Genre Peculiarities Research Articles

On the Pragmatic Conditionality of Folklore Texts: Constructions with the Preposition and Prefix без-

This article completes a cycle of studies on the genre peculiarities of folklore texts at the lexico-grammatical and word-building levels. It demonstrates that being the smallest meaningful units of text (and for that reason seemingly unnoticeable), even morphemes and grammemes appear in a folklore text only when carrying out tasks conditioned by the basic pragmatics of the genre. The author illustrates this statement referring to the functioning of the prefix and preposition без in different genres of Russian folklore, i. e. sayings, proverbs, riddles, chastushkas, ritual lamentations, charms, spiritual poems, and bylinas. According to statistics, constructions with без are frequent in sayings, proverbs, riddles, charms, and lamentations. In bylinas, their occurrence is moderate, and they are almost never found in chastushkas or spiritual poems. The frequency of the prefix and preposition без in different texts depends on the pragmatic nature of the genre. Proverbs, love charms, and lamentations use negations with без to indicate an unbreakable bond (X does not exist without Y), while riddles and healing spells use it to indicate the alienability of what cannot be alienated (Y exists without X, though X is indispensable). In medical and protective spells, the main function of без is to magically eliminate evil forces. Lamentations, whose main feature is the idea of a loss or a lack of something, employ constructions with без to create a special projection of a world full of deprivation and hardships.

GENESIS AND GENRE PECULIARITIES OF HORROR LITERATURE FROM PERSPECTIVE OF CONTEMPORARY TRANSLATION STUDIES

The article deals with genesis and genre peculiarities of horror literature in translation. The evolution of horror literature genre has been analyzedin literature studies and dominant genre peculiarities necessary for the translation have been identified. It has been proved that horror literature by its nature belongs to those genres, which are realized via formula: characters’ emotions = readers’ feedback. and by the creation of horror atmosphere and suspense.

Драматические жанры на сцене шекспировского театра: формирование зрительских ожиданий

<p>В конце XVI — начале XVII в. в Англии существовали смешанные представления о драматических жанрах. Неоклассические теории жанра причудливо переплетались с театральной практикой, ориентированной на широкий круг зрителей, среди которых было немало людей неученых и даже неграмотных. В этих условиях именно театры должны были взять на себя труд по формированию жанровых представлений и ожиданий аудитории. Воспитание жанрового вкуса у зрителей было на руку актерам, поскольку позволяло театральным коллективам свободно экспериментировать с жанровыми условностями в расчете на понимающий отклик публики. Судить о том, как это происходило, мы можем по редким экскурсам в жанровые теории, сохранившимся в дошедших до нас текстах пьес.</p><p>Один из фрагментов такого рода — первая сцена анонимной пьесы «Предостережение честным женщинам» (A Warning for Fair Women, опубл. в 1599 г., приписывается авторству Т. Хейвуда), в которой на сцену выходят персонифицированные Трагедия (Мельпомена), Комедия и Историческая хроника. Они обсуждают сложившиеся отношения между жанрами, и Трагедия обещает зрителям новинку — «документальное» представление об убийстве богатого лондонца. Учитывая, что эту пьесу ставила шекспировская труппа «Слуги лорда-камергера», налицо своеобразный конфликт драматургических концепций: Мельпомена прогоняет со сцены Комедию и Историческую хронику, т. е. именно те жанры, которыми в 1590-е гг. прославился Шекспир как драматург. Попутно здесь указывается на связь между представлением в жанре трагедии и черными занавесями, которыми убрана сцена, — получается, что у английских актеров 1590-х гг. было в обычае сигнализировать зрителям о жанровом характере пьесы, которую им предстоит смотреть.</p><p>Этот пример говорит о том, что, во-первых, публика того времени имела ясное представление о различных жанровых категориях, причем проводниками этого знания были актеры, преследовавшие собственные практические цели; во-вторых, жанры в шекспировскую эпоху были категориями подвижными, формировавшимися буквально «на ходу»: если сначала зрителей следовало приучить к особенностям определенного жанра, то затем драматурги смело могли играть на зрительских ожиданиях, исполняя или не исполняя их в соответствии с собственными творческими задачами. </p>

COMPARATIVE APPROACH TO THE STUDY OF SCIENTIFIC AND TECHNOLOGICAL DISCOURSE (ON THE BASIS OF RUSSIAN AND ENGLISH SCIENTIFIC-TECHNICAL ARTICLES COMPOSITION AND THEIR GENRE PECULIARITIES)

The determination of the language of science as a separate functional style that is finely tuned to the scientific text genre peculiarities (linguistic stylistic differentiation), data transmittal form (oral or written), primariness or sencondariness of information nature and some other factors is a topical issue of current linguistics and such its branches as comparative analysis of scientific discourse functioning in different languages.

