Status Of Genre Research Articles

История компании как субжанр корпоративного сайта

A corporate website serves as a current business channel for presentation in Internet communication. The aim of this study is to determine the genre status and identify genre features of the “Company History” subsection on the corporate website. It has been estab­lished that the corporate website is a hypergenre, its sections are genres, and subsections are subgenres. Pragmatic, media-related, structural-semantic, and stylistic-linguistic subgenre parameters of the “Company History” subsection are examined. A comprehensive initial communicative goal of this subsection is identified: to shape a positive image, create a success­ful brand, and strengthen trust in the company. The research results contribute to under­standing the structural and compositional features of a corporate website, its genre specificity, and the mechanisms of presentation in Internet communication.

Reconstruction of Photographic Images in the Novel Sixty Lights by Gail Jones

The article is devoted to the analysis of the neo­Victorian novel “Sixty Lights” (2004) by the modern Australian writer Gail Jones. The purpose of the study is to identify the role of photographic images presented in the form of photographic ekphrasis and further substantiate the genre status of the novel. The plot centers on the history of the formation and development of photography in the second half of the XIXth century, the history intertwined with the life of the main character, Lucy Strange, who became a professional photographer. With the help of photography, or “writing of light” (Jean Baudrillard), the world is learned and meaning is brought into it: by reconstructing images of reality through vision and photography (from royalty and family members to everyday objects), Lucy creates documents of the era, documents of memory, intended to be “read” by future generations. In Victorian Britain, photography became one of the brightest sociocultural symbols of the era, embodying such concepts as memory, death, identity, etc. The use of the methodology of historical, literary and intermedial analysis made it possible for the authors to identify the genre­forming potential of photographic ekphrasis and, on this basis, define the genre modification of the novel “Sixty Lights” by G. Jones as photo­ekphrastic, and its kind as a photo­reconstruction novel.

Нерегламентированная реплика как жанр парламентской речи (на материале русского парламентского дискурса начала XX века)

The article deals with the remark as a special genre of Russian parliamentary speech. The author analyses various approaches to parliamentary genres. Parliamentary discourse is viewed as institutional, having a dynamic genre structure. The research studies the institutional restrictions imposed on statements in the form of a remark. There is a conclusion about the role of procedural regulation in the formation of a system of discourse genres and the possibility to distinguish unregulated and regulated remarks. The State Duma discussions of the early twentieth century are a basis of the research which focuses on unrestricted remarks from the hall and their genre status. Parliamentary remarks are classified according to the communicative aspect. The article presents the results of the analysis of more than 200 statements by members of the State Duma from the hall, recorded in official transcripts. Three types of remarks are singled out: an interrogative remark, a replying remark and an imperative remark. The conclusion is made about the provocative nature of the remark as a parliamentary genre. The functional features of two types of remarks are distinguished: a regulated remark is conventional and dialogic; an unregulated remark is aggressive and provocative. The main features of an unregulated remark are non-normativeness in terms of procedural regulations, super-briefness (one phrase), reactivity, expressiveness, evaluativeness and provocativeness.

D. Shostakovich. "Two Fables by I. Krylov": towards the problem of genre status

D. Shostakovich. "Two Fables by I. Krylov": towards the problem of genre status

Typographical and Editorial Solutions as a Source of Hybridization in Polish Non-Fiction Literature

The article focuses on the selected examples of the blurring of a book’s genre status by means of specifi c editorial solutions, such as the use of a spatial layout of the text, the differentiation of fonts, the selection of printing paper, the cover design etc. This mechanism is discussed on the example of six experimental works of contemporary Polish non-fi ction literature. Books by Filip Springer and Jarosław Mikołajewski, bordering upon literary reportage, show how the use of typography enhances the formal hybridity or even amorphousness of the text. In turn, Mariusz Szczygieł and Wojciech Tochman, their documentary narratives, emphasize the mutual synergy between the physical components of the book, which undermines the standard genre classifi cation.

