Recognizable Style Research Articles

Translation motivation and foreword by Charles Baudelaire "Edgar Poe, sa vie et ses œuvres" to the edition of E. A. Poe's texts

Charles Baudelaire is primarily known as a French poet, the author of the internationally acclaimed poetry collection "Flowers of Evil" ("Les Fleurs du Mal"). However, he is also known as a translator: it was he who created the translations that changed the literary fate of the genius not recognized at the time – Edgar Allan Poe. He wrote a 24-page preface to the collection of his translations "Histoires extraordinaires", on the basis of which the author analyzes the poet's approach to translation, records his argumentation and motivation. Within the framework of this article, the author provides an analysis of the preface by Sh. Baudelaire studies why the connection between these figures has been repeatedly called absolutely exceptional by researchers. The subject of the study is the motivation of Sh. Baudelaire's translation of E. A. Poe's texts, which he explains both in the preface to the publication of the texts of the American writer and in personal correspondence. The object of the study is the preface under the heading "Sa vie et ses œuvres", written by Sh. Baudelaire's edition of E. A. Poe's texts in his own translation, published by the publishing house "Michel Lévy" in 1869. The main research method was a detailed analysis of the text of the preface by Sh. Baudelaire's "Edgar Poe, sa vie et ses œuvres" to the edition of E. A. Poe's texts in his own translation of 1869. A special contribution of the author to the study of the topic is a detailed study of the preface by Sh. Baudelaire as an artifact containing the formulation of translation motivation directly by the translator himself. The artifact is presented to the author all the more valuable because the translator is a famous poet with a special, recognizable style, which obviously leaves its mark on his translations. The main conclusions of this study are: the need to study the phenomenon of the Baudelaire translator not only from the prefaces to the translations, but also from his statements in correspondence, as well as in the study of the cultural era accompanying the creation of these translations and containing events such as the confrontation of the Romantics and the Parnassian school. The scientific novelty lies in the creation of a detailed analysis, based on which more specific episodes of the life and work of S. Baudelaire as a translator can be studied.

Engagement strategies on medical YouTube channels

The study focuses on the strategies of engagement employed by medical doctors in YouTube videos. The goal of the analysis is to investigate multimodal strategies used in selected videos on the most popular medical YouTube channels in Poland. The study is conducted against a theoretical background that considers previous research on engagement strategies in science and popularization discourse (Hyland 2010; Luzón 2015, 2019; Sokół 2018). Engagement strategies involving reader pronouns, directives, questions, shared knowledge as well as humour, expression of opinions and emotions are investigated, as well as headings, visuals and music. The analysis reveals that medical doctors employ a vast array of diverse engagement strategies which do not form a unified set of practices across the channels. The differences concern the frequency and type of strategies, such as the use of headings, visuals, special effects and music. The study also reveals considerable differences between the videos as to the degree to which the authors exploit the affordances of the audio-visual medium. The formats of the videos comprise both the more traditional, such as slides with a voice-over, as well as more novel approaches, such as presentation films. The strategies employed show that the authors attempt to form a distinctive and recognizable style of interaction with the audience.

The Visuality of Hortus Mirabilis in Krystyna Miłobędzka’s Poetry—A Study of Selected Examples

