The research aims to model the pragmatic mechanism of rumors as a communicative genre in the modern Anglophone microblogging space. The article examines the methods of formation, functioning, dissemination, and influence of rumors as a multifaceted element of the communication system. This approach allows for the identification and description of the mechanism of the communicative act – specifically, the rumor in an English-language microblog – and the isolation of users’ specific goals and intentions, ranging from satisfying the need for emotional release and seeking social support to manipulating public opinion. The scientific novelty of the study lies in the construction of an original pragma-communicative model of rumors in microblogs, which integrates classical genre theories with new data derived from the analysis of users’ emotional-affective, self-representational, and utilitarian intentions. Unlike existing works that predominantly analyze rumors from psychological or sociological perspectives, the proposed model, for the first time in Russian linguistics, presents the rumor in the digital environment as a structurally organized communicative event. In this model, a key role is played not only by the content but also by the process of collective discussion itself, facilitated by specific linguistic means within an interactive media environment. As a result, the study identifies the pragmatic mechanism of the communicative genre of rumors in the blogosphere, consisting of the following elements: “addresser (regular user, blogger, media representative) – addressee – topic (health / appearance / interpersonal relations / lifestyle) – prerequisites (a ‘vacuum event’) – underlying need (primarily self-expression, emotive, and utilitarian needs) – goal (satisfaction of said needs) – communicative strategy (code: polycode; style: sensational narrative; expression: high emotionality) – location (the pragma-communicative environment of the microblog) – time (situational, sociocultural, digital era) – environment (demographics: predominantly 18-37 years old; motivations: self-representation, social cohesion, and the culture of participation and transformation) – nation (Anglophone communicative culture characterized by digital uninhibitedness)”.

ABSTRACT This paper zooms in on a largely unexplored topic – religiously themed manele – by focusing on the musical repertoire, its complex social and political meanings and aesthetics. The main goal is to engage with the particularities of Pentecostal Roma’s religious culture in Romania, that render the religious and political emotions occasioned by the supposedly ‘low brow’ and ‘kitschy’ genre of manele music emancipatory for a discriminated ethnic minority. The in-depth analysis of the urban ethno-pop music genre of Christian manele, and the discourses around them will provide critical insights for further engaging with cultural-religious contemporary phenomena that are oftentimes dismissed because entertainment culture is neither in line with the reputable cultural national values nor with the ‘official’ religious canons of religiously inspired sacred chant. Against this background, this paper argues that religious-themed manele have the propensity to establish horizontal moments of collective connectivity and social consciousness-raising.

The present article studies the relationship between different categories of margin in the performance Zone of pain II, “Loving work with a refugee of the Santiago’s asylum” and knowned as “The kiss” (1981), by the Chilean writer and artist Diamela Eltit. The performer talks to a beggar with a psychiatric disease, an outsider out of the market in a capitalist and neoliberal world. Besides, the performer kiss him. Throw this perfornace, the artist puts in the middle of the scene the social and economic margin, which capitalist society rejects. She also recovers the city, a city under a state of siege, and her body, as a performer and as a feminist artist. We consider to this analysis the concept of cadboard of Walter Benjamin, sinde the literary studies; the performance studies, specifically in Latin America, with central characteristics as body and city; genre studies with its importance of the body; the contribution of marxist feminism in particular, which distinguishes the divition beetwen productive and reproductive works and care tasks, division that performance and “loving work” critics, in a general critic of traditional roles and mandates imposed to women. The performance is also a form of criticism (and of resistance) of the Chilean dictatorship (1973-1990).