Poetics of the epitaph “On the Death of Alexander Druzhinin, January 19, 1864ˮ by Afanasy Fet: genre attributes

The article examines the poetics of an epitaph “On the Death...ˮ on the example of the work of the same name proposed for analysis by the poem “On the Death of Alexander Druzhinin, January 19, 1864ˮ by Afanasy Fet. The purpose of the analysis is to determine the genre of the poem, which still remains unclear. The novelty of the author's approach is due to the fact that the discovery through analysis of such genre-forming attributes as genesis dating back to the epicedium (a kind of mourning elegy), genre “concept of personality”, burial portrait, the characteristic principle of figurative visualisation, dating of writing, that allows us to reveal the independent genre status of the poem. It is the genetic heredity of the epicidium, around which other considered genre attributes are concentrated, that helps to define the poem “On the Death...ˮ as a special genre form associated with mortal and memorial genres – the epitaph and the poem “In Memoriam...ˮ. Since the set of genre attributes, the composition of which may vary depending on the object of research, is ideally modelling in nature, the method of its application can be used in the future when studying both the genre poem “In Memoriam...ˮ and other lyric genres.

The study of memoir texts in modern ‘linguistics: a brief analytical overview

The goal of this article is to present a brief analytical overview of the modern linguistic studies of memoir texts. The object of this research is the scientific works of the linguists of two recent decades dedicated to memoirs. The subject is the polemical questions in the linguistic descriptions of memoir texts. The article examines the problem of identification of genre status of memoirs and systematization of genre forming attributes of the memoir texts. Various approaches towards their classification are described. Special attention is given to the aspects of studying memoirs in modern linguistics. The key research method is the traditional for linguistics analytical-descriptive method for reviewing the scientific literature on the topic. The author proves heightened attention of the Russian linguistics towards studying memoir texts. It is revealed that the Russian scholars attribute memoirs to the documental, documental-fictional, or documental-publicistic genres, as well as propose various approaches towards their classification, which is substantiated by different interpretation of the concept of “memoirs”. It is also determined that multiple research of memoir texts are cross-disciplinary; however major attention is paid to linguopragmatic and linguopersonological aspects. Emphasis is placed on the memoirs of prominent writers, politicians, and military officers. The author acknowledges that the study of memoir texts in the linguoimagological aspect is promising. The scientific novelty consists in the fact that the acquired results give a systematic perspective on the problem of linguistic research of memoir literature as the Russian national heritage.

Статус рецензії на термінологічний словник як термінографічна експертиза

Linguistic expertology and terminographic criticism are the areas of applied linguistics, but there is inequality as to qualification of their genres status – linguistic examination and review of a terminological dictionary. There is a need for the comparative and contrastive analysis of features and status of genres of linguistic examination and review of a terminological dictionary.

Institutionaalista tekstilajia laatimassa – Valtionhallinnon henkilöstön näkemyksiä vuosikertomuksen synnystä

The Finnish government reports of the results of state-owned enterprises annually to the Parliament. During the years 2007 to 2016 this was done in an independent report, while starting from 2017, the report on state ownership steering has been an annex to the government annual report. This specific type of report represents the established genre of annual report, but differs from it in many ways. The main difference is the context of public administration, which makes the report a place of negotiation for economic and political discourse. The aim of this article is to analyze how the practitioners producing the annual report of government ownership steering see the report and its production process as a part of the institutional practices of state administration. Drawing from genre theory, the article asks how the aim of the report is described, how the target group is defined, and what types of activities and roles of actors lie behind the process. In this way, a description of the foundations of an institutional genre and its mechanisms of change is produced. The data of the study consist of three thematic interviews with key actors involved in the process of producing the report. A content analysis was carried out in the data, and the results indicate that competing goals and varying target groups are identified for the genre. Moreover, it is evident that the change in genre status still steers the production process of the report two years after the change, which indicates that the stability of institutional genres resides in the processes and practices of the institutions in question.

