Single Genre Research Articles

Интертекстовость и интердискурсивность благопожеланий с компонентом «желаю»

The paper examines the intertextual and interdiscursive mobility of well wishes with the component ‘желаю’ (I wish). The aim of the study is to identify the features of inclusion of short well wishes with the component ‘желаю’ in the text space of different types of discourse, which confirms their intertextual and interdiscursive mobility. The analysis shows that short well wishes incorporated into texts perform various functions, the main of which are the emotive and expressive functions. The functioning of short well wishes is considered in political, literary, military, religious and media discourses. The novelty of the study lies in the following: it is the first time that the interdiscursive characteristics of well wishes with the component ‘желаю’ are being identified using subcorpora of the Russian National Corpus, their modality and suggestiveness are being demonstrated. As a result of the study, it was found that the genre of well wishes is a universal intertext component that is not tied to a single genre or a group of related genres, as well as types of discourse, it acts interdiscursively as a cognitive constant. Short well wishes are used in almost all types of discourse, which confirms our opinion that this genre is mobile due to its positive expression and adequacy relative to the developed cultural traditions of communication.

Exploring occurrences of verb phrase ellipsis in journalistic discourse and in a sample of modern American fiction

Verb Phrase Ellipsis (VPE) is a prevailing syntactic phenomenon, yet only a few studies have focused on its occurrences and most of these have been concerned with only a single genre. This study compares two genres: journalistic discourse and modern American fiction, in a sample size of approximately 260,000 words, in terms of their uses of VPE. On the assumption that there is such a thing as differential typological and ontological resources of syntax, these two genres are expected to be constituted by sufficiently distinct syntactic resources. VPE was found to occur three times more frequently in modern American fiction than in journalistic discourse. This suggests that VPE in modern American fiction is driven by such factors as the heightening of emotion, engaging readers and challenging readers’ minds. However, VPE is less common in journalistic discourse, the ellipsis being considered bad form for journalists. Nonetheless, this marginal use can still also elicit emotional responses from readers and be used as a deterrent to face-threatening behavior.

Den Danske Folkekirkes Bekendelsesskrifter

In this article, we consider methodological challenges and promises for a contemporary Lutheran engagement with confessional writings. We approach the confessional writings of the Danish Evangelical Lutheran Church as both well-known and strange or even uncanny, and we consider five methodological issues in regard to their possible theology: (1) Their “difference and unity”, (2) their relation to the practice of the Danish church and their possible identity as “law”, (3) their relation to theology and academia, (4) their context(s) and genre(s) and, (5) their histories and function(s). Through this consideration, we argue for emphasizing the differences of the writings and for a conception of their unity as a seemingly paradoxical, but in fact reasonable, open and dynamic structure of differences. This implies an open, transformational or eschatological, “both-and” structure concerning their content and function; they are not perceivable as an abstract unity, not a law, not pure texts, not expressions of a single genre and not purely conservative documents. However, they also cannot be identified only as purely separated entities, powerless practices, unrelated and arbitrary, but through their differences, practices, contexts and histories, they expose new coherences and continuities. Through this, they contribute to confirmation and transformation of relations and events and they are, in this specific sense, writings for the future. They raise questions concerning contemporary conceptions of God, world and self and they indirectly contribute to answers beyond both the binaries and the totalities of the modern and postmodern situation.

Beyond Comparative Poetics: An Evaluation of The Nucleo-genre Paradigm

The dominance of Western theories in an age of globalization and swift technological advances, which brought to collective consciousness manifestations of literary and artistic genres in distant geographical places that were once viewed as primitive or exotic, necessitates raising the question of comparative poetics anew. During the second half of the twentieth century, scholars such as James J.Y. Liu, Earl Miner, Stephen Owen, and Wai-lim Yip engaged in comparing Western to Eastern poetics. However, their work fell short of reaching a unifying approach to the study of world poetics. This is the gap that Alaa Abd al-Hadi, a thinker, poet and postcolonial critic, came to fill out. Abd al-Hadi’s Nucleo-genre Paradigm is universally oriented. Based on qualitative logic and Lutfi Zadeh's fuzzy sets, it posits that there are essential elements common to various cultural manifestations of a single genre across time and space. It is these common elements, which help decide whether a certain manifestation belongs to a certain genre, that allow for cross cultural communication and understanding while respecting cultural specificities, manifested by an infinite number of aesthetic elements. Unlike the other approaches to the field of comparative poetics, Nucleo-genre Paradigm distinguishes between two levels of genre, the poetic level of production and the aesthetic level of reception, and gives primacy to reception, which is often disregarded in genre theories. In this paper, an attempt is made to evaluate the contribution of the Nucleo-genre Paradigm beyond comparative poetics.

