Separate Genre Research Articles

Sexuality vs. sensuality: The multimodal construction of affective stance in Chinese ASMR performances*

AbstractOnline communities have recently developed a novel genre of performance aimed at triggering Autonomous Sensory Meridian Response (ASMR), a tingling sensation prompted by soft voices and other stimuli. In China, these performances were banned in 2018 due to a rise in sexually charged videos purporting to be ASMR. Through acoustic and content analysis, this study argues that, rather than ASMR being a vehicle for sexual content, conventional and sexual Chinese ASMR performances constitute two separate genres. While all performers index intimate affective stances, conventional ASMR performers construct the persona of a calm, gentle professional, while sexual performers evoke the childish, amateur camgirl and sajiao (“whining”) persona. These performances illustrate Chinese content creators’ juxtaposition of local and non‐local semiotic resources as they participate in transnational online communities. The phenomenon of ASMR also highlights the sensual nature of the voice and underscores the necessity of incorporating sensuality into theorizations of sociolinguistic meaning.

The genre of folk song arrangement at the present stage: cultural and historical aspect

The genre of folk song arrangement at the present stage: cultural and historical aspect

МОВЛЕННЄВИЙ ЖАНР НА МЕДИЧНУ ТЕМАТИКУ: СТАТУСНІ ПАРАМЕТРИ ТА РОЗРОБКА АНКЕТИ

The research in the field of speech genres has initiated discussions among scientists and led to the emergence of numerous analyses in recent years. Eminent Ukrainian and foreign scientists have dedicated their in-depth studies to the classification of speech genres, finding and underlining their basic characteristics. They have introduced their own definitions of the term speech genre and schemes that scientists can use with the aim of indentifying the hypergenre and the subgenres. Having analyzed the contributions of the above-mentioned researchers, we could not find the definition of the speech genre in medical subject area. The term that defines the speech genre in medical subject area as a separate genre has not been introduced yet. Rapid development of mass media, the creation of new web sites and the introduction of TV programmes which dwell upon medical problems, diseases and disorders giving both expert and public opinions on the issue have caused the appearance of the new hypergenre in medical subject area. The scientists could not have introduced the term earlier due to the fact that the genre did not exist until the end of the twentieth century. Nowadays, more and more subgenres are appearing. Consequently, we realize that the analysis of the hypergenre and subgenres in medical subject area is impossible without a proper definition. Not only does the lack of the definition exist, but also we lack the questionnaire which will enable us to study the speech genre in medical subject area taking into account its unique features. We must devote scrupulous attention to the existing speech genre questionnaires. Furthermore, we have to study hypertextuality that is typical of speech genres in medical subject area in English mass media. We have created the questionnaire on the basis of the already existing questionnaires with the aim of conducting a thorough research into speech genres in medical subject area and identifying the subgenres of this hypergenre. The most distinctive features that are typical of the genre include exact sphere of genre use, hypertextuality and indirect speech act.

Teaching English to Pre-Schoolers Using Tongue Twisters

This article examines different possibilities of using tongue-twisters for pre-school children as a method of teaching a foreign language. Various rhymes such as tongue-twisters are rather important in terms of developing pre-school children’s communication language skills in the process of studying any foreign language. A concept of child and his world view and perception are characterized. The developmental peculiarities of preschool children such as movement, social, cognitive and personal areas are discovered. Communication being the essential part in forming communication skills and the approaches for the development of communication skills are determined. Key points of improving communication skills of preschoolers are specified. The genre of tongue-twisters as a separate genre of folk arts that is used not only for enjoyment but also for studying foreign languages is revealed. The article mostly focuses on the practical application of tongue-twisters in teaching English to preschool-aged children. The research was conducted in order to establish the importance and benefits of tongue-twisters in foreign language acquisition. Different types of preparative, text and conclusive level exercises that are based on tongue-twisters as a part of learning are offered. The paper concludes that the method of learning foreign language through rhymes in the process of teaching preschool-aged children can be both an enjoyable and an effective method of studying. Like all texts rhymes play an essential role in children’s world cognition and should be examined as a key method of teaching foreign language to preschool-agers.