Email communication plays a central role in professional interaction within the tourism and hospitality industry, where transactional efficiency must be balanced with interpersonal rapport. This study examines the interaction between genre structures and politeness strategies in authentic tourism-related emails. Drawing on Swales’ (1990) Genre Analysis Framework and Brown and Levinson’s (1987) Politeness Theory, the study qualitatively analyzes eleven authentic emails exchanged between a Bali-based travel agency, hotel partners, and international clients. The analysis reveals a recurrent sequence of rhetorical moves, namely greeting, purpose statement, elaboration, request or confirmation, and closing, within which politeness strategies are systematically embedded. Positive politeness predominates through expressions of gratitude, inclusive pronouns, and affective tone, reflecting the service-oriented nature of hospitality communication. Negative politeness is employed to mitigate imposition in sensitive requests, while bald-on-record strategies occur in interactions characterized by established professional familiarity. These findings demonstrate that genre structures in tourism emails function not only as organizational frameworks but also as resources for relational work. The study contributes to English for Specific Purposes (ESP) by highlighting the pedagogical value of integrating genre-based instruction with pragmatic awareness to enhance learners’ intercultural and professional email communication competence in tourism and hospitality contexts.

This study investigated the influence of media literacy, reading engagement, and text genre exposure on evaluative reading comprehension among Grade 9 learners, addressing the persistent gap in higher-order reading skills. Anchored on Rosenblatt’s transactional theory, Alagaran’s explore–engage–empower model, Fredricks et al.’s engagement theory, and Paré’s rhetorical genre theory, the research employed a descriptive-correlational design. Data were collected from 187 Grade 9 students in a public secondary school using a composite survey and a 50-item evaluative reading comprehension test adapted from validated instruments. Descriptive statistics and regression analysis were utilized to determine levels and relationships among variables. Findings revealed that learners demonstrated high levels of media literacy and reading engagement, moderate text genre exposure, and a very good level of evaluative reading comprehension, although variations in performance were observed. Among the variables examined, only media literacy significantly predicted evaluative reading comprehension, indicating its critical role in developing higher-order literacy skills. In contrast, reading engagement and text genre exposure were not significant independent predictors, suggesting that participation and exposure alone are insufficient without deeper critical processing. The results highlight the need for instructional approaches that integrate media literacy, promote sustained engagement, and diversify text exposure to strengthen evaluative reading skills. The study concludes that evaluative reading comprehension is shaped by the interaction of multiple literacy-related factors and recommends the integration of media literacy into classroom instruction, alongside the enhancement of critical thinking and analytical skills. This study supports SDG 4 (Quality Education) and SDG 16 (Peace, Justice, and Strong Institutions) by promoting critical literacy and informed decision-making. It contributes to educational and socio-digital sustainability by fostering learners’ ability to critically engage with information, navigate complex media environments, and participate responsibly in society.

ABSTRACT This paper analyses Singapore English in 25 Healthier SG YouTube videos to promote preventive healthcare, focusing on: (1) video genres and viewership, (2) thematic distribution of Standard Singapore English (SSE) and Colloquial Singapore English (CSE) across these genres, and (3) strategic functions of SSE and CSE in preventive healthcare communication. Using the genre analysis approach, five distinctive video genres are identified. Analysis using various linguistic models reveals that SSE functions as the foundational, authoritative code throughout the campaign, establishing credibility and ensuring clear, globally oriented communication. CSE leverages audience appeal and rapport to portray local cultural authenticity and identity. This reveals a global-local strategy with functional compartmentalisation in which SSE and CSE are deployed in a highly managed genre-driven approach. This study documents how SSE and CSE can be deployed strategically via YouTube videos and offers genre models to foster preventive healthcare within Singapore’s multilingual and multicultural context.

Academic publishing knowledge for sale: A digital genre analysis of social media advertisements for commercial research publishing instruction

Narratives of Dis-Ease: A Genre Study of Pathography

Yugoslav films – like those from other socialist countries – entered China through cultural diplomacy during the ‘Seventeen Years’ period (1949–1966), reflecting shared ideological commitments. Drawing on archival sources, exhibition records, and genre analysis, the study reconstructs the historical trajectory of Yugoslav films in China and examines how Walter Defends Sarajevo achieved exceptional resonance upon its public release in 1977. It further analyzes patterns of reception and the socio-political conditions of the film’s success, and demonstrates how its spy-action template – together with its star persona and urban modernity – reshaped the spy film genre in China.