Krystyna Miłobędzka (born 1932) is one of the most interesting and unique phenomena of the Polish poetry scene of the 20th and 21st centuries. Two characteristics of her poetry, the visual character of her many poems and her preoccupation with the concept of the garden-world, are worth a closer look. Miłobędzka’s poetry refers to the topoï of the garden-world in single poems and cycles of poetic texts. Her hortus mirabilis, inserts itself into the sphere of the metaphysical reflection of nature, giving Miłobędzka’s poetry a specific dynamic in which the “I”—the gardener—has a significant role as an observer, and as a creator of entities. The activity of looking, which happens, in fact, in all types of verbs and aspects, is in this specific sphere (look, watch, see), fundamental to defining oneself in the world and the world’s relationship to oneself. In this perspective, the image of the garden from childhood, is confronted by a necessary new visualization. The temporal aspect of the garden is at the center of existence, in the cyclical return of nature’s laws of rebirth and death, which are relevant to the personal, singular perspective of the end in many of Miłobędzka’s volumes. In Anaglify (Anaglyphs), some poems particularly fit the issue of visuality in poetry, not only at the conceptual level, the place granted to observation, the poet-particular observer, but the poem itself. They are conceived as graphic and pictorial realizations. Poems from the volume dwanaście wierszy w kolorze (twelve poems in color) or wszystkowiersze (omnipoems) are special cases of these. The selected words are conceived in color, and their arrangement on the space of the page has meaning. The parallel between looking and writing, which Miłobędzka consistently uses in her writing method and poetically admits, is also very important. Although her poetic diction alludes to historical avant-garde and linguistic poetry achievements, her lyrical savoir-faire is characterized by a certain new minimalist construction and a separate, recognizable style. Miłobędzka’s innovativeness lies in combining seemingly distant and sometimes poetically opposite categories: full, ambiguous image-in-poem and asceticism by means of expression, such as a minimal number of words. Her poetry is deeply rooted in perceiving, seeing, watching, and contemplating the world—faithful to its physicality but also open to the most essential questions of philosophy asking about existence and its limits. This new visibility of elements is reflected in authentic poetic delight and in the “visualizing” form, where the poem also becomes an image on the plane of a sheet of paper or becoming one side of the house wall as a mural poem.

“Pieces of life” - Tajana’s growing up in Sunčana Škrinjarić’s trilogy Ulica predaka [The Street of Ancestors], Ispit zrelosti [Test of Maturity] and Bijele strijele [White Arrows

This paper analyses the growing up of Tajana, a fictional character in unhealthy family surroundings as depicted in Sunčana Škrinjarić’s (1931 – 2004) trilogy: The Street of Ancestors (1980), Test of Maturity (2002), and White Arrows (2004). The main controversy of the trilogy is the presentation of a childhood without didacticism, moral lessons, or idealization; a childhood which is more unhappy than protected and joyful. By breaking settled rules and taboos, Škrinjarić created her own, recognizable style of narration. This study will particularly focus on Tajana’s relationship with her mother and the girl’s emotional development, which can be interpreted in light of childhood trauma. Tajana’s mother is an educated, beautiful, and coquettish woman who does not love her daughter. She sees the girl only as a “redundant little brat”, a reminder of her broken first marriage, and an obstacle to happiness in life. Hitting Tajana, pulling her hair, and essentially ignoring all her needs, she can be labelled a bad mother who fails to fulfil the duties of her role: being present and protective, as well as providing for her daughter’s well-being and upbringing. Tajana’s experience of emotional neglect and emotional and even physical abuse from her mother in her childhood results in the girl’s problems in building firm and healthy relationships in her adult life.

Branding Baldung

Hans Baldung (1484/85–1545) emerged as an artist under the shadow of Germany’s most famous contemporary artist, Albrecht Dürer (1471–1528), thus as a younger rival with considerable catching up to do. His time as a young artist with Dürer in Nuremberg (1503-ca. 1507) prompted Baldung to develop his own innovative imagery, even as it prepared him with the skills of later activity in drawings, woodcut prints, and, finally, paintings. Nuremberg also gave him his first contacts with prestigious patrons, local at first but also farther away, surely through Dürer’s well established network to nobility in Saxony. Afterward, once he was out on his own, Baldung quickly turned his acquired skills and recognizable style into his own definitive, deeply pessimistic imagery about human limitations and mortality, especially when measured against the awesome, holy magnitude of Christ and the saints.

Over and Over, and Over Again: Tension, Repetition, and Catharsis in the Films of Wes Anderson

This article argues that Wes Anderson’s films repeat formal and thematic strategies in such a way that resists traditional auteurist analysis. By looking at Anderson’s recognizable style of image composition, his expansive paratext, and recurring thematic motifs, we can see a productive system of repetition operative both within and across his films. The value Anderson places on repetition opposes Peter Wollen’s structural auteurist framework, which values variation over repetition. Such opposition allows Anderson’s films to be taken up as a critique of this valuation, demonstrated through an analysis of the productive role of repetition in his work.

