Variety Of Genres Research Articles

Жанровые разновидности описания: специфика функционирования глагольных предикатов

The paper is devoted to the consideration of the specifics of the descriptive type of speech and the study of the features of the functioning of verb predicates in the context of the genre description paradigm. The empirical basis of the work is fiction, descriptive texts are selected from the works of Russian classics of the 19th-20th centuries. The work uses a functional-semantic approach and the method of contextual analysis. The genre description paradigm is formed by a description-landscape, a description-interior, a description-portrait and a description of a thing (displaying the external properties of an object). In all genre varieties of description, the contours of the spatial arrangement of objects are outlined: through actants and predicates, the referential space is transmitted, in addition to which the receptive space associated with pragmatic meanings and subjective navigation can be explored. The greatest variety of groups of predicates, is observed in the description-landscape. A more limited set of lexical-semantic groups of predicates is presented in the description-interior. The most limited set of groups of predicates is fixed in the description-portrait due to the limited set of elements that make up the external image of a person. Actional semantics predicates can be used in descriptive genres, acquiring the function of characterizing space, while the acting object, perceived as one of the signs of the described picture, is important.

Между богами и я-богом: границы театра и театральности у Хлебникова

Khlebnikov’s dramaturgical texts – little-known, little-studied, and even less staged – are in a variety of genres and forms (poetry, prose, or a mix of both), and have a variety of themes and settings. They are united by Khlebnikov’s sustained interest in theatricality: the theatricalization of gestures, of one’s life and everyday behaviour, a sort of self-theatre. An overall interpretative key may be offered by the two meanings of ‘vision’: spectacle – Khlebnikov’s creation of vivid, expressive scenes to impress the eyes; and perception – Khlebnikov’s expression of his “science” of the universe. The article explores the composition, purpose, and functions of the predominantly supernatural characters, particularly the semi-parodic role of deus ex machina. The general term “theatre of the impossible” (Grigor’ev) covers both the especial difficulty of staging Khlebnikov’s works, and their extreme density of semantic and visual hues. This idiosyncratic substitute for the superficially mimicked genre of tragedy ultimately resolves in collapse, implosion of the whole textual structure, when self-oriented and self-sufficient verbal layers collide.

Folk Tales of the Namakkal Region in the System of Vladimir Yakovlevich Propp

In the development of Tamil literature, a wide variety of literary genres of various structures have emerged from time to time. Genres of literature that have flourished and developed in one period have declined and disappeared in later periods. This will be in accordance with the likes and dislikes of the people and according to their needs. At the beginning of the 20th century, structuralism was developed in linguistics and then gained influence in various academic fields and was used in various fields such as literature, folklore, anthropology, social sciences, etc. In this way, the structural analysis approach was also used in folktales. Thus, the purpose of this article is to examine the folk tales collected in the Namakkal region in line with the structural theory of Propp.

Vietnamese EFL learners’ perspectives on online extensive reading during emergency remote L2 teaching

Previous research has shown a range of benefits of extensive reading for second or foreign language (L2) learning, as well as learners’ positive attitudes towards extensive reading. However, during emergency remote teaching around the globe as a consequence of the Covid-19 pandemic, where all L2 classes have been moved online, little research has investigated online extensive reading as well as learners’ perspectives on this activity. Therefore, the present study was conducted to investigate Vietnamese EFL learners’ perspectives on online extensive reading during emergency remote L2 teaching amidst the Covid-19 pandemic. Eighty-seven Vietnamese EFL learners at a local university participated in the study. They were involved in one online extensive reading over 12 weeks. Data were collected through semi-structured interviews with the participants. The results showed that all the learners had positive attitudes towards online extensive reading during emergency remote L2 teaching. Learners reported enjoying the variety of topics and genres found in online extensive reading, the suitability of the texts for their L2 proficiency, the usefulness of the program for enhancing their L2 competence as well as general knowledge, along with the convenience that the program offers. Learners also suggested several improvements in the website interface and the addition of more topics, genres, and quizzes.