Music Video, Remediation, and Generic Recombination

Music videos continue to be one of the most adaptable forms of media due to their unique ability to remediate everything from Western films to Zoom meetings. Their relatively low budgets and ever flexible assemblages of audiovisual components make them sites for experimentation, and they regularly recombine generic conventions from a range of media. This essay makes the case that studying music video demands a multifaceted approach to genre: if we accept that music video is a moving assemblage of genres and media, we can move toward unpacking the unique configurations of genre and medium in a given music video or subset of music videos. This method might suggest a shift in the way we think through genre in the future, moving away from single genre studies (however expansive or changeable a given genre might be) and toward studies that treat genre in a more recombinatory way.

Critical Reassessments: “My Heart Laid Bare”: A Deep Rereading of Daniel Hoffman’s Poe Poe Poe Poe Poe Poe Poe

Critical Reassessments: “My Heart Laid Bare”: A Deep Rereading of Daniel Hoffman’s <i>Poe Poe Poe Poe Poe Poe Poe</i>

An Authorship Identification Empirical Evaluation of Writing Style Features in Cross-Topic and Cross-genre Documents

In this paper, an investigation was done to identify writing style features that can be used for cross-topic and cross-genre documents in the Authorship Identification task from 2003 to 2015. Different writing style features were empirically evaluated that were previously used in single topic and single genre documents for Authorship Identification to determine whether they can be used effectively for cross-topic and crossgenre Authorship Identification using an ablation process. The dataset used was taken from the 2015 PAN CLEF Forum English collection consisting of 100 sets. Furthermore, it was investigated whether combining some of these feature sets can help improve the authorship identification task. Three different classifiers were used: Naïve Bayes, Support Vector Machine, and Random Forest. The results suggest that a combination of a lexical, syntactical, structural, and content feature set can be used effectively for cross topic and cross genre authorship identification, as it achieved an AUC result of 0.837.

Collaborative and adversarial network for text‐independent speaker verification in domain adaptation

Speaker verification models have achieved good results on the single genre data. But the performance degrades when model training and testing are not in the same domain. The adversarial training method is proposed to solve this problem by minimizing domain distribution differences. However, the adversarial training ignores domain-specific information for the domain-invariant speaker representations. In this paper, an improved collaborative adversarial network for domain adaptation in speaker verification is performed. Compared to the adversarial training, a collaborative discriminator is newly incorporated that learns domain-specific information at the lower layers. Further, the projection block is added to the collaborative discriminator. It reduces the noise introduced by the collaborative discriminator. Experiments are conducted in different mismatch scenarios and using different speaker encoders. All the experimental results show that the performance of this method is better than the baseline and previous work using adversarial training.

Olga Tokarczuk’s Flights as an example of genre transformation in the contemporary novel – a linguistic and literary view

Drawing from both German and Polish linguistic and literary perspectives, the article attempts to examine genre changes within the genre pattern of the novel and decide whether Olga Tokarczuk’s Flights, described by the author herself as a novel, should be attributed to this genre. We assume that linguistic and literary tools will allow us to determine the most characteristic features of contemporary novel productions to decide on the nature of changes taking place within the studied genre. Looking at Tokarczuk’s work not through the prism of a single genre but, following Maria Wojtak, Kirsten Adamzik or Ulla Fix, from the perspective of inter-genre relations, allows not only to conclude that the analyzed material is located on the fringes of the genre pattern of the novel but also to see other inter-textual dependencies and consider the text under study as a genre in the form of a collection.

The effects of genre on the syntactic complexity of argumentative and expository writing by Chinese EFL learners.