МУЗИЧНА КУЛЬТУРА ЗАХІДНОУКРАЇНСЬКОЇ НАРОДНОЇ РЕСПУБЛІКИ

Окреслено побутування в ЗУНР головних складових полінаціональної музичної культури. Її прикметою був інструментальний і вокальний фольклор українців, поляків, євреїв, вірмен, німців, угорців, ромів, ін. етносів і особливості музики етнографічних регіонів (Бойківщини, Буковини, Гуцульщини, Закарпаття, Лемкінщини, Опілля, Покуття). Музичне мистецтво успішно виконувало притаманні йому соціокультурні функції в житті цивільних і військових, соціальних прошарків, віруючих різних конфесій. Воно допомагало жити й воювати, виховувати та мобілізовувати, утверджувати українство й оздо- ровлюватися. Закономірні дії новоствореної держави у сфері культури, зокрема мистецтва засвід- чували розуміння його важливості на фронті й у тилу. У статті уточнено окремі факти з біографій діячів музичного мистецтва, авторство деяких їхніх творів.

«PIANO PIECES FOR CHILDREN AND YOUTH» BY MYKOLA LASTOVETSKY: THE IMAGINATIVE AND THEMATIC DIMENSION

Relevance of the study. Creating music for children is an important and morally responsible task. The musical material mastered during the study by the growing musicians mostly projects their musical taste and forms an individual musical thesaurus. Main objective of the study – to consider the vectors of the imaginative and thematic range of the M. Lastovetsky’s piano works on the example of his five piano collections. The methodology of the article is based on the application of musicological, artistic, culturological and analytical approaches. An important need in creating works for children of didactic orientation has been revealed. The piano works of the modern Ukrainian composer, a member of the National Union of Composers of Ukraine MykolaLastovetsky are characterized. His five collections of «Piano Pieces for Children and Youth», published in recent years, are considered. The composer has written them for pianists of varying degrees – from primary to professional. It is stated, that a large number of miniatures have been united into cycles, combined by a certain imaginative and thematic, dramaturgic or compositional principle. Genre (song, dance, marching) and multifaceted figurative and thematic priorities of piano compositions are researched. Among the leading imaginative and thematic spheres are children’s and folk-national themes, fairy-tales and legendary-mythological themes, ritual actions, images of the nature, historical themes, lyrical and romantic reflections, oriental, religious themes, images of birds and animals. National motives and the sphere of the lyrics are identified as priority. It is revealed that a number of works are distinguished by a bright national specificity, have Boykos folklore coloring. Scientific novelty. For the first time in Ukrainian piano music M. Lastovetsky combined dodecaphonic technique with Boyko’s folklore («Rational Sketches»), used the term «perespivy» as a separate genre variety («Light Piano «Perespivy» of Galician Yagilkas»), created «Fifty Polyphonic Canon Pieces on the Themes of Ukrainian Folk Songs». Conclusions. Most of miniatures are programmatic, associational and sound imaginative. The imaginative and thematic, genre and stylistic, compositional and semantic means of the analyzed piano compositions are inspired by the M. Lastovetsky’s creative imagination. The importance of teaching the modern generation of young pianists on the works of Ukrainian composers of the past and present is emphasized.

English texts with parable elements, dating from the XIII-XIV centuries: synergetic approach

The scientific article presents the first results of the study of the English parable in the diachronic aspect from the synergetic point of view. The research started from the Middle Ages, illustrated and analyzed the first English texts with parable elements, dating from the XIII-XIV centuries. The scientific work is based on historical events, specific writers and their individual style; the development of a parable as an independent type of text and discourse took place under the influence the mentioned above. It is determined that during this period it is difficult to distinguish the English parable in a separate genre of literature of that time, but the authentic English parable confidently functioned as metatext in the great texts of the Middle Ages. Several parable contexts were observed in one text. The article outlines the results of the study and gives examples of texts of a certain era. The general stylistic and synergetic characteristics of the investigated texts are singled out and their classification according to thematic groups is presented: condemnation of negative human traits, relations of God and mankind, interpretation of spiritual truth and moral values. From the synergetic point of view, thematic groups are thematic attractors that contribute to the development and existence with its functional meta-texts with parable elements. The study of English parable texts allowed us to identify of a number of stylistic devices and stylistic features. It is noted that stylistic attractors of the Middle Ages parables are as follows: prose and poetic form, rhetorical and logical-expressive style. The results of scientific work determine the broad perspectives of further research, in particular the study of the English parable in diachrony from the synergetic point of view, as well as the analysis and comparison of the texts of the following centuries with the systematization of their general and specific features

The Specificity of the Text of Synthetic Nature in the Sociocultural Space of the 20th Century

The article considers suppositions and implementation of figurativeness of literature in modern cultural context. The intersection in process of of generates polyartistic domain within framework of a unified author's text. The phenomenon of this process has started to be examined only since beginning of 19th century, but examples of synthetic art can be found since Antiquity. The tendency to is inherent both in some art forms and a number of separate genres. The of different types of can be carried out within a particular work or at intersection of two or more works belonging to different types of art. The very understanding of synthesis of arts has undergone changes in its assimilation, but basic principle of creating a new form remained constant. At same time, in the watershed periods, actualization of was observed, which contributed to emergence of new artistic objects. At same time, literature was influenced greatly and, first of all, by cinema. By example of Boris Akunin's novels, it is possible to observe how, following author's strategy, novel space is filled with cinematic and illustrative imagery, which contributes to creation of polyartistic, polysemantic in figurative and expressive respect of text.