Sites of Television Channels of Cultural and Educational Topics: Experience of “Russia K” and ARTE

The article presents the outcomes of studying the transformation of audiovisual content in a new technological environment, which is one of the stages of the research project conducted by the Department of Television and Radio Broadcasting of the Journalism Department of Lomonosov Moscow State University. This stage held in July 2019 aims to identify the technological features of the work of the cultural and educational TV channel portals – “Russia K” (domestic channel) and ARTE (French-German channel). Both “Russia K” and ARTE are important media players that have been setting trends in their field for more than 10 years. The reason for comparing these channels was their thematic focus and a certain similarity of projects. The TV channel “Russia K” is the only non-for-profit channel dedicated to the cultural and educational topics in R SMAI, and ARTE TV channel is one of the most popular media specialized in this subject in Europe. During this stage the total amount of analyzed materials is 251 (145 publications on the “Russia K” and 106 on ARTE websites). The analysis of materials published on the Internet is based on following criteria: the number of materials, the nature of the content (broadcast / special), thematic and genre.The analysis of the amount of materials enables tracing the frequency of publication of new articles; data on the nature of the content helps to conclude which materials on the sites are more – on-air or special. Defining thematic and genre originality provides a complete picture of the content being posted.The author concludes that nowadays the Internet versions of the channels have their own faces but are inseparably bound with their television counterparts. The website of the TV channel “Russia K” is a vibrant media with recognizable style and creative presentation. However, in order to strengthen its position, the editors of the site should increase the number of copyright off-air materials and use new interactive genres (tests, quizzes, etc.).The site of the ARTE channel fits into the modern digital space while maintaining the classic presentation. Since most ARTE channel programs are timeless, they correlate very well with the consumer nature of the Internet and the need for educational content. Documentary films – the most common form of ARTE channel programs is in great demand by the audience in the digital environment that wants to quickly learn something important in a simple, vivid and understandable form.The difference between the on-air and non-air versions is largely exaggerated, because sites and channels do not compete with each other but are adjacent and complement each other. Websites enable access to the channel’s content anytime, anywhere, by selecting the desired program. Sites act not only as electronic repositories but also as individual units in the media world providing unique information.

FROM USER GENERATED CONTENT TO A USER GENERATED AESTHETIC: INSTAGRAM, BRANDS AND THE APPROPRIATION OF DIGITAL PHOTOGRAPHY

Recent research has emphasized the increasing professionalization of ‘user-generated content’ for digital networks and social media. This paper highlights a contrary but parallel process: the aesthetic ‘vernacularization’ of brand images on social media and the adoption of recognizably ‘amateur’ styles by corporate brands. Analyzing the official Instagram accounts of 24 leading fashion brands between 2014-18, our research project identified eight distinctive patterns in the corporate adoption of vernacular photographic styles. In this paper we discuss the three most common patterns: (1) $2 : sharing and crediting users’ photographs on the brands’ official feed ;(2) $2 : posting the ‘amateur-looking’ photographs of a celebrity or model associated with the brand; (3) $2 : selfie-style images created by brands themselves where the brand appears to be the ‘self’ that performs its own representation. Following this analysis, we argue that user-generated content has become detached from its primary authorial configuration (being generated by non-professional users) and has solidified into a recognizable style, a ‘user-generated aesthetic’, available for brand appropriation. This detachment constitutes a form of ‘context collapse’ that is characteristic of social media in other respects, but here appears in visual form: as the collapse of contextual distinctions that enable viewers to infer authorial status, milieu and purposes from visual indicators. It further conforms to the expansion of branding practices beyond the purview of marketing, advertising and celebrity into all aspects of social life, and in particular to Instagram as a social media platform that enacts marketplace logics.

Three piano pieces of Liudmila Shukailo in the context of genre paradigm

Three piano pieces of Liudmila Shukailo in the context of genre paradigm

CREATIVE WORKS OF JOHN WILLIAM CHEEVER IN THE LITERARY-CRITICAL INTERPRETATION OF KORNEY CHUKOVSKY

The article deals with the comprehension of the features of perception of works of American prose writer John William Cheever (1912-1982) by Korney Chukovsky. The appearance of the works of J. Cheever in Russian language was accompanied by the comments of Soviet researchers who considered him to be an active propagandist of socialist ideas. Literary critical works written by Korney Chukovsky provoked a more thoughtful reading of the works of the American writer by Russian readers. Korney Chukovsky is the author of the preface to the collection of short stories written by J. Cheever in translations of Tat’yana Litvinova entitled «Giant Radio» published in 1962. In the future, this introduction, with amendments and additions, was published as an article of «John Cheever». The American writer’s work perception by Korney Chukovsky of was not unique. He criticised the fi rst collection of short stories by J. Cheever «The Way Some People Live» (1943), for his student imitation of the recognisable style of predecessor writers. Korney Chukovsky believed that the best stories of J. Cheever were collected in the book «The Enormous Radio and other stories» (1953), the central themes of which were the imperfection of the social structure and the causes that caused it social inequality of people, their spiritual devastation. Analysing the stories of J. Cheever, Korney Chukovsky noted a signifi cant detail – despite the seeming impartial attitude towards his heroes in trouble, J. Cheever empathises them, wants to draw public attention to important problems of our time.

