Traditional Genres Research Articles

Reality Show in the context of “Post-Documentary” Culture: Critics of Textual Approach

The purpose of the article is to review important aspects of the critical studies in foreign scientific discourse aimed at textual analysis of reality show as a genre and television format, which helps to reconsider its status as a phenomenon of “post-documentary” culture. The research methodology. The work uses, firstly, critical discourse analysis, which allows us to understand the limitations and counterproductiveness of textual analysis of reality show and helps to reveal the constitutive potential of television and cultural production practices, and, secondly, a cultural approach, which allowed us to identify the media-cultural features of reality show and show them as an element of “post-documentary” audio-visual culture in the XXI century. Scientific novelty of the research lies in the fact that for the first time, through the prism of criticism of the textual approach, the peculiarities of reality show as a phenomenon of “post-documentary” audio-visual culture are revealed. Conclusions. It is proved that the counterproductiveness of the textual approach to the conceptualisation of reality show as a genre, since its production contradicts the general logic and the established perception of what a text should be. This genreform has more common with no certain genre traditions or textual features, but with the “processing of reality” at the intersection of fact and fiction, shifting attention from the text to its production. The proliferation of reality TV programmes illustrates the industry’s dependence on “reality” as a tool for advertising marketing and the logic of cultural production. It is affirmed that during conceptualising TV reality texts, it is necessary to pay attention to a number of industrial and market conditions and needs, which prioritises textual production practices and contexts that shape practical decisions, and allows for empirical access to the evolving and mutating genreform of reality show.

Queerowanie romansu, queerowanie romansem. Jak powieści m/m zmienią ramy gatunkowe romansu

The article is an attempt to discuss a new, rapidly evolving literary phenomenon, namely the m/m (male/male) novel. The author poses questions: What traditional genre categories can describe this phenomenon? What narrative tools does this literature apply? How does this novel relate to traditional patriarchal romance? And how does it refer to gay literature and the theory and practice of the LGBTQ+ movement? To answer these questions, the researcher analyzes m/m novels from two perspectives. Firstly, in relation to the “traditional” popular romance, and secondly, in relation to gay literature. In her analysis, the author uses concepts from literary genre studies, memory studies, and queer theory. The article reconstructs the brief history of the genre’s emergence and highlights the change it introduces in popular culture.

GHAZAL GENRE IN NIMA YUSHIJ’S POETICS

The article introduces the classical ghazals in the poetry of Nimá Yushíj (1897–1960) that were previously unexamined in Russian and Western Iranian Studies, and that provided an impetus for the development of this traditional genre in the contemporary Persian literature. Analysis of the canonic language signs of medieval lyrics by the “father of Iranian new poetry’s” sheds light upon the transformation of the author’s self-awareness in line with the original artistic manner. Conventional images and stable motifs of love lyrics, which have absorbed traditional mystical and allegorical connotations, are uniquely refracted in Nima Yushij’s ghazals. The semiotic and structural aspect of research along with the methods of historical poetics reveals the polysemanticism of classical motifs. The multi-stratified text structure turns out to be a tool for the poet to allegorically present his artistic view. In accordance with his intentions, Nima applies both the normative components of the formal plan (e. g., husn at-taxallus) and the execution methods that are not typical for the classical canon (frame text). To sum up, semantic and formal wholeness of Nima’s ghazals is observed.

TRANSFORMATION OF LITERATURE GENRES ON THE INTERNET(on the example of Kazakh authors)