Investigation of cinematic genre diversity based on social network analysis: the lost ring of the Iranian cinema industry

PurposeMovies critics believe that the diversity of Iranian cinematic genres has decreased over time. The paper aims to answer the following questions: What is the impact of the continuous cooperation between the key nodes on the audience's taste, uniformity of the cinematic genres and the box office? Is there any relationship between the importance of actors in the actors' network and their popularity?Design/methodology/approachIn the artistic world, artists' relationships lead to a network that affects individuals' commercial or artistic success and defines the artwork's value. To study the issue that the diversity of Iranian cinematic genres has decreased over time, the authors utilized social network analysis (SNA), in which every actor is considered a node, and its collaboration with others in the same movies is depicted via edges. After preparing the desired dataset, networks were generated, and metrics were calculated. First, the authors compared the structure of the network with the box office. The results illustrated that the network density growth negatively affects box office. Second, network key nodes were identified, their relationships with other actors were inspected using the Apriori algorithm to examine the density cause and the cinematic genre of key nodes, and their followers were investigated. Finally, the relationship between the actors' Instagram follower count and their importance in the network structure was analyzed to answer whether the generated network is acceptable in society.FindingsThe social problem genre has stabilized due to continuous cooperation between the core nodes because network density negatively impacts the box office. As well as, the generated network in the cinema is acceptable by the audience because there is a positive correlation between the importance of actors in the network and their popularity.Originality/valueThe novelty of this paper is investigating the issue raised in the cinema industry and trying to inspect its aspects by utilizing the SNA to deepen the cinematic research and fill the gaps. This study demonstrates a positive correlation between the actors' Instagram follower count and their importance in the network structure, indicating that people follow those central in the actors' network. As well as investigating the network key nodes with a heuristic algorithm using coreness centrality and analyzing their relationships with others through the Apriori algorithm. The authors situated the analysis using a novel and original dataset from the Iranian actors who participated in the Fajr Film Festival from 1998 to 2020.

‘A verse ringing like a tambourine…’. The poetry of Ivan Pulkin

The article is devoted to the life and works of Ivan Pulkin (1903–1941) — a poet who had not seen his books published before going missing in action during the Battle of Moscow. Following the suit of I. Akhmetiev, who has gathered, published and commented on a collection of the forgotten poet’s works, the authors are in fact discovering a new poet, whose work was strongly defined by the artistic and philosophical experimentation and literary daily life of the 1920s — 1930s: the first and foremost reason being that the genre diversity of Pulkin’s poetry stems from the period’s stylistic jumble, characterised by enormous linguistic potential. Therefore, the article focuses on the poetics of his verses — their unique genre-specific and linguistic features and imagery. In their analysis of Pulkin’s poems, the authors argue that, despite its eclectic nature and ambitious thematic range, his poetry emerges as an organic whole. Pulkin’s entire oeuvre is shaped by his ultimate goal which defines his poetics in general.

‘An Ancient Procession’: Memory, Myth and Movement in Kazuo Ishiguro’s The Buried Giant

Abstract The novels of Kazuo Ishiguro span a variety of literary genres but are unified by a profound interest in the workings of memory. Guided by recent scholarship in the field of cultural memory studies, this essay analyses Ishiguro’s seventh novel, The Buried Giant, in the context of the Middle English romance traditions which it echoes both formally and thematically. In doing so, it argues that the novel’s use of Arthurian myth is a technique by which to illuminate and explore the role of literature in the formation of collective memory and cultural identity.

