Issues Of Genre Research Articles

The Literary Fragment in the Second Viennese School

This essay examines several works by Schönberg and Webern as deliberately fleeting statements cultivating shared aesthetic connections with literary fragments, and addressing similar issues of form, genre and rhetoric.

Genre and species characteristics of musical and performing interpretation

The relevance of the publication lies in the importance and necessity of determining the influence of genre and species characteristics on musical and performance interpretation. So, the main purposes of this article are to identify the main factors that influence the development of interpreting skills, analyse how students of higher music institutions have evaluated their own musical interpretation skills, provide an assessment analysis of how independent music experts have evaluated students' musical interpretation skills, provide a comparative analysis of these assessments, provide rationale for the importance of musical and performing interpretation skills regardless of the music genre, and provide recommendations for the development of musical performance interpretation skills for teachers of higher music institutions. While considering the issue of genre and species characteristics of musical and performing interpretation, the methods of this scientific work were applied: the deductive method, method of argumentation, method of matching, methods of combination and differentiation, method of categorisation, method of questionnaire survey, and systematic analysis, which provided an opportunity to link all the research results together. The study suggests the outcome of the research conducted, discovers the key peculiarities of the art process that influence the development of interpretation skills, analyses the results of self-assessment by students of higher music institutions, provides a comparative analysis with the assessments of independent experts, substantiates the need for closer attention to the development of musical and performing interpretation skills for musicians of all genres, both instrumentalists and vocalists, and provides recommendations for developing the musical and performing interpretation skills of future musicians. The practical value of the study lies in the fact that its results can be used both in the concert activity of musicians and in the process of mastering the performing disciplines by students of colleges and higher educational institutions related to the art of music.

Modern Popular Estrada Music in Ukraine: on the Issue Of Definition and Genre and Stylistic Connotations

Modern Popular Estrada Music in Ukraine: on the Issue Of Definition and Genre and Stylistic Connotations

‘Falling leaves return to their roots’? The reception of Chinese blockbusters by Chinese university students in New Zealand

ABSTRACT This article examines the extent to which the films Wolf Warrior 2 (战狼2) (Wu 2017) and The Wandering Earth (流浪地球) (Guo 2019) might help to cultivate pride in the dream of a revitalised China among Chinese university students in New Zealand. A combination of state oversight, private capital and market forces have led to the People’s Republic of China’s (PRC) increased production of blockbuster films that promote the ‘Chinese Dream’. These films receive regular theatrical release within New Zealand but our understanding of how PRC university students in New Zealand respond to these films remains limited. Understanding this response is vital given the state’s view of these students as ‘civil ambassadors’ and ‘a diaspora in the making’. Using focus group data, the article shows how the reception of these films is complicated by the pluralised context of these films’ production and consumption, with the engagement of some participants pivoting upon issues of genre more than ethno-national identification. Nevertheless, for some of the participants these films do help to affirm their identities as Chinese and generate pride in a rejuvenated China via the complex ways in which these films connect to their lives.

Isaiah and the Issue of Genre in the Chronicle of Pseudo-Joshua the Stylite

Abstract: This article seeks to elucidate the thesis and literary programme of the Chronicle of Pseudo-Joshua the Stylite, which was written in Syriac in Edessa by an anonymous author sometime in the first two decades of the sixth century during the reign of the Roman emperor Anastasius. To do so, it examines how the anonymous author situates events in the Chronicle against historical and theological precedent from the book of Isaiah, through both implicit allusions and explicit references. It suggests that the creation of this inter-text between the Chronicle and the book of Isaiah was intended to function as both a model of and model for the harmonization of local history with the much larger trajectories of salvation history and the history of the late Roman empire. It argues, therefore, that the Chronicle represents one of the many ways in which late antique Syriac writers negotiated not only their place in the late Roman empire but also their place in contemporary Roman literary discourses. As a result, its ultimate contention is that the Chronicle is an example of the trend of "theological Roman patriotism" found in other historiographical texts written in Greek and Latin from the eastern empire in the sixth century.