This article discusses the genre typology of online literature based on works of art by Kazakh authors published and promoted on Internet platforms and social networks. The purpose of the article is to identify modifications of traditional genres in the online environment. Therefore, the main direction is to describe the subgenres that have arisen between traditional book-format literature and digital literature. Studying the transformation of literary genres on the Internet is relevant for understanding the evolution of literature under the influence of technologies and expands theoretical knowledge about Internet literature. In the course of the study, such scientific methods were used as an analysis based on comparative historical, typological, hermeneutic, cultural and historical methods of works of Kazakh literature published in electronic resources and an analysis of the factors that subject to the transformation of the genre and types of canonical genres was also carried out. As a result of the study, an assessment was made of the state of formation and development of developing electronic literature in Kazakhstan, and specific aspects of online literature were identified. Internet platforms where domestic authors are published were analyzed. It was concluded that the state of development of the modern literary process led to the assumption that, over time, several new types and genres of literary works are being formed on the Internet. It has been established that although samples of traditional literature in the Kazakh language are actively published on the Internet in the form of electronic versions, new technologies and the Internet have remained relatively the exact structure of works.The topic of Internet literature is very well developed and researched in Western and European countries. The value of this study is determined by the fact that a broad analysis of literary genres on the Internet was carried out using the example of domestic authors. The study's practical significance lies in using its results for the development of educational programs and the popularization of Kazakh literature on the Internet. The results of this study make it possible to use the obtained theoretical results and the collected material in the courses of modern literature and the media sphere.

Features of representation of the genre tradition of the Bildungsroman in the Russian prose of the late 1920s

Features of representation of the genre tradition of the Bildungsroman in the Russian prose of the late 1920s

Digital communications in the field of opera: audience dynamics and problems of perception

Any area and industry faces the problem of adapting their communication strategies to the dynamically transforming requirements and perceptions of the audience. In a highly competitive cultural environment, theaters and concert venues are increasingly aware of the need to attract new users, primarily through digital channels. To develop an effective communications strategy and to improve the economic viability of theaters, it is critical to assess how consumers respond to new technologies in the context of traditional genres. The article analyzes the perception of cultural products and provides an overview of digital tools in the opera industry. For this purpose, an empirical study was conducted using an online survey of Russian respondents on the platform of an opera-thematic group on VKontakte social network. The authors analyzed audience opinions on the positive impact of digital technologies on opera, their presence on the platforms of opera institutions and on social networks, as well as the possibility of digital formats replacing live theatrical experiences. The obtained results indicate that the implementation of digital tools is becoming lively important to hold the audience, but should be carefully thought out to retain the authenticity of the art of opera.

A Review Of The Novel And Its Criticism In Europe

There is an ancient tradition of the novel genre in Europe. If this tradition of the novel is studied in depth, it is known that there have been different trends of the novel genre in every era. The prominent novelists of each trend have been very creative in this genre. Achievements have been made. The prominent trends in novel writing in Europe include moral, romantic, realistic and symbolic novels. In this development of the novel, the critics of the novel have undoubtedly played an important role. In which Henry James, FR Lewis, Caudwell, EM Foster and James Joyce stand out.