ЧАРЛЬЗ ТОМЛИНСОН КАК ПЕРЕВОДЧИК СТИХОТВОРЕНИЙ Ф. И. ТЮТЧЕВА НА АНГЛИЙСКИЙ ЯЗЫК

The article deals with the translations of Fyodor Tyutchev’s poems into English made by the British poet and translator Charles Tomlinson (1927–2015). Poetic works present a serious challenge for those engaged in literary translation. Until the present day, the criteria for estimating the adequacy of poetic translation have been a question under discussion and deep consideration; the issue of poetic translation has been studied by both Russian and foreign scholars. In this regard, the works of Charles Tomlinson as a poetry translator from Russian into English offer new opportunities for a detailed study of his translation method, characterized by the desire to penetrate into the essence of the original works and preserve their lyrical and aesthetic components, as well as by Tomlinson’s intention to introduce Russian classical literature to English- speaking readers. The article analyzes in detail the main characteristics of literary and in particular poetic translation, shows different approaches to translating poetry and reveals both the specific features of translation transformations and the principles of their use. It also provides a comparative analysis of Tomlinson’s English translations of poems by Tyutchev, namely Silentium! and Spring, and the original texts. This study shows that the English poet often imparts his own unique and recognizable style to Tyutchev’s works, which is manifested in omitting repetitions and epithets in the original poems and adding new details to his translations. Tomlinson’s style can also be seen in the overcomplicated syntax of the transformed poems. On the other hand, there is a strong similarity between Tomlinson’s translations of Tyutchev’s famous poems and the original poetic works due to the translation transformations used. As the research reveals, modulations and transpositions are the most frequent transformations in Tomlinson’s modified versions of the original.

التنبؤ بمفهوم الذات الاجتماعي من خلال أنماط التنشئة الوالدية كما يدركها طلبة الحلقة الثانية من التعليم الأساسي بسلطنة عمان

This study aimed to predict social self-concept through parenting styles as perceived by students in grades (6-10) of the basic education in the Sultanate of Oman. The sample included 509 students randomly selected from different school districts. The participants responded to the social selfconcept questionnaire and the parenting authority questionnaire. The results indicated that the sample had high levels of social self-concept and parenting styles, except for the permissive style of father and mother. The authoritative style emerged as the most recognizable style among the students. Statistically significant gender differences were found in the level of the social selfconcept in favor of females, and in the parenting styles in favor of males. In addition, there were no statistically significant differences in both variables based on students’ school grades. Multiple Regression analyses revealed that the social self-concept could be significantly predicted by two parenting styles (father authoritative style, mother authoritative style) after controlling for sex effect.

Mirka Mora a Life Making Art

November 2019, MelbourneThe late Mirka Mora (1928–2018) is a Melbourne icon and well-known and much-loved artist with an instantly recognisable style. Born in France and as a teenager miraculously ...

About the Contributors

About the Contributors

Everybody’s Song Making

Since the late 1990s, Artificial Intelligence (AI) has written songs that surpassed human composers in reproducing recognizable styles. In 2016, London’s West End premiered the world’s first computer-generated musical, Beyond the Fence, based on digital technology to detect ‘hit’ musical theatre songs. As AI quickly learns and upgrades their song-writing skills, humans are developing new ways of working with AI to expand the forms of song making for homo sapiens. In our post-phonograph era of information technology, it is no longer possible for the human song maker to write, produce, perform and distribute songs without any AI assistance. Recent scholarship on algorithm bias and AI domination, however, reminds us the hazard of AI-dependent human society and the urgency of consciously working against AI. The human public DIY song making has thus contributed to a larger political discourse that resists AI and the forces behind it— technology-driven global capitalist and consumerist infrastructures. Revolutionary apps such as Vocaloid and Ocarina have made anti-AI song making attempts accessible to the public, yet are precariously entangled in global data-processing networks and commercial systems. This article explores the social dimensions of human DIY song making in the age of Artificial Intelligence. It argues that the DIY song making creates distinct virtual communities and engenders new soundscapes that not only defy past normative algorithms and patterns, but uplift under-represented voices and desist from data-centric cultural production endeavours.