Этикетный речевой жанр «обращение» в зачине духовного письма (на материале текстов русских церковных писателей-монахов ХХ века)

The peculiarities of etiquette speech genre of “compellation” in the Russian spiritual letter are discussed. The relevance of the study is determined by the importance of studying the Church-religious style and written spiritual heritage of Russian Orthodox monasticism, by the interest to Russian speech etiquette and Russian epistolary traditions. The novelty of the study lies in the author’s reference to not previously studied texts of spiritual letters of the Russian Orthodox monks of the 20 th century, study of the interaction of language and religion, identification of the specifics of etiquette genres in religious style. The article focuses on the question of how the Hesychast idea of deification is embodied in the language of the genre of “compellation.” Also the attention is paid to the principles of theocentrism and christocentrism, determining the linguistic embodiment of the genre of “compellation.” With the help of illustrations it is shown that the specifics of the genre of “compellation” in the opening sentence of Russian spiritual letter is linked with the Christian worldview of the authors, adherence to ethical Hesychast doctrine. On the basis of involved linguistic material it is concluded that etiquette units which embody the idea of deification ( о Gospode , vo Gospode, vo Khriste, vo Khriste Iisuse, bogolyubivyy, bogolyubiveyshiy, rab Bozhiy ) become a stylistic marker. The analysis of complaints in the letters of clerical writers-monks from the point of view of their functions shows that, in addition to the usual functions of compellations, the texts of this genre realize the function of spiritual rapprochement of the author and the addressee.

Об особенностях приветствия в зачине духовного письма (на материале эпистолярного наследия русских монахов XX века)

The peculiarities of etiquette speech genre of greeting in the Russian spiritual letter are covered. Referring to the epistolary heritage of Russian spiritual mentors-monks, the author shows that the greetings in the spiritual letters are significantly different from the greetings in the other types of private letters. The examples taken from texts that are addressed to the spiritual disciples, relatives, clergy, show that the differences relate mainly to etiquette formulas, and such formulas, as Christ is among us , Christ is risen , Save us, Lord , Save us, God and others became a marker of spiritual writing. Special attention is paid to the consideration of the causes of the distinctive features of the greetings in the letters of Russian monks. Conditionality of the existence of particular etiquette formulas is seen primarily in the Christian worldview of the correspondents, their following the traditions of Hesychasm and epistolary canons established by the Church writers of the past. The author also outlines the issues associated with the principle of theocentrism, which, as the analysis of religious epistolary texts shows, is reflected in their etiquette. The most frequent etiquette formulas used in the greetings are those that contains the words God , Christ , of God , Lord . The Christian idea of salvation determines the use of greeting words Save your soul , Be saved .

Жанрові новації в сучасній драматургії: драма-кросовер

The article discusses the genre ofcrossover drama, borrowed from cinema (where it is a genre in which storylines of two or more works and characters of different movies intersect) and widespread in contemporary drama. The functioning of crossover in the history of Western and national film and in popular literature of the twentieth century is considered. The examples of crossover drama in the history of the twentieth century dramaturgy (“Crazy Jourdain” by M. Bulgakov, “Naked King”, “Shadow”, “Cinderella” by E. Schwartz, “Memorial Prayer” by G. Gorin) are researched. Genre and plot peculiarities, the characters of the crossover plays in contemporary drama (end of the 20th – beginning of the 21st century) are analyzed on material of the plays by D. Bavilskiy, Y. Barhatov, C. Churchill, V. Dibrova, V. Durnenkov, B. Friel, V. Sorokin, T. Stoppard, M. Vishnyek. The typology of contemporary crossover drama is also suggested: the fictional crossover in which various characters of different fictional worlds intersect (Hamlet, Othello, Lady Macbeth, Juliet, King Lear with his daughters, Titania in “Hamlet and Juliet” by Yuri Barhatov); the quasi-documentary crossover in which real historical persons cross (Lenin, Joyce and Tzara interact in “Travesti” by Tom Stoppard); the crossover of a mixed type in which real historical persons interact with dramatis personae of the fictional worlds (Chekhov's characters come in contact with their creator in “Chekhov Machine”by Matei Vishnyek; Beckett and Godot arecrossed in “The Last Godot” by the same author).