ABSTRACT In her study of disability, affect and genre, Ria Cheyne notes that in contemporary culture feelings evoked by disability ‘are increasingly bound up with and complicated by meta-feelings or meta-emotions: how you feel about how you feel’ (Disability, Literature, Genre: Representation and Affect in Contemporary Fiction. Liverpool: Liverpool University Press, 2019). Described by its authors as presenting ‘an alternative disability perspective in response to Shakespeare’s construction of evil on the disabled body’ (richard iii redux OR Sara Beer [is/not] richard iii’. In The ‘d’ Monologues, 79–130. London: Oberon, 2018), richard iii redux, a performance project by Kaite O’Reilly and Phillip Zarrilli, self-consciously explores the complexity of feelings disability evokes, becoming an important voice in the debate on the presence or erasure of disabled actors from theatre. The play exposes to what extent, in the past stagings, affective responses to Richard III were based on what could be called affective prosthesis, translating the concept of what was thought to be a physical deformity and the feelings it evokes into moral and psychological disintegration. richard iii redux builds upon these negative affects to reclaim the part for disabled performers. My aim in this article is to examine ‘meta-emotions’ activated in playing Richard and representing severe scoliosis as well as what these meta-feelings ask the actors and viewers to reconsider about their attitudes to disability and its representations.

The current study aims to analyze research medical article introductions and the role metaphors play in them in a cross-cultural comparative setting. For that purpose, two corpora were selected - the first one being a selection of Bulgarian research medical article introductions and the second a respective set of international article introductions. All article were published in high impact factor journals. The study exploits Swales’ model of rhetorical genre analysis to achieve its main purpose – an in-depth investigation of metaphor typology and its role in rhetorical move structure in two different discourse settings. To that end, the research is based also on Lakoff & Johnsons’ division of conceptual metaphors into ontological, structural and orientational ones. The findings of the study illuminate some common traits to both sets of excerpted article introductions – Bulgarian and international. However, some notable differences were also found, mostly having its roots in the differences of the move structure in the respective article introductions, and also related to the different approaches which the specific cultural constraints have imposed. The study is all the more relevant, as it analyzes Bulgarian articles originally published in the Bulgarian language and translated into English. In this way some significant discrepancies in rhetorical structure and metaphor typology are more visible. The paper may be considered as an attempt to further develop the field of English for academic purposes. KEYWORDS: medical research article, rhetorical moves, conceptual metaphor typology, Bulgarian, English

In a multimodal approach to communication, language is just one of many communicative modes that can be used to deliver a message and the overall meaning of a semiotic product is conveyed by the orchestration of those modes into multimodal ensembles (i.e., combinations of semiotic modes). Multimodality studies are gaining recognition in ESP, particularly in the study of digital genres for science popularisation. These genres are web-based and rely on multiple semiotic resources afforded by digital technologies to disseminate scientific knowledge to lay audiences, such as speech, gestures, images, sound, and camera effects. This paper explores multimodal communication in science crowdfunding videos (SCVs), a digital genre intended to get the Internet audience involved in a research project. Drawing on a case study of 3 SCVs from Experiment.com and qualitative interviews to their author- scientists, the results show how the engagement of online audiences is achieved by combining language with a variety of non-verbal resources mediated through the scientist’s body language and through video edition, such as the embedding of images and video footage, and the choice of camera shot and angle. Moreover, the study reveals eight multimodal ensembles that enhance audience engagement through the scientist’s presence, text, and visual aids.