Opera w filmie — opera filmowa

Opera in film — film operaThe author discusses possible relationships between cinema and opera. Both of them belong to the realm of synthetic art Gesamtkunstwerk, which has been evolving since the reforms of Richard Wagner, but nowadays has a completely new status. The author claims that cinema incorporates numerous strategies characteristic of opera. Yet proper film opera does not exist as a separate genre, and cinema only occasionally uses opera’s compositional patterns.

КАТЕГОРИИ КОРОТКОГО РАССКАЗА КАК ПЕРЕВОДЧЕСКАЯ ПРОБЛЕМА (НА МАТЕРИАЛЕ РАССКАЗА В. БОРХЕРТА “DAS BROT”)

The article deals with the problem of a German-language short story translation into Russian. In the German linguoculture, this type of fiction text belongs to a separate genre, the heyday of which is attributed to the middle of the ХХ century, to the German-language post-war literary school. On the basis of the selected categories (title, dialogicality, time, space, event, composition, thematic integrity, text dynamics, tone, evaluative character) and their expression in the text, the author conducts a comparison of the source text of the story “Das Brot” by W. Borchert and its translation into Russian made by L. Chernaya. The revealed differences allow drawing a conclusion about the translation quality, as well as the relevance of using the selected categories for a short story translation.

Western Han Funerary Relocation Documents and the Making of the Dead in Early Imperial China

In this first comprehensive study of what I call funerary “relocating-to-the-Underworld documents” (abbr. relocation documents), I analyze the ten known cases that have been excavated between 1973 and 2016 in southern China. Through the analytical lens of the making of the dead, I argue that this particular type of textual object found exclusively in Western Han tombs in the second and first centuries b.c.e. can be viewed as a material manifestation of the strategic negotiation between an omnipresent imperial state and its agentive imperial subjects at the intersection of bureaucratic authority and the creation of a desirable afterlife for the dead of the empire. There are three main objectives of the present study. First, I propose to designate these entombed objects as “relocation documents” (yi dixia shu 移地下書), highlighting their primary ritual function as to present and/or produce a desirable afterlife status for the deceased when they relocate to the Underworld. I argue that a typical funerary relocation document has two essential components: a “notification letter” (yiwen 移文) and “itemized details” (ximu 細目). In the current scholarship, the former has been called gaodice 告地策 (informing-the-Underworld document), and the latter qiance 遣策 (tomb inventory). They are conventionally considered to be two distinct and separate genres of text. Although qiance have been found alone in tombs, in the case of funerary relocation documents, I argue that they are integral to the complete package to fulfill its ritual function and that these two components should be considered together as a single document. Second, instead of characterizing these relocation documents collectively as a homogenous genre of text and identifying them as imperfect imitations of Han official documents, I emphasize their material nature as funerary objects and contextualize them as part of the funerary assemblage for burial. I analyze their structural composition—both physical and textual—and situate them in the context of their production and entombment in relation to the deceased as well as the broader social-historical conditions shared by the local community of which the dead was a part. The detailed case studies of the relocation documents, on the one hand, expectedly confirm a wide and deep penetration of the state power into the fabric of the Han society, in life and in death, through the institutions of household registration and the 20-rank system; on the other hand, they also reveal the much less understood side of imperial control, that the lesser elite and the ordinary subjects of the empire were not passive receivers. Rather, they were informed about and understood the authority embedded in state institutions and bureaucratic procedures to the extent that they knew how to “work the system” to their own advantage with regard to the afterlife. Third, although each relocation document exhibits notable individual, even idiosyncratic, characteristics, the fact that nine of the ten known specimens were found in close geographical and temporal proximity to one another in the greater Han Jiangling 江陵 region in present-day Hubei strongly indicates that Jiangling was the center for the practice of interring funerary relocation document in burials. Evidence also suggests that there was likely a regional funerary tradition and economy enabling and supporting their production and circulation among other funerary objects such as tomb figurines. A fully annotated translation of the eight published cases of funerary relocation documents is included in the Appendix.