Mexico City's Summer 2022 Theatre Season

Reviewed by: Mexico City's Summer 2022 Theatre Season Timothy G. Compton Happily, Mexican theatre has returned with vibrance after Covid-19 shut it down. In 2020 I reported that I had found quality theatre online and expressed hope that live online events would continue even after theaters opened. Not so—online offerings have diminished to a near halt as theaters focus on live performances. At first, theaters limited audience sizes to less than 50% of capacity, but all such restrictions have now been lifted. As of July 2022, theaters in Mexico City required masks of audiences (and weekly negative Covid tests for actors). In some venues, employees screened spectators for fevers, allowed them in only minutes prior to the start, and rushed them out row by row, with instructions to socially distance and refrain from socializing until outside. Several unfortunate changes due to the pandemic had to do with printed material. The weekly publication Tiempo libre, which used to have the best listing of plays, shut down when theaters closed and has not appeared since—a big loss. I depended on internet listings (mostly https://carteleradeteatro.mx/, but also carteleras from major theater complexes), but who knows what I missed? In addition, Covid-19 caused "programas de mano" to disappear, with just one exception among the plays I saw. Most had online programs, but often I did not learn of them until after the performance, so information that would have enriched my experience came late. On the bright side, some online programs included extra information. A few theaters apparently closed forever due to the pandemic (all three venues featuring micro-theatre, for example), but theatre lives again in Mexico City's major theaters. Although I was disappointed with this season's selection of plays for young audiences, I found abundant excellent plays for adults, with a wide [End Page 105] variety of genres and budgets, spanning from world classics to contemporary plays by Mexicans. For me, the most compelling plays of the season engaged with Mexico's past. Before seeing Insomnes, I learned that it included autobiographical elements and that part of its story came from Mexico's "Guerra Sucia" of the 1970s. I loved the play when I saw it, but I kept thinking about it and then gathered information from its creators, which has increased my admiration. Although the advertising and program listed its two actors—Ricardo Hech Rivas Oliva and Ulises Martínez Martínez—as the playwrights and Yupanqui Aguilar Martínez as the director, those specifications don't tell the full story. The three started to meet nearly ten years ago to prepare and stage a play. After months of rehearsals, Martínez suggested switching to something they would write themselves, based on their own experiences, starting with an experience he had at the age of ten when his father, Felipe Martínez Soriano, president of a university in Oaxaca and a leader of the Left, was targeted as an enemy of the Mexican government. The pair of actors improvised and experimented and referenced many experiences, all under the direction of Aguilar. After roughly two years of these sessions and countless hours of discussion, Aguilar suggested a structure and a focus that the group accepted as the play's foundation. It premiered in 2018 and has been performed over 100 times, according to Rivas, in theaters, plazas, markets, and schools in various of Mexico's states, as well as in Bogotá and Madrid. A radio program, Radio Insomnes, transmitted at 4:00 AM, served as the premise of the play. No, the play was not performed at 4:00 AM, but it did start later than most Saturday evening plays. I saw it in the new Foro 4 Espacio Alternativo space of the Helénico Cultural Complex, an intimate space that almost seemed clandestine. The audience experienced two segments of the "radio show." In the first, Martínez acted as the radio announcer and Rivas told the story of identifying his parents' bodies, followed by flashback scenes from his troubled relationship with his father. Those scenes included Rivas confronting his father over his alcoholism and having physical confrontations with him. The two also did...

Review: She’s at the Controls: Sound Engineering, Production and Gender Ventriloquism in the 21st Century, by Helen Reddington

Review: <i>She’s at the Controls: Sound Engineering, Production and Gender Ventriloquism in the 21st Century</i>, by Helen Reddington

Generation Anxiety: Preface

Using Søren Kierkegaard’s formative writing from The Concept of Anxiety as a catalyst for thinking about the multiplicity and complexity of anxiety, the preface of this Special Issue of Film Matters outlines how the editorial board at Chapman University thought about the topic “Generation Anxiety” throughout the editorial process. Considering anxiety as an embodied, sensuous, and ambiguous experience, this issue discusses films from varied genres, time periods, and countries, diverse perspectives and frameworks, and distinct explorations and experiences of anxiety. Finally, the preface acknowledges that there is no one definition of “Generation Anxiety,” but that through undergraduate scholars’ work, a contemporary perspectives on this ambiguous emotion emerges.