MIĘDZY GONZO A DOKUMENTEM HISTORYCZNYM. O STATUSIE GENOLOGICZNYM REPORTAŻU ЗВІТ ЗА СЕРПЕНЬ’14 ANDRIJA SOWY (PŁOCHISZA)

The urgency of this paper is conditioned by the importance for the Ukrainian literary process of examining the peculiarities of literary works devoted to the Russian-Ukrainian war (2014–?). In the article, the author reviews the genre status of Andriy Sova’s Zvit za serpen ‘14. The research indicates the syncretic character of Sova’s reportage and reconstructs the social and cultural conditions for the creation of the text. In addition, the author draws attention to the language of reportage (idiostyle), which is saturated not only with emotions, but also with technical and military terminology. It was found that Zvit za serpen ‘14 contains a specific chronotope conditioned by the dynamics of events in 2014. Another important aim of the research was to investigate how Sova strengthens the reference pact with the reader. As a result, it was recognized that Sova’s strategy is to declare the truth (“I am describing only what I have seen”), frequent quoting of other soldiers, as well as posting photos, which strengthens the documentary character of the book.

Meditations for organ: parallels to musical creativeness

The purpose of the article is to determine genre parameters of meditation for the organ on the example of the pieces of composers of the early 21st century. It is proposed to concretize the prerequisites of meditation for organ as an independent genre and to compare the strategies of reading the genre by representatives of different national schools of composition (Italy, Ukraine, Brazil). Among the research methods there were used: historiographic (restoring the historical retrospective of genre formation), the method of genre analysis (confirming the genre status of meditation), the method of style determination in combination with the comparative method (comparing the strategies of reading the genre by composers of different nationalities). The novelty of the proposed topic lies in the identification of the genre status of meditation for the organ and the introduction into the musicological discourse of works that have not previously come to the attention of Ukrainian researchers. Conclusions. Meditations “Shiva” by K. Ferrari, “And there was night, and there was morning, and there were quiet heavenly flutes...” by M. Shukh and Prelude-Meditation by F. Costa make it possible to define meditation as an independent genre of organ art with a constant set of stable indicators. Meditation for the organ is a concert piece that belongs to the genres of cult-ritual music and is characterized by an introverted structure of the communicative act. All works with a similar genre name are united by a single semantic field of religious contemplation. The compositional foundations of meditation as a genre consist in the multiple repetition of structures (of different scales) with a clear “looseness” of the form, which guarantees the tightness of the same sound environment and the monochromatic text. Stylistic characteristics became variable components of the meditation: the meditative profile of “Shiva” by C. Ferrari is emphasized by the using of techniques of minimalism, in the piece by M. Shukh the emphasis is transferred to the timbre of the organ with appeal to the intonation of oriental music, and in the Prelude-meditation by F. Costa attempts to build a new sound universe, as extended scale of the overtone series.

Genre Features of the Novel Epic in Ossetian Literature: Correlation between Ideological and National-Ethnic

The specific features of epic narration in the Ossetian novel prose (1940-1960) in the context of the all-Russian literary process are considered. The problem solved in the article is actualized in the light of the conceptual differences that emerged in the post-Soviet era in the interpretation of the essence of the concept of “epic novel”, in the attribution of its genre status. The purpose of the article is to specify the typology of the epic chronotope and character system, to identify the issues of the structural completeness of works. A typological method is used with the use of an axiological approach, which allows us to focus both on the spiritual and content aspect of artistic searches and on the pseudo-scale tendencies in the novel-epic practice of the aforementioned decades. The novelty of the work lies in the fact that for the first time, using the example of Ossetian prose, the process of the emergence of a new genre variety in national literatures is investigated. Special attention is paid to the aspects of deactualization of the national-ethnic in the behavioral sphere of characters in favor of sharpening their ideological identity. At the same time, it is shown that in the system of images, in the very poetics of narration, through the ideological sharpening inevitable for time, an orientation toward the foundations of national consciousness, toward the spiritual and historical experience of the people appears. It is concluded that works of an epic type, despite the tangible costs of an ideological and partly aesthetic order, were a new stage in the interpretation of epoch-making events of the past by Ossetian literature in their conjunction with the life of the people, the microcosm of the family and the individual.