Genre researchers have found that writing in different genres involves different cognitive task loads and requires different linguistic demands. Generally speaking, narratives involve the description of events with a focus on people and their actions within a specific time frame, whereas non-narrative genres focus on making an argument or discussing ideas or beliefs in a logical fashion, thus resulting in distinct language features. However, the vast majority of genre-based studies have either focused on one single genre or made comparisons between narrative and non-narrative writing (mostly argumentative) in academic contexts without examining how EFL writers perform across non-narrative genres. Moreover, the measures used in quantifying the syntactic complexity of writing are varied, leading to inconsistent findings. This study investigated the effects of genre on the syntactic complexity of writing through comparing argumentative and expository compositions written by Chinese English-as-a-foreign-language (EFL) learners over one academic year. Fifty-two participants were asked to write eight compositions (with two genres alternated), four argumentative and four expository, which were parsed via the Syntactic Complexity Analyzer. The results with time as the within-subjects variable showed a significant development of syntactic complexity in both argumentative and expository compositions over one academic year. Meanwhile, the paired-sample t-test with genre as the within-subjects variable exhibited a higher syntactic complexity in argumentative compositions than in expository ones on most of the 14 measures examined at four time points over the year. Additionally, a two-way repeated measures analysis of variance with genre and time as independent variables ascertained an interactional effect of time and genre on some of the 14 measures. The present study tested and verified the impact genre exerts on the syntactic complexity of writing, providing implications for teachers to be more informed in teaching and assessing EFL writing and for students to be more conscious of genre difference in EFL writing.

Tuhaf ve Tekinsiz: Türler Arası Bir Roman Olarak "Yeşil Elmalar"

Tür kuramları, artık metinlerin bir türe ait olmadığını, aynı anda birden çok türe dâhil olabildiğini tespit etmektedir. Türlerin sınırlarının silikleşmesiyle birlikte türler arası etkileşimlerin arttığı gözlemlenir. Türlerin ortak söylemsel kodlarının olmasıyla birlikte, artık yazarların belli bir türle kendilerini sınırlamaması sayesinde aynı metni birçok türün kapsamında okumak olanaklı hale gelmiştir. Ayrıca geleneksel anlamda katı kuralları olan tür ayrımları yerini her metinle değişebilen ya da yenilerini icat etme imkânı bulan söylemsel türlere bırakmıştır. Türlerin ya da edebî eserlerin kullanım değerlerinin tespitiyle birlikte hangi türlere dâhil oldukları gittikçe daha fazla önem kazanmaya başlamıştır. Bu bağlamda edebî eserleri tek bir türe aitmiş gibi değil de farklı türlerin söylemsel özelliklerini bir arada barındıran dinamik yapılar olarak okumak, hem eserlerin daha iyi anlaşılmasına hem de tür kuramlarının geldiği noktanın geçerliliğini test edilmesine olanak sağladığı söylenebilir. Bu makalede de iyi olmayan bir polisiye roman olarak görülen Yeşil Elmalar romanı, aynı anda hem polisiye hem de gizem edebiyatı türlerinin özelliklerini bir arada yansıtan bir roman olarak okunmuştur. Bahsi geçen roman, hem polisiye edebiyattan hem de gizem edebiyatından devraldığı özellikler ışığında incelenmiş, başta tuhaf ve tekinsizlik olmak üzere tekrarladığı kodlar metinden alınan örnekler üzerinden vurgulanmıştır.

The law review paper between the Kingdom of the law and the realms of academia: A systemic functional analysis of adverbial clauses

Legal discourse has long been classified among those genres that defy generic changes the most (Gocić 2012). Recently, however, hybrid legal genres have been challenging this generic stability by imposing their own norms to coin a novel kind of ‘legal culture’ (Goźdź-Roszkowski 2011: 11). The law review article is a case in point for it combines both legal and academic standards of writing which make it “far richer in intertextuality and interdiscursivity” (Bhatia 2006: 6) than the traditional set of legal genres. This generic subversion can be traced in the lexico-grammatical choices made by the authors to turn their papers into influential legal sources rather than mere descriptions of the law. In this context, this study aspires to scrutinize the use of adverbial clauses as one specific lexico-grammatical choice in a corpus of 44 accredited law review papers with the aim of showing how this hybrid genre strives to evolve beyond the stagnation of what is termed ‘language of the law’. Specifically, a Systemic Functional Linguistics analysis of the semantic, structural and thematic uses of these structures is conducted to demonstrate how the hybridity of contexts in a single genre can make for unprecedented generic breaches. The quantitative and qualitative analyses revealed an uneven distribution of adverbial patterns in favor of non-finite purpose and finite condition, concession and reason clauses. Additionally, the positional distribution of these patterns is manipulated whenever the need arises to hedge claims as a form of allegiance to the communal demands of the law and academia. These choices are found to comply with the authors’ needs to balance both legal and academic rituals of writing while observing at the same time their personal needs to be highly acclaimed as legal scholars and to “publish or perish” (Christensen &amp; Oseid 2008: 1).