This study aimed to reexamine the narrative meaning of ‘loneliness’ in 〈Manboksajeopogi〉 through the lens of the latest affect theory, known as the ‘affective turn’. It particularly focused on how the emotion of ‘loneliness,’ traversing the entire narrative, induces practical changes in the subject’s body and relationships. Chapter 2 analyzes the operational mechanisms of loneliness and its corresponding bodily manifestations across three dimensions. First, it demonstrates that the encounter between Yangsaeng and the woman transcends mere coincidence, becoming an inevitable meeting driven by affective attraction between subjects, based on the process of bodily contact rooted in the homogeneity of emotion. Second, based on the asymmetry of emotion, it examined how the process of bodies being distinguished leads to differences in how loneliness is imprinted on the body, resulting in differing attitudes toward the other and positioning the two characters’ bodies on distinct ontological layers. Third. Based on the layering of emotions, it analyzed how individual isolation is amplified into collective affect through the process of bodies connecting, binding the characters’ bodies into a single emotional current. This process demonstrates that ‘loneliness’ is a practical energy mediating between bodies. Chapter 3 discusses the narrative significance of ‘loneliness’ in 〈Manboksajeopogi〉 based on this analysis. ‘Loneliness’ possesses a ‘mediating agency for subject transformation,’ compelling Yangsaeng to imprint the suffering of others onto his own body, abandon worldly values, and retreat to Mount Jiri. Furthermore, ‘loneliness’ is not merely a motif consumed sporadically at specific narrative junctures; it forms circuits of affective economy and secures the ‘concreteness of literary form’ that grounds the narrative’s overarching inevitability. In conclusion, this study holds significance in elevating emotion within classical novels from an accessory accompanying a character’s circumstances to a core principle that actively reconfigures the work’s worldview. This transcends existing discourse that perceived ‘loneliness’ in early novels as a homogeneous mass, opening new horizons for genre studies that focus on the micro-manifestations of affect and their differences.

The number of individuals diagnosed with depression continues to rise, with most patients unwilling to pursue medication or electroconvulsive therapy. This study proposes a simple, non-invasive, and side-effect-free approach for alleviating de-pressive emotions through music therapy, utilizing three types of auditory stimuli: Classical music, Baroque music, and ASMR soundscapes. EEG data were record-ed throughout the sessions, and depression levels were evaluated before and after intervention using the Beck Depression Inventory-II, the Taiwanese Depression Questionnaire, and the Center for Epidemiologic Studies Depression Scale. A total of 38 university students with varying depressive tendencies participated in the experiment. Results revealed that Classical music produced statistically significant and medium-to-large effect sizes, confirming its strong therapeutic potential. Ba-roque music showed moderate improvement, while ASMR yielded minimal and non-significant effects. EEG analyses further indicated that Baroque music en-hanced emotional stabilization through Alpha and Beta band modulation, while overall brain activity gradually shifted toward Delta and Theta frequencies, reflect-ing deep relaxation and stress relief. In addition, music preference emerged as a key factor influencing emotional outcomes, highlighting the importance of person-alized auditory engagement. Overall, the findings support music therapy as an ef-fective non-pharmacological intervention for emotional regulation and depression prevention, offering potential for integration into digital mental health and EEG-based self-regulation systems.

"Absurdity" emerged as a core theme in 20th-century Western literature. This study compares Albert Camus's and Franz Kafka's interpretations of absurdity, focusing on their representative works The Stranger and The Metamorphosis. Methodologically, it adopts a comparative analysis combining textual interpretation and genre theory. In terms of expression, Camus portrays absurdity as an inherent existential tension between human aspirations and the world, manifested through emotional and ideological alienation. Kafka, by contrast, employs surreal narratives (e.g., Gregor's transformation into an insect) to highlight the absurdity of modern life. Regarding purpose, Camus, as an existentialist, emphasizes individual freedom and the need to embrace absurdity for self-actualization. Kafka, a modernist, critiques societal alienation and dehumanization in modernity. This study reveals the multifaceted nature of absurdity, enriching understanding of 20th-century literary explorations of human existence.

Abstract How can individuals with cognitive difficulties access and enjoy art through verbally guided haptic exploration? This article explores this question by introducing a flexible and reusable move/step-based model developed in Easy English. The model integrates principles from accessible translation, genre analysis, and Spoken Easy Language to offer a theoretically grounded guide for museum staff. It aims to enable the use of touch as a compensatory strategy, engaging visitors with cognitive difficulties in museums and galleries and enhancing their understanding and enjoyment of art. The model highlights the importance of clear verbal communication and identifies rhetorical units specific to the context and audience (referred to as “moves”), alongside linguistic realisations of each structural element (referred to as “steps”) in Easy English. Its modular design facilitates translation and adaptation to diverse linguistic, cultural, and contextual settings while maintaining pragmatic equivalence. This flexibility makes the model a useful resource for creating linguistically accessible and inclusive art experiences tailored to the needs of various target groups.