The Motives and Images of the Medieval Romance in W. Scott’s “Quentin Durward”

W. Scott’s novel “Quentin Durward” is particularly interesting in view of genre issues, as it demonstrates the vivid polemic between two literary traditions. The motives and images considered in thе article make it clear that Scott inherits the tradition of the medieval romance not only in his works devoted to Scottish medieval history, but also in the ones that deal with the later epochs, approaching Scott’s own time. The writer uses the central motives of the medieval romance: the identity test and the motive of initiation, the motive of an unwanted marriage and a rash promise, the image of a “damsel in distress”, makes numerous allusions to the literature about knights, enriching them with the content psychologically and historically plausible for Scott’s contemporaries. Thus Scott builds a distance between genres and epochs and makes the reader feel the gap between the past and the present.

Women writers and the possibility of a women's literary tradition in Transylvanian Hungarian literature

AbstractWithin the regional literary canon of Transylvanian Hungarian literature, female authors had a marginal position during the last century, as a quantitative methodology can show. The objective of the paper is to point out the structural dimensions of this marginalization, through exploring patterns in the reception of women authors, and characteristics of the literary field of Transylvanian Hungarian literature. The question is whether thematic or genre issues, the prestige of certain literary and cultural forms (like memoirs, children's literature, theatre etc.) affected during the past century the canonical position of female authors. The analysis outlines a possible structure of a women's literary tradition.

Made real: artifice and accuracy in nineteenth-century scientific illustration

In their 1992 essay ‘The image of objectivity’, and again in Objectivity (2007), Lorraine Daston and Peter Galison describe the development of ‘mechanical objectivity’. Nineteenth-century scientists, they argue, pursued ‘truth-to-nature’ by enlisting ‘self-registering instruments, cameras, wax molds, and a host of other devices […] with the aim of freeing images from human interference’. This emphasis on self-recording devices and the morals of machinery, important as it is, tends to focus our attention away from the often messy and convoluted means of image reproduction – by lithograph, hand-coloured engraving or photomechanical process, and often involving steps that seem sharply at odds with narratives of increasing standardization and scientific restraint. This essay draws on the Science Museum’s pictorial collections in order to look again at the construction of objectivity, this time from the point of view of making and reproducing images. Case studies are presented of the Luke Howard collection of cloud drawings and James Nasmyth’s lunar photographs, suggesting that scientists were more flexible in their approach to depictions of the truth than has previously been supposed, and that ‘manufactured’ may be a better term than ‘mechanical’ when we talk of objectivity in the nineteenth century. But this is also a reflexive story, about the collections of the Science Museum – an institution whose own history is, I argue in conclusion, particularly tied up with issues of accuracy, depiction and genre. These are brought together in the consideration of ‘atmosphere’ – a term as important for the historian of science as for the exhibition curator.

A Critical Companion to Old Norse Literary Genre

A Critical Companion to Old Norse Literary Genre

An In-Depth Glimpse into Research on Academic Writing

Background. Though research on academic writing has been in focus for many years, it has been changing recently to embraces new linguistic and pedagogical aspects. The “Publish and perish” concept went global some time ago and became the measure of academic excellence and performance for universities and faculty. Subsequently, the field has widened to include issues of writing for publication, research article structured formats, rhetoric of the scholarly text, genre-specific issues.
 Purpose. The editorial review aims to identify and offer the emerging landscapes in academic writing as guidelines for JLE aspiring and recurrent authors.
 Methods. The review covers the 167 top cited publications (articles and reviews) selected from the Scopus on the basis of the inclusion criteria (published articles and reviews in the period between 2012 and 2021 in English with more than 14 citations in Social Sciences and Arts & Humanities).
 Results. The initial search for publications on the “academic writing” keyword brought 1,792 as of May 21, 2022. After the inclusion criteria were applied, the list boiled down to 1,002 publications. Based on the prevailing keywords in these articles and reviews, 14 thematic clusters were formed, later increased to 15 to comply with the papers on the selected list. Then the 167 publications were distributed among the clusters, based on the keywords, and focus of the research. An in-depth analysis highlighted the popular aspects and issues within the clusters. Thus, the major directions of research were determined. The review findings contribute to better understanding of the field of AW and encourage researchers to further explore the emerging gaps and challenges in AW. 25 keywords were outlined as the most frequent in the field of academic writing. The major directions of research entail teaching and learning AW in higher education; digital issues of AW; lexical bundles and vocabulary; identity, complexity, stance, and voice; country-related research; genre issues in AW; feedback and assessment in AW; writing for publication; plagiarism and integrity; academic literacies; discourse and metadiscourse; discipline-related issues; citation issues in AW; writing a thesis; and rhetorical aspects in AW.
 Implications. Following the findings of the JLE editors’ review, our readers may get focused on popular and pertinent directions in their future research.