Fairy tales of Indonesia and their formulas

This article dwells upon the study of the ethics and style of a fairy tale based on the material of Malay-Indonesian folklore. The purpose of our study is to analyze the poetic system of the Indonesian magic tale as a functionally organized unity of its components. In this article we considered the medial formulas of the fairy tale, which we subdivided into "external" and "internal", that is, formulas designed to arouse listeners' interest, and transitional (internal) formulas. These stable poetic structures (formulas) play a significant role in the compositional structure of a fairy tale, as well as in the characterization of fairy tale characters. The most important functions (actions) of the characters are marked with formulas. The scientific novelty of our study is that the work attempted to interpret the methodical methods of analysis developed by the outstanding folklorist V.Ya. Propp on the material of Russian folk tales, in the context of Indonesian magic tales. The folklore of the ethnic groups of Nusantara is characterized by a variety of ancient genres and types; it is a complex system of constantly interacting genres that has been formed over the centuries. It is composed of a kind of mythological and ritual poetry, monumental heroic epic, historical and heroic legends, folk lyrics and drama, various paremiological genres. In Uzbekistan, a special study of the elements of the poetics of the Indonesian fairy tale has not been carried out yet, as well as there is no methodology for conducting analysis. The question of the autochthonous nature of the plots of a fairy tale does not raise doubts among the majority of researchers of Indonesian and Malay folklore. The originally Indonesian character of the described geographical setting and the details of their life, ethnographic realities, the names of the characters - all this testifies to the fact that fairy tales are the fruit of the national culture of the peoples of the archipelago (Nusantra). When writing the work, the tales of the peoples of Nusantara in Indonesian, Malay and Russian, published throughout the XX century, were involved. Thus, this study is based on materials from the fairytale tradition of the peoples of Nusantara, as it appears to us throughout the past XX century. The completeness of such material and the legitimacy of its use for research does not have to be indicated - after all, at this stage, the Nusantar fairy tale retained the traditional plot composition, images of poetics.