PERIPHERAL WRITING AND WRITING ON THE PERIPHERY IN TRAVELOGUES BY JAY NORWOOD DARLING

The article is devoted to the little-known literary work of the American cartoonist Jay Norwood Darling. The current study was conducted on the travelogues “Ding Goes to Russia” (1932) and “The Cruise of the Bouncing Betsy. A Trailer Travelogue” (1937). This article aims to reveal and contextualize the features of J.N. Darling’s travel texts as peripheral genres. The main objective of this work is to analyze the deep structures of the travelogues chronotope, based on which the hypothesis will be put forward. Its essence is that the intensity of the crisis time experience in different spaces and through these spaces modifies the involved genre clichés, giving rise to a tragic (for Soviet space) and optimistic (for American space) premonition. The research methodology is based on the study of the interaction between the centre and periphery of the literary system, in particular, the concept of “semiosphere” formulated by Yu. Lotman. Genre analysis includes comparative and contextual methods of studying texts. The cultural-historical method deepens the understanding of the context of Darling’s literary work. Particularly, it is used to discover the historical and social factors that impact the peculiarities of others and one’s own world perception and image reconstruction. Genre analysis of travelogues with various graphic components, including caricatures, involves an intermedia method of studying the semantic connections between visual and verbal in travelogues. The examination of Darling’s travelogues “Ding Goes to Russia” and “The Cruise of the Bouncing Betsy. A Trailer Travelogue”, which inherited different genre traditions, revealed their conceptual and poetic affinities. In both texts, the author investigates the common issues of civilization and its advancement, as well as the significance of technological progress for a human being. The features of the unmanifested future or hidden phenomena of the present are felt more strongly at a distance from the centre, at the intersection of transit paths. Geography in these travels is perceived through anthropological optics, implemented, among other things, through the concepts of the mutual influence of society and space in an unstable world. The experience of alienation is constructed through images of places displayed identically in both travelogues. In Darling’s travelogues, places outside of symbolic meaning come to the fore of the spatio-temporal structure. According to the concept of M. Auger, their features can be attributed to non-places. The key features of the chronotope of both travelogues are the peripheralization of space, the transformation of places into space, and the related process, the representation of non-places. The caricaturists’ texts exhibit genre peripherality through the dual nature of their poetic codes. Behind the secondary nature of the genre constructions of both texts, one cannot help but see individual searches reflected in the unique role and methods of spatial metaphors and imaginary topoi explication. Their semantic and visual density force us to recall and re-estimate the factual writing of the cartoonist in the context of future genre development.

“THE HANDMAID’S TALE” BY MARGARET ATWOOD AS A POSTMODERN NOVEL: DYSTOPIAN GENRE TRANSGRESSION IN POSTMODERN ERA

Margaret Atwood’s novel “The Handmaid’s Tale” seems to have been studied comprehensively and fundamentally. Aspects of the dystopian genre, its feminist and anti-religious orientation, and the novel’s connection with philosophical concepts of the 20th century have been studied in depth. In the poetics of the novel, researchers’ interest in the problems of intertextuality, the specifics of composition, etc., has never ceased. However, despite the variety of problems covered in these studies, in our opinion, a fundamental question about the significance of Margaret Atwood’s novel for the further development of the tradition of the dystopian genre has remained on the periphery of scholarly attention. Meanwhile, “The Handmaid’s Tale” can be regarded as a programmatic work that clearly identifies and elaborates the key genre principles of the postmodern dystopian novel, which have not yet been substantiated. Modern studies of the features of postmodern dystopia based on the material of various works of the 1990-2000s, as well as in modern findings, capture exactly those genre strategies that were embedded in M. Atwood’s novel. At the same time, researchers focus on the transformation of the mainly predominant aspects of dystopia in the era of postmodernism. Meanwhile, the changes that dystopia underwent in the last third of the 20th century are associated with the formation of the aesthetics of the genre of the postmodern novel, as evidenced by the publication of the novel “The Handmaid’s Tale”. In this regard, we consider it appropriate to study M. Atwood’s novel as a postmodern dystopian novel in the relationship between the content features of dystopia and the genre of the postmodern novel. The work aims to investigate the dystopian narrative presented in “The Handmaid’s Tale” in the context of the poetics of the postmodern novel genre. Achieving the stated goal involves the use of historicalliterary, philosophical-aesthetic, and hermeneutical research methods. In the context of the postmodern dystopian paradigm, the genre of dystopia is transformed significantly. Changes in the substantive aspects of the genre are associated with a reduction in the gap between dystopian and real time, the affirmation of a relatively optimistic tone, the lability of the dystopian world (which predetermines the conditionally metaphorical nature of the chronotope, the amorphousness of spatial and discrete time boundaries), and a shift in emphasis to the inner world of the character. The increased degree of anthropocentrism, which is characteristic of postmodern dystopia, determines the change in the nature of the protagonist’s rebellion against the totalitarian regime – the focus of social rebellion shifts to personal existential (the struggle to preserve one’s own identity), where it is not the result that is important, but its philosophical content. At the same time, dystopia also absorbs the features of the postmodern novel form and postmodern narrative strategy, mastering the techniques of intertextuality and rethinking the traditions of the past, irony and parody, playing with time and the author’s game with the reader. Moreover, the function of the author’s game strategy is not only to make the reader a co-author of the text but also to encourage him to make multiple interpretations. The multifaceted nature of the game draws the reader into the action and forces one to reflect on the windows of opportunity opening up in modern civilization, that is, to perceive the story of Gilead as more than just exciting storytelling. The game mode reveals the author’s ideological and content-based storytelling strategy – through intertext (as a combination of multi-level chronotopes and cultural texts), on the one hand, and through involvement in the experiences of Offred, on the other, to encourage/force the reader to experience the entire history of Christian civilization, presented in the dystopian heroine’s narrative.