In the spiral of time: conversation between Domi Olivieri and Trinh T. Minh-ha

ABSTRACT This article consists of a conversation between dr. Domitilla (domi) Olivieri, scholar and activist, and Trinh T. Minh-ha, renowned filmmaker, writer, theorist, and professor. Through questions and answers, the piece starts with Trinh’s take on the notion of the intellectual; the dialogue then continues by traversing some of the themes and issues that characterise Trinh’s work as a filmmaker and a scholar: films as forms of political and intellectual intervention; the matter of (diasporic) communities, subjectivities, and locations; how the issue of labels and genres plays out in the film industry; the question of audiences; the film as encounter; politics of knowledge productions; matters of time and temporalities. Sustaining the conversation is also an understanding that Trinh’s films do not only address issues of (trans)national movements, encounters, technologies, poetry, and rhythms of lives, but they also enact and perform those very movements. Finally, the article discusses Trinh’s legacies as feminist and postcolonial practices, and the role of criticism and (non)knowing in her work across genres and registers of filmmaking that are complex and poetic, as well as strongly political.

Young Scholars Conference “Slavic World: Community and Diversity”. Moscow, 24–25 May 2022. Section “Literary studies”

This year, young scientists from Moscow and Kaliningrad took part in the work of the Literary Studies section. The reports were divided into three thematic blocks: “Literary transformations”, “Spatio-temporal paradigms”, and “Issues of genre and poetics”. As part of the fi rst thematic block, reports on inter-Slavic literary connections and transformations of literary images and plots were presented. Problems touched upon included the correlation of folklore and rock in the Belarusian cultural space, the formation of the image of a little man in Slovenian and Czech literature in comparison with Russian literature, the transformation of the motifs of Chekov in Polish absurdist dramaturgy, and the influence of ideology on the reading of Czech interwar novels about Soviet life. The second thematic block united reports with spatio-temporal issues. Many speakers correlated spatio-temporal categories with the concept of memory, clarifying its properties and functions in various literary texts. The problem of landscape visualization in Czech modernist landscape lyrics was also touched upon. Within the framework of the third block, issues of genre and poetics were discussed, for example the properties of the Czech interwar utopia and the features of the Czech postmodern novel. Special attention was also paid to narratology. The moderators of the subsections were employees of the Institute of Slavic Studies of the Russian Academy of Sciences and specialists in Slavic literature. Both the participants of the conference and the moderators actively entered into a scientific dialogue, identified problematic issues, and jointly searched for solutions. In addition to the speakers who have regularly taken part in the conference, new participants participated this year, which indicates the ongoing relevance of this event.

Heroic pastoral and its national-style reception IN THE CANTATA “YELLOW RIVER” BY XIAN XINGHAI

Heroic pastoral and its national-style reception IN THE CANTATA “YELLOW RIVER” BY XIAN XINGHAI

The The Issue of Genre Belonging of F.M. Dostoevsky's Work "The Village of Stepanchikovo"

The article discusses the issue of genre belonging of Dostoevsky's work «The Village of Stepanchikovo », provides an overview and analysis of existing points of view on the problem of genre, and suggests that this literary text represents a genre experiment of the exiled author. Genetically, the work goes back to the comedy genre. Dostoevsky certainly takes into account the individual traditions of antique, Renaissance, classic comedy, uses a matrimonial plot that is frequent for the comedy repertoire. By the type of plot, «The Village of Stepanchikovo» is close to sitcoms, comedy of intrigue and comedy of characters. At the same time, the author borrowed an unexpected denouement from the genre of tragedy, and such a plot component as twists and turns, moreover, made it a permanent element of the plot. Dostoevsky gives preference to the novel as a genre more appropriate to the peculiarities of his talent and facilitating a complete, internally contradictory depiction of the «course» of life, synthesizing its various modifications: tale of chivalry, love novel, manor, moral, family, psychological, social, philosophical novel.