JUSTIFICATION FOR LEXICO-SEMANTIC TRANSFORMATIONS APPLICATION IN THE PROCESS OF THE DRAMATIC TEXT TRANSLATION (INFERENCING FROM THE EXAMPLES OF THE DRAMA “PYGMALION” BY GEORGE BERNARD SHAW)

The article deals with genre peculiarities of dramatic works and their translation characteristic aspects. On the basis of comparative analysis the author investigates the problem of lexico-semantic transformations application in translation process of the drama “Pygmalion” by George Bernard Shaw and identifies their integrity and propriety. The research has been done on the basis of the drama “Pygmalion” by George Bernard Shaw translation into Ukrainian made by O. Mokrovolskyi. Transformation is a basis of the majority of the translation receptions involving changing formal (lexical or grammatical transformations) or semantic (semantic transformations) components of a source text while preserving the information intended for transference. In translation process of the drama “Pygmalion” O. Mokrovolskyi applied all types of lexico-semantic transformation: synonymous substitution, calque, descriptive translation, contextual substitution, transcoding, antonymous translation, compression, decompression, permutation, transposition, concretization of meaning, and generalization of meaning. Synonymous and contextual substitution were more often applied, the rare is calque. Summing up the carried-out analysis it’s possible to draw a conclusion that in most cases transformations are justified. Lexico-semantic transformations play an important role in the process of translation, providing the text with dynamics, enhancing expressivity, serving to enhance the image-expressive functions of a language (especially in the translation of dramatic texts where elements of all literary styles are used). It is important in the process of translation to convey not only the content but also stylistics and mood with which the work was created. For this purpose stylistic transformations are applied in complex with the lexico-semantic ones.

MORAL-ETHICAL ASPECTS IN THE ESSAYS ABOUT THE WAR IN KABARDIAN LITERATURE

Art documentary essay about the great Patriotic war occupies a special place in Kabardian literature. The article seeks to uncover the issues of moral-ethical aspects of works of essay about the war in Kabardian literature. Special is paid to the genre and stylistic peculiarities are analysed in the works. Literature about war has a great humanitarian charge, she laid all her energy, all her artistic abilities denies war as a phenomenon. In art and documentary essays manifested the traits of individual character, more than before, been assigned to the moral and aesthetic issues. For documentary precision of the front-line realities, displayed in these works, plot-compositional complicated narratives, performed in a slow thorough manner the military reports, which could still untouched wealth of characters, destinies, life conflicts, awaiting its researcher and artist. It should be noted two significant aspect of artistic and documentary essay about the great Patriotic war in Kabardian literature. The first is a desire for documentary accuracy, to a public search, inspection and comparison of facts, to the historicism; the aspiration to see local events in the context of the war; increased attention to understanding reality, to estimates, to the nature of the experiences of people. The second is the acceleration of the literary process, reflected in the fact that there are many talented essayists.

Жанровые и стилистические особенности эссеистики П. Вайля и А. Гениса

Жанровые и стилистические особенности эссеистики П. Вайля и А. Гениса

ЖАНРОВО-СТИЛИСТИЧЕСКИЕ ОСОБЕННОСТИ ЦИКЛА И. Г. ЭРЕНБУРГА «ШЕСТЬ ПОВЕСТЕЙ О ЛЕГКИХ КОНЦАХ»

ЖАНРОВО-СТИЛИСТИЧЕСКИЕ ОСОБЕННОСТИ ЦИКЛА И. Г. ЭРЕНБУРГА «ШЕСТЬ ПОВЕСТЕЙ О ЛЕГКИХ КОНЦАХ»

The Internet Blog as a Genre in Pedagogical Discourse

The aim of this article is to characterize linguistic and extralinguistic features of blog as a separate Internet genre of pedagogical discourse in the English language. The genre peculiarities of blog and Internet communication, which depend on social factors of the interlocutors, are distinguished in terms of the pedagogical discourse. Respectful manner of communication, compliance to the norms of literal language in the written speech, official and semi-official style of communication are pointed out. There is a general tendency to simplify the language in speech, preserving a high level of the language self-control in the Internet pedagogical discourse.