Поздние комедии А. Ф. Писемского в диалоге с русской комедийной традицией XVIII века

The aim of the research is to reveal the forms of continuity of A. F. Pisemsky’s late plays “The Predators” and “Financial Genius” to the 18th century Russian social comedy. Scientific novelty: Pisemsky’s late comedies are considered for the first time in terms of their orientation towards a dialogue with the national genre tradition, originating in the plays of the 18th century. It has been established that Pisemsky’s comedies enter into a dialogue with the tradition, as evidenced by their similarities to Y. B. Knyazhnin’s “The Boaster” and V. V. Kapnist’s “The Sneak”. Similarities have been found in the sphere of problems, plot, motives, character system, finals’ poetics, and characterology techniques. In “Financial Genius”, as well as in “The Boaster”, cunning deceit is exposed, and the motives of imposture and boasting are similar. The connection of “The Predators” with “The Talebearer” at the level of the problem is manifested in the condemnation of the social “calamity”, which in both comedies takes the place of the main character; the comic fades into the background, the finals convey the idea of the incurability of social evil, which brings in tragic overtones. Pisemsky’s orientation towards the artistic experience of the comedy writers of the 18th century testifies to the continuity of the Russian comedy tradition in the literature of the following century.

Вещный мир в драматургической рецепции В. С. Розова

The dramaturgy of the Soviet period has been sufficiently studied both from the point of view of the specifics of the artistic system and in terms of its ideological and thematic content. The work of V. S. Rozov, who updated the traditional genre of Russian realistic psychological drama, reflects the main problems of the contemporary era of the author and his person, who is in the dialectical process of searching for his own moral principles and individual “truth.” Drama and poetry are discovered in everyday life, and the everyday life of human existence is understood as an integral component of its existence. Everyday life in Rozov’s drama is not an end in itself, but the soil on which the poetry of life grows; it acquires objective and material contours, becomes a tuning fork or a test for all the characters ― those who choose the comfort of bourgeois life or who resolutely rebel against acquisitiveness and the accumulation of things. In the plays “Good Hour!”, “In Search of Joy”, “The Wood Grouse’s Nest”, the characters, coming into conflict with public consciousness, strive to isolate themselves from everyday well-being and the dominance of “materialism”. The purpose of this article is to study the forms and content of rejection of the material world in the dramatic reception of V. S. Rozov. Results. Materialism as the dominance of material goods, philistinism in a crushing world is not organically accepted by Rozov’s young heroes, who reject them with all their nature and consciousness.

Festmusik mit persönlicher Note

Abstract Festa teatrali were an established music-theatrical means of celebrating courtly festivities around the middle of the 18th century when Margravine Wilhelmine of Bayreuth began to adopt this form at her court. After a brief description of the general development of the Festa teatrale in the context of courtly festive culture, the successive appropriation and special organisation of the Feste teatrali under the margravine, who herself provided the textual basis for two works, will be discussed. The status of the printed French prose version will be analysed in this context. It is not a translation of the Italian text set to music, as was usual with bilingual printed libretti, but a version that preceded it in the creation process. The article clarifies to what extent this version can claim its own aesthetic value, how it can be categorised in literary genre traditions, and how Wilhelmine von Bayreuth positions herself as an author.