"All the modes of story": Genre and the Gendering of Authorship in the Year 1771

This essay argues that literary histories organized around a single genre, narratives of national formation, or canonical male authors cannot do justice to the complexities of womens participation in eighteenth-century British genres. Instead, this essay offers an alternative approach based on the reduction of the geotemporal scope to the literary productions of a single year in three cities. Working with the ESTC records for the 2000+ items produced in these cities helped produce a dataset that allowed us to recreate each city's literary and non-literary genre system, print environment, and "historical present" for the target year. This inventory became the basis for a microhistory of women's literary and nonliterary textual production for this year, organized by city, category, and genre. From this project we learned of London's overwhelming commercial dominance for genres both literary (sentimental fiction, semifictional memoirs, religious elegy) and non-literary and "improving" (both Montagus, Macaulay, Talbot). Women in the other two cities contributed largely through salon and coterie activities or didactic/devotional writings. Finally, the temporalized notion of perplexity identifies a characteristic pause in action when female characters are forced to place their trust in men of unknown character: this is a scenario that plays out through a variety of genres during this year, from sentimental fiction to pro- and anti-war polemics. Our microhistorical, scaled-down approach to feminist literary history offers a version of "recovery and counter-representation" that can accommodate multiple recovery projects, fresh perspectives, and deeper inquiries into once-neglected or newly available sources.

Circulation and Capitalism in a Maritime Bazaar

Abstract This article takes a single genre of the Persian Gulf pearl dive—the chau manual, used to determine the weight-based value of a pearl—and draws on it to think about circulation and commodification in the Indian Ocean world. In reading the chau manual, as well as other writings, it highlights the active processes by which economic actors in the region thought about, and indeed produced, capitalism at sea. As technologies—as means of doing—chau manuals allowed pearl merchants to move from the specificities and idiosyncrasies of nature to the abstractions of the market. More generally, texts like these formed part of the infrastructure through which circulation took place in the maritime marketplace. By thinking through these marketplace genres, we can gain a more textured sense of the processes of knowing, measuring, abstracting, and circulating that underpinned the maritime—a process of active economic thinking that went into the making of global capitalism in a corner of the Indian Ocean world.

SHARI’A STATE AND THE MAKING OF CHRISTIAN’S POLYPHONIC NARRATIONS IN CONTEMPORARY ACEH, INDONESIA

&lt;p&gt;&lt;strong&gt;Abstract:&lt;/strong&gt; There is an increasing interest in the study of Christian identity as a minority in a Muslim majority country. However, the study of plurality regarding the Christian identity considering the context of Islamic Sharia in Aceh is still limited. This article discusses the formation and representation of Christian identity in Aceh by focusing on how they negotiate internal aspirations in the context of Islamic Sharia. The data are based on in-depth interviews with fifteen Christian figures consisting of priests and religious leaders in five districts/cities in Aceh. The article argues that the internal and external dynamics of Christians influenced the narration of their identity in Aceh. The article shows the context of Islamic Sharia and the plurality of Christian internal aspirations resulting in unsimplifiable to a single genre, but rather polyphonic and sometimes mutually contested.&lt;/p&gt;&lt;p&gt;&lt;strong&gt;Keywords:&lt;/strong&gt; Aceh Christian, identity reproduction, sharia law&lt;/p&gt;