Obravnava folklornih obrazcev v osnovnošolskih berilih in revijah

The purpose of the article is to review and present proverbs and riddles as part of folklore in primary school magazines, which are often also a didactic tool in school lessons, as well as in school readers. The analysis focuses on these materials in the children’s magazines Zmajček, Ciciban and Cicido, and in the youth magazine Pil in 2015, as well as in primary school readers for the entire period of primary school. Particular attention was devoted to units specifically intended to deal with the genre of proverbs and riddles. At least at the beginning of schooling, children are not (completely) competent in the use of figurative language and metaphorical concepts, and are still in the process of learning this use of language. It was not therefore expected that the level of use of figurative language would be high. Some folklore forms were nonetheless expected, at least as a presentation of the separate genre of proverb and riddle. However, the results of the research showed the opposite: the texts in question are mainly covered by tales, and partly by folklore songs, but even these are poorly represented, while short folklore forms are the worst represented. The findings raise the question of the extent to which the intangible heritage is truly appreciated in Slovenian society, even though it is priceless heritage: folklore forms are an important element and indicator of society, its concepts, aspects and experiences as part of the intangible cultural heritage, language and composition in folklore. At the same time, they enable the use of metaphorical expression and the figurative use of language.

OPINION JOURNALISM: THE GENRE OF LITERATURE OR JOURNALISM?

The article raises the problem of genre and type definition of opinion journalism, its belonging to fiction and journalism. It proves that this creation, coming out of laws of creative work, characterizes activities of both writers and journalists to an equal extent, being on the border in works of belles-lettres and mass media. In addition, the analysis of manifestations of opinion journalism gives grounds to affirm that opinion journalism is not a separate type of literature and not a separate genre of journalism. It is rather the system of genres among major forms that are inherent in literary-fictional and journalistic creative work.

Genre dominant of whimsical prose

Similarity of parameters of intellectual, parable and whimsical prose demands the definition of their genre dominant – differential marker characteristics that clearly distinguish between these related (but especial) genres. That is why the purpose of the paper is to substantiate the concept of genre dominant of whimsical prose. There is an urgent need to clarify controversial genre definitions of some prose works, which still cause attention of researchers. It is emphasized that whimsical prose is a separate genre, along with a parable, intellectual, folklore-mythological, etc. Therefore, these terms are not interchangeable. So it is needed to remove parallel genre definitions of prose works. The Research Novelty is a proposition to consider secondary artistic convention (artistic invention) and comic strategy as the genre dominant of whimsical prose. It has been observed that the convention may be in content (supernatural elements), in stylistic and in the structure of the text (conceptual, characterological, situational and conventional manner of the narrative). The role of comic strategy in whimsical genre is considered. The text-building factors – carnivalization, grotesque and parodying are observed. It was found out that they expressed the key semantic of whimsical prose, which is consider to be the resistance to the patterns of socialistic realism. According to socio-historic situation, direct cultural discussion – both theoretical and by means of using alternative writing strategies was impossible. As a conclusion, the ambivalent strategy of carnival as a legitimized space for creative invention, the grotesque revival of literary stamps and the subversive potential of the parody has been chosen as the most appropriate way of updating Ukrainian literature and fighting for its artistic value. The proposed criteria give the opportunity to substantiate scientifically the corpus of whimsical prose texts, which makes the practical value of work.

The English spy novels of the “cold war” period and the concept “we” vs “they” as their basis

This investigation is dedicated to the analysis of the works of the British authors of the spy novels of the “Cold War” period, who have formed a spy novel as the separate genre. In the work the investigator takes the attempt to analyse the concept “we” vs “they” as the basic structure of the plot forming in the context of historical events taking into account the belonging of the author to the secret service. The attention of the author of the investigation is focused on the new forms of realization of the plot line and the modification of the protagonist and antagonist.

Typological Approach as the Foundation for Differentiation of Genre Groups and Separate Music Genres

Typological Approach as the Foundation for Differentiation of Genre Groups and Separate Music Genres