THE PHENOMENON OF EXPERIMENTAL GENRE FORMATIONS IN WORLD LITERATURE

The article explores the genre system of short prose from the end of the XIX - the beginning of the XX centuries. In addition to traditional genres, used by writers (short story, story, short story, pamphlet), experimental genres come into view formations – etudes, arabesques and such non-traditional genres modifications like a sketch. We found out that writers were not afraid to experiment, boldly developed new genres, gave them their own names, put a special meaning in the works.Keywords: genre, author's style, genre formation, imagery, metonymy, nationality, patriotic.

Sibelian Formal Principles in the First Movement of Malcolm Arnold’s Fifth Symphony

Abstract Malcolm Arnold’s symphonies have persistently divided critical opinion because of their problematic relationship with traditional genre expectations. This is especially the case in works that eschew sonata-style tonal conflicts and formal markers in favour of theme- and timbre-driven processes. In these respects, Sibelius, rather than members of the Austro-German symphonic tradition, was an important model for Arnold’s individual approach to symphonic composition. This article applies four formal principles (content-based forms, teleological genesis, rotational form and klang meditation), which James Hepokoski has explicitly identified with Sibelius’s later symphonic style, to the first movement of Arnold’s Fifth – one of his most admired and yet most unconventional symphonic structures. The resulting analysis shows a complex and yet accessible movement that generates its own unique tension and dramatic interest. Far from being the feeble work of a symphonic lightweight, it is an impressively realized landmark of the genre in the late twentieth century.

Poetics of Lyrical Prose: Genre and Style Issues

The article analyzes the correlation of the concepts of «lyric prose» and «lyricism in prose», analyzer the writer`s lyric prose, principles and methods of its creation and this theoretical approach correlates with Kazakh literature. Literary and the oretical opinions of domestic and foreign scholars on this issue are systematized, conclusions are drawn about the aesthetic role of lyricism in prose. The problems in the definition of lyrical prose and the reasons why the boundaries of the genre cannot be clearly drawn have been focused on. In addition, information was given about lyrical prose research in Kazakh literature, the birth and development of the lyricism trend in Kazakh prose were discussed, and works that outweigh the lyrical aspect were mentioned. Information was given about the reflection of lyricism in the works of prominent personalities. Based on the critics' reasoning, a general definition of the concept of “lyrical character” is given. The evaluations made by the researchers have been analyzed extensively. The analysis of successful works in the lyrical aspect is carried out, the features of lyrical prose and its place in other traditional genres have been studied. The formation and development of lyrical prose in Kazakh literature, its genre and stylistic features are comprehensively considered. All the elements that make up the structure and content of lyrical prose, the ways of creating and arranging them, the effect of artist subjectivity on the creation process and narrative forms were examined.

Specifics of Bildungsroman Structure in Protocanon Phase of Socialist Realism

The article examines the Soviet novels of the mid-1920s — early 1930s, gravitating towards the genre tradition of the Bildungsroman (D. Furmanov’s “Chapaev”, A. Fadeev’s “Razgrom”, N. Ognev’s “Diary of Kostya Ryabtsev”, A. Gaidar’s “School”, A. Bondin’s “Matvey Korenistov”, B. Yasensky’s “A Man Changes Skin” and A. Avdeenko's “I Love”), which “prepared” the universal model of the socialist realist novel of the hero’s personality formation, largely determining its structure in the following decades. It is established that, first, the unifying feature of socialist realist novels about the formation of personality is an accentuated plot about the protagonist’s difficult childhood (the hero grows up in an incomplete family, the family does not participate in his upbringing), his escape from home and his discovery of a friend, who for the first time informs the hero of revolutionary sentiments; his functional role is a mediator on the border of two worlds — “old” and “new”. Secondly, one of the obligatory events in which the hero takes part is the rally (strike) as a place where the hero’s ideological allegiance is tested or where his views are formed. Third, the boundary event that separates the hero’s life in the narrative of the socialist realist novel is the October Revolution, participation in which allows the protagonist to find a “big family”. Finally, the narrative of the socialist realist Bildungsroman and re-education is an alternation of stable motifs: loneliness, recognizing mistakes, getting a second chance, and sacrificing oneself.