Agatha Christie’s The Mousetrap: Adaptation and the Repeat (Murder) Performance

With little attention from the academic and critical world, Agatha Christie is considered to be one of the most popular authors in detective fiction. Possessing a recognizable style and admirably prolific, this paper will focus on her work as playwright and adapter of her own pieces. The works analysed are the short story “Three Blind Mice” and its transposition as a play for the stage The Mousetrap. Different concepts from reception and reading theories used commonly in the analysis of the formulae underlying detective fiction will be utilised in conjunction with notions of theatricality and the perception and reception of the stage, in order to understand the different effects and construction of both texts. Through the discussion of both short story and play, The Mousetrap is analysed considering its popularity and its belonging to the dramatic genre, hence performative, visual and aural. This will allow for a further understanding of Christie’s style and her rarely discussed expertise when it comes to crafting a play and a piece of detective fiction.

“Total Trash”

“Total Trash”

PETSCII – A Character Set and a Creative Platform

PETSCII is the built-in character set used on 8-bit Commodore computers, such as the PET, C-64 and Plus/4. The character set and the BASIC environment provided an entry point to rudimentary graphic editing for a generation of hobbyists. Over the years PETSCII has been used for a variety of creative purposes: for example games, demos, telecommunications, videos, books and fine art have been created using the graphical symbols. Through the analysis of existing art works and our own hands-on project – a graphics editor – we dig deeper into the specific properties of the character set. In this article we show how the fixed symbols set the frame for what is possible and how, on the other hand, they provide grounds for creative experimentation, display of skill and recognizable styles.

KAZUO ISHIGURO. THE WRITER IN THE ‘FLOATING WORLD’

Novels by the Nobel Prize winner in literature 2017 K. Ishiguro are analyzed chronologically, from the first novel A Pale View of Hills (1982) to the latest one The Buried Giant (2015). As the article shows, the author, who represents two cultural traditions, the Japanese and the British ones, reflects this quality in his works. The writer himself states that his works were mainly formed by the European literary tradition and, consequently, his novel The Remains of the Day has become a concentrated study of Englishness, one of the most vivid in contemporary British literature. Experimenting with traditional literary forms, Ishiguro uses the stream-of-conscience technique, elements of science fiction, fantasy, detective genres, but each of his novels is unique and is characterized by deep overtones. Some constant elements of the writer’s works are discussed: unreliable narrators, the opposition of memory and history, the special role of children and of old people in his novels, the significant role of periods before and after historic events that are omitted in his novels, and recognizable language and style – compact, reserved and precise.

Something Extraordinary Keeps Happening: J. G. Ballard's Enclave World

AbstractThis essay considers a late novel sequence by the British speculative fiction writer J. G. Ballard (1930–2009). Although Ballard is often celebrated as a great iconoclast, there is arguably no postwar novelist with a more recognizable style. The essay analyzes Cocaine Nights (1996), Super-Cannes (2000), Millennium People (2003), and Kingdom Come (2006) as a programmatic fictional project. It identifies five key formal and thematic elements of the late sequence, paying particular attention to the question of setting. In Ballard's late fictions, the gated enclave figures as a privileged spatial agent within the diegesis; the central quality of these enclaves is that they are at once ordinary and extraordinary—set off from any shared social fabric and representative of general psychic and material qualities. Methodologically, the essay begins with critical description, following the grain of Ballard's late novels to show how their plots, themes, and characters relate to their settings. The essay then explores Ballard's autocritical explanation of his mature fiction as a belated response to his childhood in the extraterritorial International Settlement of Shanghai, drawing on his autobiographies as well as new research in his personal manuscripts, now collected at the British Library. Any full exploration of the late novels' autocritical energies must go beyond the project of critical description, which by itself produces a historically flat and argumentatively recursive account of Ballard's extraordinary literary accomplishment.