Genre Structure Research Articles

Genological stratification of diplomatic discourse on social network X (based on the material of the countries of the Romance and Germanic language areas)

Relevance. The rapid advancement in technology has profoundly impacted various aspects of human life, including communication. The advent of the internet and microblogs like X has revolutionized not only personal and professional interactions but also diplomatic discourse. This evolution presents new avenues for philological research, particularly in the domain of communicative linguistics.Purpose. The purpose of this article is to determine, describe and make an attempt to predict the levels and structure of genres of diplomatic discourse in the coming decades using examples of its manifestations on X in the best traditions of classical linguistics schools and considering the achievements of new research areas in linguistics.Methodology. The analysis utilises a comprehensive review of existing literature on discourse theory and internet communication genres. It incorporates a detailed examination of X�s role in modern diplomatic interactions to propose a new stratification matrix for genres termed twiplomatics.Results. The article highlights the genres of tweeting as the implementation of diplomatic discourse within the framework of virtual (internet) communication on the example of the social network (microblog) X. A contribution is made to the development of the theory of genological theory, in particular, the genre of virtual communication. A hierarchical stratification of speech genres for twiplomatics is offered.Conclusions. The findings contribute significantly to the field of discourse genology by providing a structured genre classification system for diplomatic discourse on X. This research not only enriches our understanding of digital communication dynamics but also sets a foundation for future studies in virtual communication genres, potentially guiding the development of more effective digital diplomatic strategies.

ТHE “COMICS” GENRE STRUCTURE

ТHE “COMICS” GENRE STRUCTURE

The Phenomenon of Romanization in Jhumpa Lahiri’s Collection of Short Stories «Unaccustomed Earth»

The aim of this article is to analyze the genre form of a short story on the example of Jhumpa Lahiri’s short prose in the aspect of the phenomenon of romanization. The subject of the study is the determination of the features of romanization disclosed in the genre structure of the second part of short stories’s collection «Unaccustomed Earth» entitled «Hema and Kaushik». As an object of research the three stories («Once in a Lifetime», «Year’s End», «Going Ashore») united by a common plot were chosen which form the second part of the collection. The relevance of the work is explained by the fact that the study of works of modern multicultural and postcolonial literature in the genre aspect allows us to reveal the features of the functioning and modification of stable genre forms in the literary process. The method of structural analysis and the comparative method have made it possible to examine the process of romanization on the compositional, subjective and spatial–temporal levels of the text and reveal the correlation of the short story form with the American tradition of the genre. The scientific novelty consists in applying the new approach to the analysis of the genre form of this collection within the framework of the concept of romanization. The study concludes that the romanization of a short story is based on the complication of compositional, subjective and spatial–temporal organizations. This leads to the integration of the stories into a cohesive narration united by the several main characters whose names gave the title to the second part of the collection. Besides, the genre strategies of a short story including a narrator’ figure, covering a single event of the past are putting in the front which is expressed in the use of the ending like in a novella.

ПРОБЛЕМА ДОСТОВЕРНОСТИ ЖАНРОВОГО ИСТОЧНИКА

This article is carried out in line with research on the problems of genre studies. The author tries to solve the problem of developing a method for describing the speech genre as a communicative unit of the ethical level. The relevance of the study is due to the unsatisfactory result of many years of attempts to develop a methodology for describing the genre that can identify the meaningful factors of a typical utterance as an object. As one of the solutions to the problem, it is proposed to put forward the theory of genre source studies with the development of a technology for modeling a genre source by introducing a formula of a communicative situation into the model of a typical utterance as a factor determining the reference of the genre.The novelty and significance of this work is due to the description of an original and potentially productive approach to determining the genre structures of an utterance through the construction of a genre source model through the prism of communicative components.

Organising Rhetorical Components in Verbal Presentation of Scientific Research Outcomes: A Systematic Scoping Review