On the Mars field: Antonii Radyvylovskyi’s wartime sermons and genre tradition of battle exhortation

On the Mars field: Antonii Radyvylovskyi’s wartime sermons and genre tradition of battle exhortation

Micro Partitions: Interrogating ‘Punjabi Refugee’ Identities

This special section on micro partitions follows ‘the reduction in scale’ from macro in national to meso in regional and micro in micro-regional histories in the field of Partition studies through focusing on micro-narratives of Partition from Punjab, a region divided between India and Pakistan after the Partition of the Indian subcontinent in 1947. The focus of the essays is on affective memories of Partition in testimonies and cultural representations to examine the microhistories of displaced persons in micro-regions in West Punjab, including the North Western Frontier Province (Kohat, Bannu, Derajat), South Punjab (Multan, Bahawalpur) and the Mewat region in India, resettled in metro and non-metro cities and towns in India, Pakistan and the UK, through the lens of microhistory or microstoria and affect theories. The section hopes to examine the Partition’s affective charge embodied in ‘vernacular’ languages and representational forms left out of print cultures, 1 which include both traditional genres such as ritual theatre, folk-songs, folk music, folk-tales and proverbs as well as contemporary ones like popular music, ritual practices, festivals and pilgrimage sites through which communities from these micro-regions have represented Partition’s collective trauma. It draws on the methods of microhistory to closely analyse narratives of small local events, communities and neighbourhoods in Punjab’s micro-regions and subregions to connect the stories of these small places and ‘little’ people with the macro-narrative or grand narrative of Partition, so as to inquire what microhistory can bring to the understanding of Partition, as well as whether the micro-narratives relate to or throw new light on metanarratives. 2

Titles of Russian memoirs of the XVIII - early XIX century as a meta-textual element of the narrative

The subject of the research presented in the article is the metatextual function of the titles of Russian memoirs of the XVIII – early XIX centuries. The object of the study is all known and published texts of Russian memoirs of the specified historical period. The author analyzes in detail in this aspect the memoirs of V. V. Golovin, I. O. Ostrozhsky-Lokhvitsky, I. G. Andreev, Y. P. Shakhovsky, I. I. Neplyuev, I. V. Lopukhin, M. V. Danilov, T. P. Kalashnikov, G. I. Dobrynin, P. S. Baturin, etc. authors. Special attention is paid to the analysis of the memoir title as a result of the author's reflection and the author's mark addressed to the reader, reflecting the tendency to individualize the narrative about oneself and the desire of the memoirist authors for a holistic understanding and literary formalization of the text of memoirs. The research methodology is based on the principles of comparative studies and comparative historical analysis. The corpus of the memoirs under study is placed in the general cultural context of the epoch, which allows us to talk about the principles of formation and development of Russian memoiristics in the XVIII century. The memoir titles reflect which aesthetic and value paradigm the memoirist was oriented towards when writing about his past. The novelty of the research lies in the fact that for the first time the memoir title is considered as the main element of the meta–text ensemble "title – preface – epigraph - afterword". The genre nomination necessarily present in the memoir title (notes, chronicle, novel, life, life) is understood as a sign of the memoirist's cultural and literary self-identification aimed at a potential reader. The article identifies the following trends: orientation towards the ancient Russian cultural and genre tradition, the influence of the educational and classicist paradigm and attitudes dictated by the influence of sentimentalism and the genre of the novel. A systematic analysis of more than fifty works of Russian memoiristics allows us to conclude that the defining role of the genre nomination in the composition of the memoir title is for the author to choose a narrative model, an angle of the image of events and characters, leitmotifs and principles of plot organization. Compilation and analysis of the repertoire of titles of memoir works of the XVIII – early XIX centuries allow us to conclude about the principles of formation and development of Russian memoiristics as a whole.

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.