Ireland, Literature, and the Coast: Seatangled by Nicholas Allen

<i>Ireland, Literature, and the Coast: Seatangled</i> by Nicholas Allen

Eugène Bozza: A Thematic Index by Lois Kuyper-Rushing

Reviewed by: Eugène Bozza: A Thematic Index by Lois Kuyper-Rushing David Floyd Eugène Bozza: A Thematic Index. By Lois Kuyper-Rushing. (Music Library Association Index and Bibliography Series, vol. 42.) Middleton, WI: Music Library Association and A-R Editions, 2020. [xxxvi, 581 p. ISBN 9780895798879 (paperback), $150.] Indexes. Eugène Bozza: A Thematic Index by Lois Kuyper-Rushing is the first comprehensive thematic catalog of the music of Eugène Bozza (1904–1991). It offers both [End Page 91] a stepping-stone to future investigations of Bozza’s life and work and a reassessment of Bozza as much more than a composer of wind chamber music. The book, available exclusively in paperback, is a substantial volume in both its content and impact. Creating a detailed, accurate, and comprehensive thematic catalog for Bozza—a prolific composer who often reused melodies and rearranged works with new instrumentations, sometimes under new titles—is a lengthy, circuitous, and difficult task, and one which necessitates a dedicated scholar to carry it through to completion. The author, Lois Kuyper-Rushing, is singularly qualified for such an undertaking, considering her experience researching Bozza’s music. Two highlights of her previous work include a doctoral dissertation, “A Thematic Index of the Works for Woodwinds by Eugene Bozza (b. 1905)” (DMA diss., Louisiana State University, 1989), which was the first to comprehensively document this portion of the composer’s oeuvre, as well as an article detailing archival research in France that led to the discovery of several unpublished works (“Reassessing Eugène Bozza: Discoveries in the Bibliothèque Municipale de Valenciennes Archive,” Notes 69, no. 4 [June 2013]: 706–20). Overall, the index is a success. Its greatest strengths are the thoroughness of the indexing for unpublished and undated works, the novel inclusion of references to thematic similarities, and the biographical sketch of Bozza. The index, however, also has some issues. The impact of occasional typos in entries and minor errors in the notation of the incipits is relatively insignificant to the work as a whole. The more significant issues are the errors in cross-referencing between entries and the lack of a general index. Despite these oversights, its strengths as a contribution to the scholarship generally outweigh its weaknesses. Preceding the thematic index is a biographical sketch that offers both a well-rounded presentation of Bozza’s life and a look at the relationships between the events of his life and his compositional output. Bozza, primarily known in the United States for his woodwind chamber music, in fact composed for a wide variety of ensembles and genres throughout his career. His works include symphonies, vocal music, concertos, etudes, and an abundance of solo and chamber works for brass, strings, piano, percussion, and yes, woodwinds. Although most often remembered as a composer, he was also a violinist and conductor. From 1939 to 1948, Bozza served as the conductor of the Opéra-Comique in Paris. Having held a leadership role in the Opéra-Comique during the Nazi occupation, he faced intense scrutiny from the Parisian arts establishment after the war, and it is suggested in historical research that his termination in 1948 may have been a consequence of this. In 1950, he was appointed director of the École nationale de musique in Valenciennes, where he remained until his retirement in 1975. He continued to live in Valenciennes until his death in 1991. The preface to the index explains the structure of the catalog and the contents of a standard entry. The index lists 298 distinct pieces, 258 of which are “dated and/or published” and 40 of which are undated. They are organized chronologically and assigned “KR” (Kuyper-Rushing) numbers. KR 1 to KR 258 are the dated and/or published works, and KR 259 to KR 298 are the undated works. Each entry includes the title as it appears on the source, brief version descriptions where multiple versions exist, the instrumentation, the names or number of movements, the dates for composition and publication, the author of any lyrical or spoken text, dedications, and any general notes needed to add clarity. [End Page 92] The incipits provided for each entry are transcribed from manuscripts and...

Children's Literature in the Nordic World by Nina Christensen and Charlotte Appel

Reviewed by: Children's Literature in the Nordic World by Nina Christensen and Charlotte Appel Marianne Stecher-Hansen (bio) Children's Literature in the Nordic World. By Nina Christensen and Charlotte Appel. Aarhus University Press and University of Wisconsin Press, 2021. Children's Literature in the Nordic World serves as a concise introduction to children's reading cultures in the Nordic countries and demonstrates a significant evolution in reading practices, genres, and educational circumstances over the past 250 years. The book is co-authored by scholars at Aarhus University, Denmark: Nina Christensen, professor of children's literature and head of the Centre for Children's Literature and Media, and Charlotte Appel, professor of early modern cultural history. The work is published in the University of Wisconsin's small-book Nordic World series, as a co-publication with the Aarhus University Press; the series seeks to feature top thinkers in the Nordic countries—Denmark, Norway, Sweden, Finland, and Iceland—in order to explore the region's history, culture, and values. Although the title Children's Literature in the Nordic World might suggest content from the entire Nordic region, which would include Scandinavia (Denmark, Norway, Sweden) as well as Finland, Iceland and Greenland, the study rests primarily on Denmark as "the main example" (7), making use of Danish children's books and Danish writers as case studies. That said, there are interspersed texts and examples from Norway (notably, that country was part of the Danish realm until 1814) as well as from [End Page 345] Sweden and Swedish-Finland mentioned in the study. In making use of the term children's literature, the title might also seem to suggest the analysis of literary texts for children; however, the study avoids close readings of the selected texts and media, instead focusing on the institutions, national policies, reading practices, and socio-economic circumstances that shaped the reading cultures of Nordic (i.e. mainly Danish) children. Christensen and Appel include precise descriptions of the material culture of children's literature and include a wide variety of texts, genres, and other media. The book includes good quality, color illustrations that accompany each chapter. The narrative is organized into six short chapters, each framed by the evolving conceptions of childhood in Scandinavia, from the Enlightenment to the present. The content of each chapter is illuminated by the legal, educational, and socio-economic developments in Scandinavian societies which determined children's reading practices, their access to books and materials, and their agency as citizens. The authors' approach involves opening each chapter with individual case studies that describe the reading practices and environments of two or three individual children (historical personages) of the respective eras, who are carefully selected to illustrate socio-economic and gender differences. In the opening three chapters, "Introduction," "Educating Young Hearts and Minds, 1750-1820" and " The Child as a Future Patriotic Citizen, 1820-1900," the authors illuminate the romantic concept of childhood which emerged in Europe during the Enlightenment and, subsequently, inspired the development of children's literature as a distinct genre (particularly via the popularized folk fairy tale) during the nineteenth century. In the opening chapter which explores the period 1750 to 1820, the humble childhood of the celebrated Danish writer Hans Christian Andersen (1805-1875), the son of an itinerate shoemaker, is effectively contrasted with that of the lesser-known Danish-German writer Friederike Bruun (1765-1835), a product of upper-class birth and private education. Scholars who are seeking a deeper discussion of H. C. Andersen's profound contribution as a radical innovator of children's literature via the fairy tale genre may be disappointed by this cursory treatment of his legacy, especially given that Andersen may be credited as the first modern writer to give voice and validation to the experiential world of the child. Nonetheless, the study does a fine job at painting a historical picture of children (such as young Andersen) as readers who were shaped and often limited by specific socioeconomic and material circumstances. Whereas the first half of the study delineates the gradual emergence of children as a new reading public and books for children as a distinct genre, the last three chapters depict a Nordic...