Итальянская барочная опера как событие

The paper examines the cultural phenomenon of late Italian baroque opera (opera seria) in order to identify the reasons that led to the crisis of the genre in the middle of the 18th century and to its reformation. The relevance of the study is substantiated by the originality of its means: for the first time the analysis of music history is conducted on the basis of the concept of “event” proposed by Alain Badiou in his treatise “Being and event”. In opera seria the unity of the artistic whole is broken, and the dramatic side becomes secondary while music and virtuoso singing come to the fore. Fidelity to the event of an opera implied the development of musical virtuosity as the most adequate means of being true to its essence. Gluck restored the unity of musical and dramatic beginnings in opera. He understood it as a whole that formed from the unity of music and drama in which the creative spirit expresses itself in art. Thus, the technique of performance and the beauty of the melody should serve the idea of preserving the musical-dramatic whole. The reformation movement in opera showed that fidelity to the original event is preserved. Reformers wanted to preserve the tradition and to raise it to another level using other artistic means borrowed from the thesaurus of the situation by the successors of the genre, breathing a new act of existence into opera. A modern historically informed performance is an attempt to return to the event of “baroque music”. It leads to the creation of a separate genre which enriches the music with a special aesthetic experience. The creation of something new occurs by means of reviving the “philosophy” of the early musical art.

Цензурная практика в отношении сибирской периодической печати последней трети XIX – начала XX века

The article analyzes the Siberian press of the last third of the 19th – early 20th centuries, which was banned from publishing, or, already being published, caused the scrutiny of the local administration. The study reveals typical features of the Siberian censorship practice until November 24, 1905 and after that, when the legal position of the press changed. The research is based on the examination of 387 items from 32 Siberian publications, that were censored. For the unit of material we take a separate genre unit, which served as the content of the printed issue. Up to 1905 the local censorship most of all paid attention to the notes and correspondence that contained descriptions of specific cases of abuse by officials and state institutions. They constitute the vast majority of the identified materials. In the first place, these are reports of various incidents (people's disasters, crimes, disorders in public institutions), directly or indirectly indicating the negligence and inaction of the authorities, in the second – information about the abuse of power. The larger number of such publications are connected with the officials of the lowest level. Attacks on the highest level of local administration have a single character. There is no big quantitative and qualitative difference between the forbidden materials and the ones inadvertently admitted to publishing. Since 1905, the quantitative ratio of items changed towards a significant increase in articles of general critical nature, with the predomination of the revolutionary materials. Until 1905, the work of the censorship mechanism in Siberia was characterized not only by prohibitions of materials, but also by verification of facts of the content or investigation; the number of court cases was insignificant. After 1905 the actions of censorship acquire mostly punitive character: lawsuits evolved into a crucial method of influence on press.

СТРУКТУРА І ФУНКЦІЇ РОДИННОГО НАРАТИВУ В РОМАНІ КЕЙТ АТКІНСОН «ЗА ЛАШТУНКАМИ В МУЗЕЇ»

The article deals with the issues of functioning and structure of the family narrative in the contemporary literary process. The relevance of the topic is demonstrated by the limited number of literary studies that are more focused on the study of particular types of narratives, including family narratives. These are separate genre articles that define the family narrative primarily as the formative basis of the family novel.On the example of the novel by contemporary English writer Kate Atkinson “Behind the Scenes at the Museum”, the structure of the family narrative is analyzed. The tradition of first-person narration(«Self»-narration) is preserved, demonstrating an example of the detailed functioning of the homodiegetic type of narrator in the text. The family history narrator is both a direct participant in the events, an observer, and a collector of collective memory. One element of the narrative structureof K. Atkinson’s artistic space is the traditional cyclicality for the family narrative: the story of a disappearing woman / mother, the story of family vacations, travel to exotic countries, and more.The peculiarities of the embodiment of narrative metalepsis (J. Jeanette) are defined as a narrative play with the reader, which is a characteristic feature of the family narrative. The narrative reverse is analyzed, which is demonstrated in the penetration of two incompatible spatio-temporal worlds with each other in the presence of story logic and completeness of the story. In the narrative metalepsis of the novel “Behind the Scenes at the Museum” «female narrative privileges» prevail. The narrator cyclically changes from homodiegetic to heterodiegetic, but the narrator’s attention is always focused on the female images.

ОТЕЧЕСТВЕННЫЙ ЭСТРАДНЫЙ МЮЗИКЛ В КОНТЕКСТЕ БЫТОВАНИЯ МАССОВЫХ ЖАНРОВ: К ПОСТАНОВКЕ ПРОБЛЕМЫ

For the first time, the study of the pop musical as a separate genre, which has become a kind of the result of the domestic musical development, is the centre of research attention. The author’s definition of this genre is given. The musical basis of the pop musical is popular music in all its current stylistic diversity. At the same time, it has all the genre features of the musical itself: dynamic musical drama, address to famous literary subjects, emphasis on staginess, and desire for entertainment. The article shows the socio-cultural features of the musical existence in the West and in Russia. The author gives quite a detailed description of the range of the issues that arise when studying the popular genre in demand, which is also a starting point for the scientific research of the problem.