiographism in Ida Fink’s and Charlotte Delbo’s Stories

The research is based on a study of short story collections by Israeli writer Ida Fink’s, All the Stories, and French writer Charlotte Delbo’s, Auschwitz and After, to reflect the impact of the Holocaust on autobiographical elements in their work. The authors are representatives of the first generation of Holocaust survivors, which means that the mass systematic genocide during World War II was a personal traumatic experience for them. The works of female writers are studied using the theory of trauma at the genre level. Since autobiography has been considered a documentary genre with its own peculiarities, works about the Holocaust were seen as historical evidence of this event. However, based on the works of Juri Lotman and some principles of Philippe Lejeune’s “autobiographical pact”, we can conclude that autobiography is similar to fiction if it can meet certain aesthetic functions. Under the influence of trauma, the genre of autobiography can be modified in the literary text in such a way that the line between autobiography and fiction is blurred. Ida Fink and Charlotte Delbo write short stories with fictional narrators, but all the situations are certainly the experiences of the writers themselves, who turn to the autofiction and conventions of Philippe Lejeune’s “autobiographical pact” to transfer their memories to literary heroes. The aim of the study is to define the peculiarities of the autobiographical genre, analyze its functions in Holocaust literature, identify poetic elements of autobiography, and prove that there is no canonical form of narration about the Holocaust-Era, as the writers were searching for how to articulate their traumatic experience in experimental forms.

The Genre of the Graṙaǰk‘ in Armenian Manuscripts

This article presents the main characteristics and peculiarities of an Armenian medieval literary genre, the graṙaǰk‘, which is found in Armenian manuscripts. Occurring in either prose or verse form, this genre has a number of stable features: they are short works, with a specific set of themes, addressees, and particularities in their usage of certain common words and phrases. Graṙaǰk‘s were aimed to be placed before (and attached to) pastoral decrees or letters (kondaks), addressed to the Catholicos, a priest, a scribe, a philosopher, a layman, or others. The genre of graṙaǰk‘ has a number of further commonalities with another medieval literary genre – the colophon.

Genre and style metamorphoses of the cycle «The Magic Horn of a Boy» in the German-Austrian musical-historical tradition of the XIX – early XX centuries

The purpose of the research is to identify the figurative and semantic specifics of the cycle «The Magic Horn of a Boy» and the peculiarities of genre and style interpretation of his texts in the German-Austrian musical culture of the XIX – early XX centuries. Methodology of work. The following approaches proved to be essential for this work: interdisciplinary, which makes it possible to attract concepts from other fields of knowledge – philosophy, art history, cultural studies, history of literature, philology; historical and cultural, genre and style. The scientific novelty of the work is determined by its analytical perspective, which takes into account both the figurative and semantic specifics of the cycle «The Magic Horn of a Boy» and the peculiarities of its interpretation in the German-Austrian musical culture of the XIX – early XX centuries. Conclusions. «The Boy’s Magic Horn» is an outstanding monument of the German song and poetry folklore tradition, reflecting the most striking features of the German «image of the world», national consciousness, and the position of the Heidelberg Romantics on folklore in general. The authors of the anthology often transform texts, change the composition, use the later version, ignoring the folklore source, supplementing it with their own work. The texts of this anthology were in great demand in German-Austrian chamber and vocal (F. Schubert, R. Schumann, J. Brahms, etc.) and opera music of the XIX century (R. Schumann, E. Humperdink) in line with genre and style guidelines of culture Biedermeier. In the works of composers of the twentieth century (G. Mahler, A. Schoenberg, A. Webern, R. Strauss and P. Hindemith, etc.) appeal to the spiritual and semantic specifics of the «Magic Horn of the Boy» reveals, on the one hand, involvement in the origins of German-speaking cultural area. On the other hand, the expansion of genre-style and poetic-intonational sphere of interpretation of the texts of this anthology is obvious, which reveals their spiritual and deep context both in the late romantic vocal-symphonic tradition (G. Mahler) and in chamber vocal-instrumental searches of representatives of the Novoviden school (A. Webern). Keywords: «The Magic Horn of a Boy», romanticism, Biedermeier, vocal works of R. Schumann, musical theater of E. Humperdinck, vocal cycles of G. Mahler and A. Webern.

GENRE AND STYLISTIC PECULIARITIES OF YURII KLEN’S FLASH FICTION

The article examines the peculiarities of Yurii Klen’s flash fiction creation in the genre and stylistic aspect, drawing attention to the individual modes of artistic existence, the metaphysical perspective of modeling reality. Using specific examples, an attempt was made to analyze the genre and stylistic originality of flash fiction, highlighting the peculiarities of the existential manifestations, the unknowable and irrational in the human Self through the prism of style dynamics, psychological aspects. It has been proved that the verbal transmission of sounds and songs clearly and exhaustively reveals auditory perception, fills the work with deep associations, and helps the character to learn more about the world. Musicality enhances the inner image of the hero, his dreams and hopes. For the first time, we have clarified and interpreted the genre peculiarities of the short story “Apples”. It has been revealed that the linguistic ornament enriches the lyrical prose of Yurii Klen. Although ornamental poetics is modeled only in certain parts of texts, it performs fundamental functions for the entire prose work, because it expresses various leitmotivs, more comprehensively reveals the perception of the world, creates multi-aspect subtexts, intensifies the suggestive function of the word, space-time parameters, more clearly illuminates the point of view of the characters. The linguistic ornament in the short story “Apples”, in the novellas “Medallion”, “Acacia”, “Adventures of the Archangel Raphael” makes it possible to reach the level of the ontological field of social reality, to identify the philosophical line, to expand or change the scale of the artistic world, that is, the depicted one. In the Yurii Klen’s prose, ornamental poetics is distinguished by the associativity of thoughts, images, the sophistication of sayings, the richness of metaphors and other artistic devices of representation. Lyrical prose of the writer reveals the position, attitude of the narrator to his perception of the environment, society, life, his thoughts, feelings and experiences.