The Blackness of the Chimney Sweep: Dickens, Illustrators, and Erasing Racial Complexity

In this article I look at how Dickens's text and his illustrators' drawings work together to erase the racially complex reality of Victorian London. I explore how the representations of the chimney-sweep in a variety of genres situate the sweep at a nexus of anxieties about race and class. By looking at the history of representing the May Day Parade, which showed Black participants, I argue that when the parade appears in Dickens's work, there is a deliberate erasure of Black presence. I then trace the sweep in Dickensian illustration to show that every time the sweep appears they carry the visual markers of the sweep – burnished cap, brush, and often bag – to comfort the (white) viewer and reader that they are not seeing a Black child on the street.

Статусная характеристика жанров военно-деловой речи в военном институциональном дискурсе

The purpose of the study is to determine the place of genres of official military communication in the educational and professional sphere within the framework of military discourse in order to further substantiate the relevance of the genre approach in teaching Russian as a foreign language to foreign cadets in compliance with the principle of professionally oriented teaching. The article examines the characteristics of military discourse reflected in terms of genre diversity, pragmatic features and attitudes towards functional-semantic styles. The scientific novelty consists in clarifying the status of military business speech in the educational and professional environment of military higher educational institutions of a command profile, as well as in their characterization from the point of view of genre, stylistic and language features. As a result, it was revealed that the system of genres of official military speech, which is relevant for the educational process of a military university of a command profile, belongs to the institutional type of discourse, is characterized by the interpenetration of scientific and official-business styles with the official dominant, includes directives ("Tactical task", "Combat order") and informative types of genres ("Decision", "Report").

Новые формы популяризации правовых знаний в популярно-юридическом дискурсе и его жанрах