Russian Animalier Art in the XVIII- XIX Centuries in the Context of European Schools: The Origins and Nature of Development

This study delves into the process of development of Russian animal art of the 18th-19th Centuries. The primary purpose of the research was to make a review of these two historical periods, which determined the typical features of the early and mature periods of development of animal art in Russia—the time of the birth and development of the genre. According to the author, genre issues are important, and talking about it is necessary to define the image of the animalistic nature in all its specificity. In addition, it is noted that researchers do not characterise the stage of early Animalism, which first appeared in the 18th Century, sufficiently. Nevertheless, this genre has demonstrated all the love of artists for the real perception of the natural world and their sincere will to create its truthful and reliable reflection in their works. This tendency is typical for Western European Art. At the same time, it has been explicitly expressed in the works of Russian animal artists. Compared with European Animal Art of the 17th-18th Centuries, Russian ‘Kunstkammer drawing’ and how the class of ‘animal and birds’ was organised looked like a real innovation. These two factors have contributed to the creation of a full-fledged animalistic image. The author underlines that the main principle of imitation of nature was at the basis of teaching in the Russian school. It eventually led to the formation of the genre with its complex, distinctive features. These unique features was observed in the animal art of the 19th Century, mainly in the form of hippique images.
 Nevertheless, there was an attempt to combine two separated historical periods— the 18th and 19th Centuries, which demonstrated different images, approaches (animal naturalia of the 18th Century and horse characters of the 19th Century). The author, here, tends to talk about Russian Animalism of the 19th Century, one of the most explored ones. Doing so underlines the importance of animal art of the two periods as a historically conditioned cultural phenomenon in the relationship between genres of Fine Art and trends of the time. The historical and artistic method made it possible to identify the connection between these two eras in which Animalism was expressed significantly. Its originality is that it combined two diverse eras into one national whole.
 Submitted: December 20, 2020; Revised: 12 February 2021; Accepted: 8 April 2021

Is The Merchant of Venice a Comedy or a Tragicomedy?

This essay aims at discussing some issues in the play The Merchant of Venice, by William Shakespeare. Even though some may assume that the play is a comedy, the problem of its literary genre is a rather problematic issue today. Some critics debate its inclusion in the comedies, because it is not at all a funny play. The label ‘comedy’ did not suggest that it was a funny play in Shakespeare’s age. If some critics think that it is not a funny play, Shakespeare may have designed Shylock as a tragic character. In fact, the play’s effects of Shylock’s energy and tragic dimensions deeply influenced the audience in the moment when it was first staged. This essay first discusses the problem pathos and inwardness in Shylock’s speech. After that, it discusses the issue of literary genre and argues that it should be classified as a tragicomedy.

The word order of negation in the history of Basque

AbstractThis article investigates word order changes in negated periphrastic constructions in the history of Basque. A number of linguistic variables are argued to correlate with these changes: the negative particleezis increasingly focalized in main clauses, the innovative patternnegative particle – auxiliary verb –main verballows for more syntactic flexibility than the conservative one, and the word order changes do not progress at equal rates in all clause subtypes. Genre issues are also considered, including the hypothesis that the loss of the conservative ordermain verb – negative particle – auxiliary verbof main clauses occurs first in texts close to oral language. Moreover, it is argued that eastern dialects are more innovative than western dialects and that efforts towards standardization of the language have slowed down this case of word order change.

Cultivating a Community of Viewers in Africa: Meta-cinematic Elements in Abderrahmane Sissako’s Major Films

Critical discussion of Abderrahmane Sissako's major films, Life on Earth (1998), Waiting for Happiness (2002), Bamako (2006), and Timbuktu (2014), explores issues related to spectatorship, live performance, and intertextuality. In particular, this essay looks at how this filmmaker frames spectatorship within his film narratives to bring the process of image-making up for reconsideration. These self-reflexive moments are examined in relation to film as an art form, issues of genre, and the history of cinema. The essay also looks at how live performances are embedded alongside scenarios of audiovisual spectatorship to draw our attention to the formation of audiences in different African settings, and to suggest an analogy between live and recorded performances. Some attention is also given to intertextuality and how Sissako references classic films by Ousmane Sembène and Djibril Diop Mambety to cultivate an awareness of film history in his viewers. By drawing on and developing insights from contributions by Karin Barber, Tsitsi Jaji, and Akin Adesokan the essay seeks to define the importance of these meta-cinematic elements in the film narratives of one of the most impactful filmmakers of his generation.