"Nonfiction" One distinctive example of a genre (Niaz Zosidze "Death is not possible now")

Niaz Zosidze "Death is not possible now" is distinguished his genre peculiarities: this is a rather eclectic collection of sketches, novels, miniatures and small scientific studies. At the same time, it can contain the four-century history of Ajara, but in it you will not find facts or historical figures presented in chronological order.  To this is added the fact that the author is an integral part of the narrated stories, one of the main personage, in fact, every story is in the prism of the writer's subjective perception, every event and acting person is the object of his emotional evaluation and judgment. At the same time, the Creator does not allow the reader to forget: it’s all  story that actually happened, no matter the  yesterday, the day before yesterday, the  year or the century ago, but it is really  story that happened.What can be called such the text? Of course, the sample of  artistic-documentary prose, in which the actual events, as the author himself notes, they are  conveyed  masterfully  the  mixture of  "lyricism-pathos-sentimentalism". It is depicted  the colorful face of  Ajarian  man , who could not break the three- century  yoke of  the Turkish-Ottomans, nor the two-century domination of the enemy Russia,  who came as the relative. One of the main personage of the collection is Batumi -  warm, sweet, hospitable, innocent, sunny-smiling, city of  kindness.The real stories told orally by the villagers give the writer a kind of impetus to create the novella, the sketch. The fact itself is completely dissolved in the artistic text, transformed into an aesthetic event. His purpose is to convey to the reader the scent of history, its unique spirit, mood, breath of the epoch.

МЕТОДИЧНІ ПРИЙОМИ ФОРМУВАННЯ ТВОРЧОГО БАЧЕННЯ У ДОШКІЛЬНИКІВ

The methodical techniques which are aimed at development and formation of the child-preschooler's creative vision and creative attitude are being considered in the given article. Contemporary preschool education is directed to the development of a creative personality, the children-preschoolers' interest and activity increase in the process of upbringing and teaching, the development of reproductive and creative imagination (creative vision), the formation of evaluative judgements, creative attitude to the meaning of the poem. The importance of reading poems is conditioned by their high emotionality, melodiousness, rhythmic and cognitive possibilities, as well as their genre peculiarities, which are revealed first of all in the poems accessibility to the children of preschool age. Expressive reading of poems will help a child to understand the meaning of the literary work, the character of heros, the motivation of their actions, to embrace the emotional potential of the literary work and the feelings of the characters. With the help of expressive reading a child will learn to convey his or her own feelings and to understand the feelings of other children or adults better. Working at the formation of creative vision, creative attitude, at the subtexts revealing (semantic and emotional) is an important preparatory stage in the process of the poetic literary work expressive reading skill mastering by a preschooler. After all without the distinct understanding of the sense of the text, which is based on the revealing /awareness/ lexical meaning of all words, that are not understandable for a child, without imagining the bright visual image, without the formed own creative evaluation (attitude) a child-preschooler would not be able to read the literary word in an expressive way. Creative vision, creative attitude should be advisable developed by the children-preschoolers with the help of questions, which stimulate attention, form evaluation of the meaning, understanding the emotions, that are rooted in the text. Working at pictorial means: epithets, comparisons, metaphors is a required component of the child's imagination and evaluation development. Bright poetic means will reveal the beauty of poetic speech to the child, will help to comprehend the fantastic world of poems and to imagine some real visual pictures.

From the History of the Literary Activity
 of Andreas Saks, a Russian and German Writer:
 The Preparation of His Schwanks for Publication in Russian
 (1960–1970)

Andreas Saks (1903–1983), a Russian (Soviet) ethnic German playwright, prose writer and poet has been one of the most well-known authors of prosaic schwanks in Russian German literature. The article is the first effort to describe how he prepared his schwanks for publication in Russian.
 In the 1960–1970s, he lived and worked first in Astrakhan, and then in Tiraspol, he wrote and published his schwanks in German. His first publications appeared as a rule on the pages of Soviet German newspapers. Thus, in the conditions of Soviet post-war and post-Stalin reality, he sought, firstly, to retain
 schwanks as a genre of German folk literature and, secondly, to help Russian Germans devoid of their original nationality in the USSR to maintain their national and cultural identity.
 Moreover, Andreas Saks was eager to expand his readership by publishing his schwanks in Russian. While preparing these works for book publications for numerous Soviet readers, he himself translated them into Russian. In his introduction to these editions he aimed to acquaint Soviet readers of different nationalities with a «schwank» as a unique phenomenon of German literature and
 culture as well as its genre peculiarities.