The article studies the way transformed traditional forms of popularization of legal knowledge in Russia impact the popular legal discourse. The form of popularization is perceived by the author as a permanent communicative model used by popularizers to increase legal awareness of non-specialists. Traditional forms of science popularization are subject to modification due to the emergence of new channels and means of communication. To interact with the target recipient, popularizers use a hybrid popular legal discourse, which enables them to disseminate legal knowledge in a comprehensible (adapted) form and maintain a steady interest of the community in legal issues. Depending on the communication channel used by the popularizer to convey the message to the audience, the author distinguishes a distant, distant-virtualized, monovirtual, contact-virtualized and contact types of popular legal discourse. Attention is drawn to the chronotope and participants of the types of discourse in question, as well as to the interdiscursive interaction in genre varieties of Russian popular legal discourse. Adapting to the changed conditions of communication, the polycode and hybridization potential of the popular legal discourse has reached a new level. In addition to informing the audience and shaping the public ideology, modern popular legal discourse also performs a recreational function. Entertainment is becoming an integral component of the texts of modern popular discourse, which makes it possible to gain and hold the attention of the public in a highly competitive environment.

English Occult Discourse as a Cultural Phenomenon

The paper reveals structural and functional peculiarities of English occult discourse as a cultural phenomenon. The research is based on the material of English explanatory and etymological dictionaries and texts manifesting occult discourse on the Internet. The paper uses a comprehensive methodology involving general scientific and special linguistic methods. The paper identifies the institutional forms and types of English occult discourse and outlines ways to study them. The term “occult discourse” denotes the general direction of discourse, which studies the peculiarities of communication in all institutional activity areas beyond science and official religion. Based on the results of etymological and componential analyses, we conclude that occult discourse contains such primary genre varieties as astrological, magical, and alchemical. Regarding socio-cultural features, we note that the function of these types of discourse stem from the symbolic and social meanings that are added to the relevant practices. Thus, the acquisition of occult sciences is part of the general system of thinking and beliefs in a particular society, allowing us to study the relevant fragment of the English worldview in mythological and naive versions.

Revealing the rhetorical moves and linguistic patterns in discipline-related undergraduate thesis

Previous studies have provided exciting findings for language variations in theses and dissertations. However, not many studies have revealed the rhetorical analysis of the undergraduate abstracts. This study investigated the rhetorical structure of undergraduate thesis abstracts to reveal the constructions of the genre by novice writers. It further explored the variations between two groups of writers, students with the native language of English and Indonesian students writing in English. The aim was to present the commonalities and differences within the genre and finally conclude the genre’s conventions. The corpus for this study consisted of 180 undergraduate thesis abstracts from 12 universities in the United States, New Zealand, and Indonesia from Computer Science. The findings of this study revealed certain conventions consisting of rhetorical moves and rhetorical strategies used to perform the rhetorical moves. Differences between native writers of English and non-native writers of English included the use of lexical items and lexico-grammatical constructions in presenting arguments and evidence. The study concluded that socio-cultural factors, such as institutional guidelines for thesis writing and students’ first language, may contribute to the genre's variations.

«Плакатная война» как актуальное явление протестной коммуникации в Германии

The article presents the results of studying of poster vandalism practices as an actual format of protest communication in Germany in the recent decade. This format has not become an independent object of study In Russian linguistics. A review of works on this issue by European linguists is presented. In view of the social significance of the phenomenon of protest and the need to characterize its new genre varieties, against the backdrop of a shortage of works devoted to poster vandalism as a new creative form of dialogue between authorities and citizens, and the growing interest of linguists in visual texts, this study is relevant and topical. The study is aimed at determining the current trends in the poster war in today's Germany, clarifying the classification of types of poster vandalism according to the semiotic resources used, the type of modification of the initial poster, the degree of dialogue of the initial, reactive posters and the surrounding space. This determines the scientific novelty of the study. The material of the study was a sample from the German-speaking segment of the Internet, publications about the activities of creative protest groups, a satirical political party in Germany. Semiotic and contextual analysis, methods of systematization and classification are used. The results show that the new trends are associated primarily with the desire of the subjects of the poster war to legalize it. Two groups of poster war practices are singled out and characterized: the practice of various material distortion of the initial poster itself and the practice of recontextualization, resemiotization of the initial poster without material distortion of its components. The frequency and dialogic nature of the studied communicative practices, the role of the surrounding space in creating the context of reinterpretation are characterized.