Yakov Polonsky in Ryazan Region. Review of Chekurin, L. V. (Ed.) (2014). Jakov Petrovich Polonskij: lichnost’ i tvorchestvo v istorii russkoj kul’tury [Yakov Polonsky: Personality and Creative Work in the History of Russian Culture]. Rуazan: PervopeshatnikЪ

The paper is an analytical review of the collective study Yakov Polonsky: Personality and Creative Work in the History of Russian Culture , published in Ryazan in 2014. The monograph is a joint effort of a group of scholars from Ryazan and their colleagues from Moscow and Veliky Novgorod in connection with the discussion of topical issues of Y. P. Polonsky’s creative work studies. The research aims to demonstrate the importance of the work under review in the context of regional literary criticism development: the appearance of the monograph is a landmark in the research history of the 19 th century writer’s poetic heritage that is considered in many aspects in the system of Russian classics. The methodological basis of the work is imposed by its purpose, i.e. the need to analyze the first collective monograph on the legacy of an original Russian 19 th century poet in relation to earlier works of local and national literary studies, which makes it possible to use the historical and cultural, historical and functional, and comparative-typological methods. The author concludes that the reviewed work is of considerable scholarly value; within its framework the authors offer a modern look at the key aspects of Y. P. Polonsky’s poetics, the original character of his poetry, making an attempt to uncover the symbolic implications of his poetic imagery, and clarify the genre peculiarities of the poet’s works.

Hedging as a Multifunctional Phenomenon of Research / Popular Research Articles

The paper analyses the versatile usage of hedges in medical academic texts and compares the (sub)genre peculiarities of the scientific research articles (RA) and science popularization articles (PRA). While comparing the two subgenres, the generalized three factors of strategies and functions influencing hedging usage were discriminated, i.e., the expectations of the discourse community, intentions, and shared background knowledge. The comparative analysis of RA and PRA aims at investigating the use of the multifunctional hedging device, and at the end the corpus of nearly 90 000 words and 20 articles has been comprised as a research database. A normative use of hedges in academic texts is treated as appropriate nowadays. The research focuses on the analysis of hedging strategies and functions. It stretched the borders of one function and analyses hedging as a pragmatic, semantic, social, and cognitive phenomenon in the field of epistemic modality. The hedge is viewed from the semantic, pragmatic, cognitive, and social perspectives. This article reviews the role and legitimacy of hedging producing deliberate elusiveness in scientific texts, interprets the cases of hedge uses, infers their functions and meaning. It as well discusses the vector of movement direction from the “author-centred rhetoric” to the “object-centred rhetoric” and vice versa. Hedging is interpreted in the frame of epistemic modality.

GENRE AND LINGUOSTYLISTIC PECULIARITIES OF GERMAN AND UKRAINIAN FAIRY TALE

This article elucidates the concept of the folk fairy tale. Genre peculiarities and linguostylistic phenomena of German and Ukrainian folk fairy tales have been analyzed. It has been found that such artistic devices as antithesis, hyperbole, comparison are widely used in the folk fairy tale genre. Keywords: fairy tale, initial, medial and final fabulous formula, epithet, antithesis, hyperbole, comparison, metaphor, retardation.

ЕПІСТОЛЯРНИЙ ЖАНР У ДІАХРОННІЙ ПРОЕКЦІЇ

In the paper the key aspects of epistolary genre are explained, its genre peculiarities, features and essential markers are defined. The scientific theories of a letter are analyzed, and typological categories of genre-forms in epistolary are singled out. In increasing frequency epistolary genre become an object of research in contemporary study of literature, and realization the significance of writers’ epistolary heritage stimulated an activation of promulgation and translation of both separate letters and total massive of them. In the article in shorten way the history of epistolary development from Antiquity to nowadays is presented, the genre transformations of a letter, that were noticed in XX century, are determined. Also an evolution in scientific approaches to epistolary – from understanding it as accessory materials in analysis of writer’s creative works to study it as separate genre, which shows the whole spectrum of literary changes – is outlined.