Об истоках и специфике одного мотива. К 110-летию со дня выхода книги В.В. Розанова «Когда начальство ушло…»

For the first time, the book by V. V. Rozanov «When the Bosses Are Gone ...» (1910) is the subject to analyze. The article notes the specificity of the book (a collection of articles), which received a genre status in the Russian culture of the late 19th and early 20th centuries: the book contains both previously published articles and the ones, which were rejected by editors. In addition to the genre affiliation, other features of this book are revealed; the article summarizes and defines the development of the author’s political views on contemporary events in the country, which he welcomed and encouraged in his literary word; Rozanov’s historiosophy is analyzed. The author of the article commented on the compositional structure of the collection, revealed the semantic links between the articles, as well as the basis that unites them – the essence of «authorities» as a specific phenomenon of Russian life. The synonymous series of «bosses» is suggested: «bureaucracy», «government», «power». The article identifies the sources of the problems of the «bosses»: these are the works of N.A. Lyubimov and Vl.S. Soloviev, with which V.V. Rozanov conducts internal dialogue, representing the «bosses» as a part of the political life in the country of 1901 1906 and noting the weakening of the authoritarian position. The book’s artistic layout is analyzed, the sources of replica drawings on the cover and at the end of the collection are established, and the relationship between these drawings and the book’s content is revealed. It is particularly noted that already in 1914 V.V. Rozanov felt remorse about the publication of this book, and in 1917 he came to realize the catastrophic consequences of the events that he had once been so happy about.

Третий фортепианный концерт П. И. Чайковского и проблема цикличности

The article examines one of Piotr Tchaikovsky’s last compositions – the Concerto for Piano and Orchestra No. 3, its creation, comprehension and performance. The genre-related and, as a result, the cyclic issues of this compositions not possessing univocal interpretation in contemporary scholarly literature come out to the foreground. Having been relegated to the periphery of performance practice, the Third Piano Concerto has acquired the reputation of an “unsuccessful composition” and has disappeared from the repertoire of pianists for a lengthy period of time. However, the interest in its “symphonic prototype” – the unfinished symphony in E-flat major – as well as its edition by Semyon Bogatyryov and its performance have once again aroused interest in the concerto. The issue of cyclicity of this composition has substantially become sharpened: some performers incline towards the one-movement version, while others prefer the three-movement version. In this context the necessity arose of carrying out the analysis of the authorial genre-related terminology and the attention towards epistolary material (letters of Piotr and Modest Tchaikovsky, Alexander Siloti, Sergei Taneyev, Mitrofan Belyayev), which had direct connection to the fate of the Third Piano Concerto. The outcome of the work was the conclusion about the validity of the existence of the three-movement version as the Third Piano Concerto, while the genre status of the one-movement must be reexamined. Keywords: Tchaikovsky’s Third Piano Concerto, Andante and Finale, Konzertstuck, unfinished symphony, Louis Diemer, late romantic art.

Жанровый синтез в мемуарах А. Т. Болотова

Although the genre status of the memoirs of the Russian writer Andrei T. Bolotov has been repeatedly raised in the literature, it has never merited a separate study. This article analyses the structure of Bolotov’s memoirs in terms of their genre peculiarity. Text analysis shows that, when writing his memoirs, Bolotov used techniques borrowed from across various genres with which he was well acquainted. Those were the novel, the epistolary genre, the travelogue, the historical essay, etc. In the broad context of Bolotov’s works, the article shows that all those elements were not combined mechanically. A well-read and stylistically sensi­tive author, he was guided by an intuitive sense of appropriateness of each technique depend­ing on the object of description and thus achieved a genuine synthesis of genres. Finally, it is concluded that this intuition and a clear understanding that his task was a thorough descrip­tion of his life as a record for posterity translated in the literary finesse of Bolotov’s texts and their appeal to the reader.

Telecollaboration and genres: a new perspective to understand language learning

The purpose of this paper is to investigate the first 15 minutes of ten initial Teletandem Oral Sessions (iTOS), which means the first virtual encounter among speakers of different languages who want to study the each other’s language. Our aim is to verify iTOS genre status within a telecollaborative learning environment. We understand genres as communicative events organized in standard structures used by members of a discourse community to achieve their communicative purposes (Swales, 1990) and assume that the teletandem context is composed of a specific community with shared objectives. A study of iTOS had first been proposed by Aranha (2014), who analyzed nine iTOS and identified some recurrence in their discoursal structure. Our data, ten iTOS, are part of a previous version of MulTeC (Multimodal Teletandem Corpus) (Aranha & Lopes, forthcoming) and participants are proficient in Portuguese and English. The video files were transcribed and the sessions were analyzed based on Aranha’s (2014) findings. We identified rhetorical organization for the sessions which was similar to Aranha’s, but varied depending on the learning scenarios, i.e. the learning context in which they occurred.