GENRE ORIGINALITY OF OLES ULIANENKO'S WORKS

The work of Oles Ulianenko, a laureate of the Small Shevchenko Prize, poses quite a problem for Ukrainian literary studies for several reasons. In the first place, it should be noted that the topics and stylistic features of the artist's works have been issues of polemic – also, there has been much disputation on the genre identification of O. Ulianenko’s novels, since, even in terms of number, he wrote relatively fewer of them than short stories and novellas. Given that, the purpose of the article is to characterize and define the genre features of the writer's work, basing on the analysis of the novelette, novella, and novel prose of Oles Ulianenko. The methodological foundation of the research consists mainly of a triad of methods, such as hermeneutic, comparative-typological and corporal-mimetic methods to analyze artistic works. Thus, the findings of the research are as follows: Oles Ulianenko's novels, in various ways, demonstrate the presence of fundamental and antinomic novel and at the same time corporally determined factors, such as the categories of “(in) completion” and “development” in the content. The proposed interpretation of the genre specificity of O. Ulianenko's works avoids both the previous and subsequent unproductive discussions regarding the belonging of the listed texts to the respective genres, i.e. short story, novelette, novella, and novel. Accordingly, it becomes quite clear that the realization of Oles Ulianenko's artistic aspirations, besides his attempts to achieve the corresponding unattainable goal, which is focused on desperate efforts aimed at penetrating the ontological foundations of human existence, above all, corporally conditioned existence, are only possible (attempts) through the medium of a single genre mainly, namely the genre of the novel. To conclude, the genre specificity of Oles Ulianenko's novels is the fact that, first, they neglect quantitative factors, second, they are justified by the author's involvement in the corporal-anthropological foundation of ontological problematique, and, in this regard, third, they are determined by the writer's efforts to overcome limitations of human existence through the infinity of life and literature, likewise the contradictions of man – through the obviousness of meager simplicity and corporal fragility, which, after all, explain and condition each other in many ways.

Recusationes w pierwszej księdze Elegiarum libri quattuor Jana Kochanowskiego a Kreuzung der Gattungen. Rola Owidiusza w refleksjach metapoetyckich Jana Kochanowskiego

The recusationes and the Kreuzung der Gattungen in Jan Kochanowski’s Elegiarum libri quattuor and Ovid’s Inspiration in Jan Kochanowski’s Metapoetic Reflections This article is a study of the three recusationes from the first book of Jan Kochanowski’s Elegiarum libri quattuor. Contrary to what one might think at first sight, these poems do not merely voice homage paid to the elegiac convention, which demands of the poet to renounce epic poetry and military life, but should be seen as texts in which Kochanowski reflects on the potential and limits of the elegy as a genre. It is only in the opening epigram of the collection that the poet seems to accept the rules of the genre by stating that he will not write epic poetry, but in all the recusationes of the first book (I 1, I 5 e I 12), he clearly makes the reader aware that he does not intend to renounce epic poetry, but plans to write such poems on another occasion, or in fact, he is already inserting several epic fragments in his elegies. Having underlined this, the article concentrates on the fact that this kind of attitude towards the relations between the elegiac poet and epic poetry is typically Ovidian, as shown by Mario Labate in his outstanding works devoted to this topic. The article also draws the reader’s attention to the book’s structure, for the recusationes play an essential role in it by marking its metaliterary nature. The article demonstrates that the elegies provide a testing ground for the poet to refine his poetic technique. In the elegies Kochanowski searches for different poetic solutions as he deals with different poetic genres, thereby striving to become a “total poet”, in the renaissance sense of this expression, i.e. a poet who does not confine himself to any single genre, believing that he is capable of facing all kinds of challenges when it comes to creating poetry.

SOCIAL AND LINGUISTIC DIVERSITY IN MODERN BRITAIN THROUGH THE CONTEMPORARY DETECTIVE NOVEL

The aim of this paper is twofold: to examine how present-day detective novels reflect Britain’s geographic, social, and linguistic diversities in a way that perhaps no other single genre of fiction does, and to consider how this differs from those works that are generally regarded as the classic examples in this field. Current writing in this category exhibits various characteristics that distinguish these works from older works, and these features are reviewed and possible reasons for the recent diversification considered. However, attention is also paid to the fact that there are, nonetheless, modern works which seem to more closely follow the model of the ‘traditional’ detective story. It is possible that there are two distinct trends involved, which overlap in some areas to complement each other in terms of filling the various niches in the readership of detective fiction. This is essentially an empirical study, based on the author’s extensive reading of detective fiction, both classic and contemporary, over a number of years. Although much of this was originally done as a hobby, personal observation of the extremely wide-ranging nature of the modern British detective novel led to a desire to examine the diversity of the genre in detail.

When the World Laughs. Film Comedy East and West – William V. Costanzo

While film genres have risen or declined along with the times and its trends, according to Aldredge (2019), comedy has remained steady in high popularity through all the years since 1910, which is practically to say throughout the whole history of cinema as an industry. Furthermore, it can be said that comedy stands as the second genre in the number of films produced. Furthermore, it can be said that comedy stands as the second genre in number of films produced when considering only a single genre tagging. However, [...]

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