Автобіографії шістдесятників: художній та фактологічний модуси сприйняття

The article interprets genre peculiarities of a writer’s autobiography as one of the components of fictional-documentary metagenre. As the object of study the author chose autobiographies of the Ukrainian writers of the 1960s in whose works such a genealogical construction is local and is present only in the heritage of V. Didenko, B. Necherda, N. Svitlychna, V. Stus and Hryhir Tiutiunyk. In contrast to large epic works that are traditionally considered autobiographical autobiography properly is inclined to genre forms of small size created from the first person and enlightens the most important moments of the writer’s life and creative work in chronological succession. Such samples are based upon the definite scheme mainly used in clerical work. The writers’ autobiographies are written according to a certain template, the fictional components in them yield their informative level to the documentary facts but they reveal programmed life guidelines and world-view beliefs of the writers. By their thematic and style creating features autobiographies are quite heterogeneous and can be subordinated to certain systematization. Our observations enable to suggest our own classification of chronology writings represented by three varieties: factual, fictional and mixed. In such a format they get rid of the dependence on memoir prose and function fully as an independent artistic phenomenon, reflecting mainly life and creative credo of their author. Autobiographies are devoid of compositional, fable and narrative homogeneity, they are characterized by the diversity of the form, content and style.

Колониальные мотивы в английском неовикторианском романе: к постановке проблемы

The article focuses on the neo-Victorian postcolonial novel and on the late neo-Victorian novel with the colonial motives. The article explores genre peculiarities of these modifications of the late neo-Victorian novel. The article focuses on the problem of Britishness as a base of an English identity. ‘British’ features are the peculiar characteristics of any Victorian or modern Englishman. Understanding English national character with its Britishness is a key to the neo-Victorian postcolonial novel and the late neo-Victorian novel with the colonial motives appropriate reading. To achieve the aims of the article the following methods of literary analysis were used: typological, cultural and historical, comparative methods and intertextual analysis. Through the careful analyses of the neo-Victorian novels the author of the article concludes that Victorian colonial novels are the predecessors of the neo-Victorian novels with colonial motives as well as the neo-Victorian postcolonial novels. The basic differences between these varieties of the late neo-Victorian novel are determined by the origin of their author. As the author of the neo-Victorian postcolonial novel originates from the former colonies, such novels focuses on the postcolonial problematics and correspond to the postcolonial canon but not to the neo-Victorian one. On the contrary neo-Victorian novel with the colonial pastiches and parodies Victorian fiction. The prospects of the research include the further exploration of the neo-Victorian postcolonial novel and neo-Victorian novel with the colonial motives.

Versatilidad argumentativa en Santo Tomás de Aquino

Santo Tomás de Aquino, al igual que otros escolásticos, atendió el problema gnoseológico y epistemológico de la unidad del conocimiento humano al tratar de realizar una lectura unificada del corpus aristotelicum. En el proemio In Libros Analyticorum Posteriorum Expositio, Aquino propone una nueva clasificación de las obras lógicas bajo una concepción analógica del conocimiento humano. Ahí distingue las ramas de la lógica según los actos de la razón y explica los distintos tipos de argumento: retóricos, poéticos, tópicos, apodícticos y teológicos. Esta clasificación exhibe la postura de Tomás de Aquino frente al problema de la unidad del conocimiento: hay una variedad de circunstancias y acontecimientos que no pueden ser tratados del mismo modo. La unidad del conocimiento humano es salvaguardada por su versatilidad, y Aquino es cauteloso al no unificar el quehacer intelectual bajo la univocidad de un sólo método argumentativo, protegiendo las peculiaridades epistemológicas de cada género de la realidad.

The Characteristic Features of the Academic Fiction Genre

The introduction of the English-American Academic Fiction Genre in the 20th and 21st centuries was a striking event in the world of literature. The genre was born in 1952 by two pieces of work published simultaneously – “The Groves of Academe” by Mary McCartney and “Lucky Jim” by K. Amis. Numerous talented authors followed the two ones, among them Malcolm Bradbury (1932-2000), Phillip Rote (1933), Alison Laurie (1926), John Maxwell Coetzee (1940) and Francine Prose (1947). The novels of this genre depict a whole chain of events where student-lecturer-family relationships are reflected. Academic Fiction Genre already has established and unique features. Each novel provides a detailed description of the academic setting where the main events unfold. Initially, light mockery was typical of this genre which, along with the gradual disappointment of the authors, developed into bitter and deep irony and later into tragedy. The climax of the novel is either a ball or an evening party where the main problems of the novel are highlighted and where the possible solutions to these problems are delicately mentioned. The present article discusses the introduction of the Academic Fiction Genre which has become one of the meaningful events in modern literature since it provides an opportunity to look at the inter-relations between an individual and the society and evaluate the genre peculiarities from a new perspective.