Establishing the Generic Structure Potential of Bidayuh Bau-Jagoi Oral Folk Narratives, Dondan

This study aimed to establish the genre status of the Bidayuh oral folk narrative, known as dondan, with a focus on the Bau-Jagoi Bidayuh group. In order to analyse the genre status of the dondan, the Generic Structure Potential (GSP) is used. The analyses revealed that the dondan has a similar GSP to English Fairy Tales but differs in terms of one of the elements, the Placement, which is an obligatory element in the dondan. The study also revealed that the Semantic Attributes which realises these GSP elements are more culturally based. Although the GSP of the dondan is similar to English Fairy Tales, it is the optional elements that reflect the culturally related elements of the dondan especially the communicative purpose to educate and disseminate cultural knowledge. Future work on oral folk narrative should include in-depth analysis of lexicogrammatical items.

„Den var ikke onkelagtig nok”. En empirisk undersøgelse af læserrespons på genresignaturer

Abstract In the survey 115 participants read one of four books by Svend Age Madsen, Lars Skinnebach, Pia Juul and Maja Lee Langvad, respectively, and were asked about their valuation, expectations and own generic classification of the work. The books all have a singular, non-standard genre label (genre signature), and the main hypothesis was that this paratextual marker would have an effect on the expectations and experience of the readers. The hypothesis was only partly confirmed, but other findings were made among which two are to be highlighted: 1) The participants had difficulties generically classifying in an unambiguous manner suggesting that the self-claimed extraordinary genre status is reflected in the actual texts. 2) In general, the participants did not like the books, though these are all critically acclaimed. This points towards the old distinction between low and high culture still being relevant and suggests that the genre signature might be a marker of the latter. The article ends with a discussion of the role of empirical studies within literary theory.

Sprostowanie niektórych tłumaczeń z tureckiego ws. Nowy przekład dziejopisów tureckich Ignacego Pietraszewskiego – pomiędzy recenzją a translacją

Subject to analysis in this article is the genre status of Ignacy Pietraszewski’s works commenting upon Collectanea by Józef Sękowski. The former work by Pietraszewski is a press edition of Sprostowania niektórych tłumaczeń z tureckiego [Corrections of Some Translations from Turkish] (1845), while the latter is an expanded, book edition of Corrections..., entitled Nowy przekład dziejopisów tureckich [A New Translation of Turkish History Writers] (1846). A research question asked in the article is to what extent Pietraszewski’s comments on Sękowski oeuvre is a case of translation or a case of translation criticism. Drawing upon the stylistic features of both works by Pietraszewski, their evaluative and judgmental lexis and their dialogical nature, the author decided that these works are critical reviews of Sękowski’s Collectanea. The reviews display an ostesibly marked polemical aspect. They contain evaluation of the target text and they mark a breach of the text-type canon by incorporating a didactic component.

‘A Kind of Geological Novel’: Wales and Travel Writing, 1783–1819

This article explores the layered and multivocal nature of Romantic-period travel writing in Wales through the theme of geology. Beginning with an analysis of the spectral sense of place that emerges from William Smith's 1815 geological map of England and Wales, it considers a range of travel texts, from the stones and fossils of Thomas Pennant's A Tour in Wales (1778–83), to Humphry Davy and Michael Faraday's early nineteenth-century Welsh travels, to little-known manuscript accounts. Wales is still the least-researched of the home nations in terms of the Enlightenment and the Romantic period, despite recent and ongoing work that has done much to increase its visibility. Travel writing, meanwhile, is a form whose popularity in the period is now little recognised. These points doubly position Welsh travel writing on the fringes of our field, in an outlying location compounded by the genre's status as a category that defies easy definition.