This article examines the comparative features of formal and informal speech genres in modern Uzbek from a functional and sociolinguistic perspective. The study analyzes lexical, grammatical, and pragmatic characteristics of both genres based on authentic contemporary language data. The findings indicate that formal speech is marked by standardization, structural complexity, and institutional orientation, whereas informal speech demonstrates flexibility, emotional expressiveness, and interpersonal focus. The research also reveals that ongoing digitalization and social transformation in Uzbekistan are contributing to the emergence of hybrid communicative forms. The results confirm that speech genres function as socially conditioned and relatively stable discourse patterns, consistent with the theoretical framework proposed by Mikhail Bakhtin

The aim of this article is to provide a new theoretical and methodological framework for analyzing the ethical, relational, and normative dimensions of transgenerational memory work, taking a comparative close reading of two Norwegian second-generation Holocaust family memoirs, Irene Levin’s Vi snakket ikke om Holocaust (2020) and Bjørn Westlie’s Fars krig (2008), as its case in point. Both narratives are simultaneously biographies, autobiographies, and historiographies, and they mediate between family memory and national memory. The authors position themselves as second-generation descendants, addressing and being addressed by their parents, and as Holocaust researchers, addressing and being addressed by a public audience. Departing from the theoretical perspective of relational life writing and Judith Butler’s concepts “scene of address” and “frameworks of recognition”, this comparative literary analysis of rhetorical situations, genres, and modes of narrating discusses the author-narrators’ engagement with their parents’ silence and writings and reveals how personal histories intersect with collective reckoning. By attending to the relational and performative aspects of storytelling, this article highlights how postgeneration literature enacts ethical reflection, recognition, and accountability.

This study examines the possible points of connection between crime and reading on the basis of genre-typical roles and motifs in detective fiction. I aim to identify characteristic reading methods, strategies, locations, events, and professions with regard to the detective, the perpetrator and the victim. Following a general introduction with a focus on genre theory and thematic concerns, I proceed with an analysis of P. D. James’s crime novel Original Sin. This novel not only offers the posing and solving of a criminal puzzle, but also reflects powerfully on moral questions about sin, original sin and violent death. In my analysis, I follow the method of close reading, and as part of this approach, I also explore traces of biblical intertextuality. As a result of theoretical reflection and interpretation, I draw two important conclusions: (1) For investigators, reading texts constitutes an effective and indispensable instrument for reconstructing the past, thus uncovering the truth and revealing the perpetrator. (2) The reading events depicted in the novel refer to experiences and conceptual connections that justify discussing a kind of theology of reading: reading appears in the story as an intellectual activity that forms part of certain religious practices (penance, prayer, confession).

The article deals with the intergenre factor in genre studies. It is proved that a description of almost any genre that claims to be adequate from almost any point of view must necessarily consider how the genre relates to other genres: in a narrow meaning, within various typologies, in a broad meaning – within a national genre sphere or a set of different national genre spheres. The author discusses the following aspects and types of intergenre: historical (which includes, first of all, the concept of primary and secondary speech genres of Mikhail Bakhtin), cultural – when identifying such connections between genres, it is extremely important whether these genres belong to the same culture or different ones. A special case of different cultures is sometimes different historical periods of one culture, for example, modern Russian culture and Soviet culture, which differ in value priorities, social relations and roles, as well as precedent texts and other linguistic features. It is shown that in modern genre studies the use of intergenre methodology is mostly in demand and is effective in the case of new genres which are formed on the basis of old, traditional ones. First of all, this concerns numerous Internet genres. The tradition of their description is based on non-Internet predecessors and it arose almost simultaneously with Internet genre studies. A less obvious, although having the same nature, case is genres which were formed on the basis of some predecessor genres in the more distant past (many genres of secondary mediated spheres of communication are explained through oral genres). It is shown that the national-cultural basis of intergenre connections is also the inclusion of genres in one national genre sphere, and the ultimate case of inter-genre connections is the symbiosis of two genres.