The Writings: Job–Sirach

The Writings:Job–Sirach Fred W. Guyette, Christopher T. Begg, Francis M. Macatangay, John M. Halligan, Thomas Hieke, and J. Edward Owens 515. [Wisdom Literature] Craig G. Bartholomew, "Old Testament Wisdom Today," Interpreting Old Testament Wisdom Literature, 3-33 [see #778]. Given the renewed interest scholars have shown in OT wisdom literature, how might we sum up the fruits of their labors? Wisdom is: (1) an attribute of Yhwh (Prov 8:22–31); (2) the means by which Yhwh created the world (Prov 3:19–20); (3) crying out to be heard by humans in all areas of life (Prov 1:20–21); (4) needed if humans are to flourish (Prov 3:13–18); (5) rooted and grounded in the fear of Yhwh (Prov 1:7); (6) personified as a choice between Lady Wisdom and Lady Folly—they each have houses they want us to enter (Proverbs 9). One question we would like to have a better answer to is posed by G. I. Davies, "Were There Schools in Ancient Israel?" Wisdom in Ancient Israel (1995) 199-211. But the answer remains elusive, says Leo G. Perdue, "Sages, Scribes and Seers in Israel and the Ancient Near East," Scribes, Sages and Seers (2008) 1-34. Did Israel's sages favor timeless wisdom and reject "salvation history" and covenant? Such a claim was made by Walter Zimmerli, "The Place and Limit of Wisdom in the Framework of Old Testament [End Page 175] Theology," Scottish Journal of Theology (1964) 146-58. But it seems more likely that they simply chose to emphasize "the fear of the Lord" in their theology, as J. Grant, "Wisdom and Covenant: Revisiting Zimmerli," European Journal of Theology 12 (2003) 103-11, argues. Most of Proverbs supports an "act–consequence" model of morality, but that view is challenged by the moral skepticism of Ecclesiastes and the unexplained suffering of Job. See F. Crusemann, "The Unchangeable World: The 'Crisis of Wisdom' in Koheleth," God of the Lowly (1984) 57-77, and K. Dell, The Book of Job as Sceptical Literature (BZAW 197; Berlin: de Gruyter, 1991).—F.W.G. 516. [Wisdom; Prophecy] Mark J. Boda, "Wisdom in Prophecy: A Response," Riddles and Revelations, 248-58 [see #772]. B. responds to several essays in the above collection on the relationship between wisdom and the prophets. One of the ways scholars try to determine whether wisdom is present in prophecy is by searching for shared lexical data, especially vocabulary that is related to perception and wisdom. F. Ortlund (see #580) and L. C. Allen (see #600) focus mostly on words associated with wisdom. W. R. Osborne (see #631) and A. E. Steinmann (see #639) look first for similarities in vocabulary, but then they turn to the search for shared theological themes. For his part, D. C. Timmer (see #643) focuses more on theodicy/justice and how this theme is shared by Job (wisdom) and Habakkuk and Nahum (two of the twelve Minor Prophets). Ortlund raises an important issue that has a bearing on repentance and mercy. Wisdom literature makes an appeal for moral change, but if a person rejects that appeal, "the wisdom tradition has no mechanism for recovering those who have turned away" (p. 93). However, the direct appeals to the foolish and naïve to follow the way of righteous wisdom, along with subtle depictions of blessing (implicit invitations) and curse (implicit warnings) are intended to promote "an ethical lifestyle motivated by a wise interior life dominated by the fear of Yhwh and the spirit of wisdom." It is for this reason that B. has argued elsewhere that a call to repentance is at the heart of wisdom literature. See M. Boda, A Severe Mercy: Sin and Its Remedy in the Old Testament (2009).—F.W.G. 517. [Wisdom; Prophecy] Katharine J. Dell, "Response on Methodological Matters Regarding Wisdom Influence and on the Relationship Between Wisdom and Prophecy," Riddles and Revelations, 235-47 [see #772]. D. responds to several essays in this collection on wisdom and the prophets. She organizes her reflections under five headings: (1) Genre Issues, (2) Defining Wisdom, (3) Wisdom Influence, (4) A Scribal Culture, and (5) Wisdom and Prophecy...

Seinen , Nathan Prokofiev's Soviet Operas (review)

SEER, 99, 1, JANUARY 2021 174 of which is Konstantin Rudnitskii’s seminal book on Meierkhol´d, available in translation. The index is also incomplete in that several names cited in the text do not appear there, an example being that of the cultural commissar Zhdanov, who appears as ‘Zhadanov’ (on p. 163). The Neapolitan author, Elena Ferrante, recently had this to say about the act of writing, of which the present author and his publishers would do well to take note. She speaks of needing the attention of readers ‘who will focus on […] carelessness: mistakes in chronology, repetitiveness, incomprehensible formulations […]. If an editor says: in your text there are good things but we need to work on it, you’re better off withdrawing the manuscript’. London Nick Worrall Seinen, Nathan. Prokofiev’s Soviet Operas. Music Since 1900. Cambridge University Press, Cambridge and New York, 2019. xiv + 255 pp. Musical examples. Tables. Notes. Bibliography. Index. £75.00. In this important monograph — two of whose four chapters have already appeared as individual journal articles — Nathan Seinen sheds new light on Sergei Prokof´ev’s long career as an opera composer, focusing on the four works composed in the Soviet Union. As one of the most prominent forms of the nineteenth-century Russian canon, opera resurfaced in the artistically more conservative atmosphere of the 1930s, not least because it seemed able simultaneously to answer the need for forms capable of conveying ideology and propaganda on a mass scale. Noting that Prokof´ev had struggled to get his Ognennyi angel (The Fiery Angel) and Liubov´ k trem apel´sinam (The Love for Three Oranges) staged in the West, Seinen suggests that his return to the Soviet Union may have been motivated, at least in part, by the realization that opera was a genre increasingly favoured by the Soviet authorities. Seinen is alive to the ideological implications of the ‘Soviet opera project’, as it has come to be known, whilst expanding his analytical framework to include aspects of cultural history. His account is rooted in an impressive command of a wide range of archival and critical sources, which help to map the complex network of top-down expectations and behind-the-scenes debates which shaped the genesis of each of the four operas under consideration — Semen Kotko, Voina i mir (War and Peace), Obruchenie v monastyre (Betrothal in a Monastery) and Povest´ o nastoiashchem cheloveke (The Story of a Real Man). A recurrent theme is the concatenation of vicissitudes that Prokof´ev faced at each turn. He was, after all, an experienced composer for the stage, and his return to opera in the Soviet Union should have been an exciting prospect REVIEWS 175 for all concerned. Yet the many years he had lived and worked in the West meant that he was always tainted with the accusation of cosmopolitanism (and later, in 1948, formalism), and none of his operas had either an easy path to the stage, or an untroubled reception. Prokof´ev’s brush with politics is a familiar enough story, of course, but the value of Seinen’s study is the way in which he adroitly moves the debate on to issues of form and genre. Refusing to see Socialist Realism in monolithic terms, Seinen teases out important distinctions between the aesthetic premises governing each opera and deftly unfolds some often unexpected intertextual echoes. Each chapter follows a largely similar structure; after an elaboration of the operas’ literary source texts (Valetin Kataiev, Lev Tolstoi, Richard Brindley Sheridan as translated by Mira Mendel´son, Boris Polevoi), attention turns to a detailed consideration of the musical means deployed, which is then followed by a discussion of the relevant critical reaction. Accordingly, Semen Kotko emerges as a work shaped by the generic conventions of melodrama, whereas Obruchenie v monastyre is ‘an opera-ballet hybrid’ (p. 18), with elements also derived from opera buffa. Voina i mir and Povest´ o nastoiashchem cheloveke emerge as more closely linked to aspects of contemporary history — the cult of personality and wartime leadership in the case of the former, and aspects of Soviet heroism, the New Soviet Person and subjectivity in the case of the latter. Seinen’s attention to...