Background: The rhetorical structure of various genres of written scientific communication has been extensively covered in articles by contemporary researchers from different countries. However, the rhetorical structure of oral scientific presentations accompanying the presentation and defence of graduation theses, scientific research, and others has not received the same level of detailed study and attention. Nevertheless, the effectiveness of presenting conducted research significantly influences the degree and depth of its further acceptance by the readership.
 Purpose: to summarise the literature on the rhetorical structure of verbal presentation of scientific research results accompanied by a presentation. 
 Materials and Methods: We conducted a search of the Scopus bibliographic databases on March 2nd, 2023, and carried out a related grey literature search on March 27th, 2023. We screened the titles and abstracts of the retrieved records. From these records, we extracted demographic characteristics related to the rhetorical structure of oral presentations representing scientific research results. Following this, we extracted passages from empirical studies that described empirically derived moves and steps in speeches during oral presentations. These moves and steps were summarised and presented in the form of a universal matrix for the oral presentation of scientific research results.
 Results: In the result of the search request 63 articles were found. Having screened all the papers we revealed that only 11 of them met our predetermined inclusion criteria. All these papers were journal research articles. It is worth stating that the majority of the studies were dedicated to rhetorical structure in written presentation of scientific research outcomes and there is a lack of papers related to moves and steps of verbal presentation of scientific research outcomes.
 Conclusion: This systematic scoping review identified the moves and steps highlighted by authors in the reviewed articles within the oral speech accompanying the presentation of scientific research results to an audience. This matrix can be used to construct a more effective oral presentation of scientific research outcomes. Limitations of the work include the restriction to English language articles and the fact that the methodological quality of the articles included in our extraction was not assessed.

Unfulfilled growing-up: The novel “The Lovely Bones” by A. Sebold

The article studies the poetics of the novel “The Lovely Bones” by E. Sebold. We applied comparative-historical and structural methods. The scientific novelty of the article is our research into the novel as a work about a frustrated adulthood. We consider its ideological and artistic specificity: the narration of a dead person, the description of the world beyond and the type of the character (a teenager being on the verge of growing up). The article investigates the spatiotemporal structure of the narrative and distinguishes its earthly and heavenly places. We analyze the system of characters in the novel and prove that the protagonist’s maturation is associated with the internal evolution of minor characters whose story unfolds both in the novel’s present and in the past, which the reader discovers due to flashbacks. Our study considers the specifics of the narration: as the main character is no longer alive, she has an omniscient position – her ability of flowing into the consciousness of other characters. The novel is analyzed in terms of transformation of initiation novel’s genre structures: Suzy is simultaneously a “mentor” for her loved ones and experiences her own growing up. In the finale of the novel, the emotive aspect of the work becomes crucial: gloomy hopelessness is replaced by the motifs of hope, forgiveness and faith. The article concludes that the theme of the formation and internal evolution of a person plays a plot-forming role in modern American literature.

Genre Structure and Writer Identity in EFL Students’ Application Letters

Writing for academic and professional purposes has been increasingly challenging for applicants as it requires a certain degree of proficiency to promote themselves as potential workers in the desired position. Considering the significance of English as the global lingua franca, there is an increasing need to ensure that formal writings, in different fields and contexts, adhere to the generic and linguistic standards necessary for effective written communication. This study presents an examination of genre features and rhetorical strategies of job application letters written by Tunisian Business students. More specifically, it intends to investigate how far novice non-native English candidates are able to successfully use the genre components and persuasive strategies of the target language. A corpus of 30 undergraduate job application letters was subject to move analysis, using top-down approach, basing on Khan and Tin’s (2012) model as an analytical framework. The results indicated that the participants showed different types of rhetorical patterns preferences used in various sequences and frequencies to articulate the same communicative purpose of the genre. The analysis revealed also that Addressing, Establishing credentials and Ending politely proved to be the most preponderant moves in the corpus. Yet, although the majority of applicants have commonly attempted to use an appropriate schematic structure in writing their job application letters, most of them failed to prove any creativity in elaborating their unique characteristics and achievements. The paper concludes with the possible linguistic and pedagogical implications of the study.

THE BORDER AS A FORM- AND MEANING-FORMING PRINCIPLE OF THE LYRICAL WORLD OF J. BOBROVSKY («DIE JUNGE MARFA»)

The study is devoted to the problem of the artistic language of verbal art, in particular, the German-language lyrics of the 20th century. The article notes that changes in the consciousness of a person at the turn of the XIX-XX centuries led to a change in the role of the author in the poetic statement. The experience of the border in its various manifestations finds its realization in the languages of the arts of the twentieth century. The purpose of the work is to study the phenomenon of the boundary in verbal art, its functions and forms of implementation at the level of the structure of the artistic image and the organization of the poetic statement. The material was a poem by the German-speaking poet Y. Bobrowski as a typical example of conscious creative work to create a new artistic language. In the article the main literary categories are presented as a border and as a result of the meeting of the individual and the supra-individual in the dialogue of the creative subject with universal human experience. Such an approach from the standpoint of the author’s theory and the problem of artistic activity makes it possible to discover the form and meaning-forming mechanism of the border. The example of analysis shows how a creative subject in a dialogue with genre structures and other poetological categories, challenging or confirming their boundaries, creates new boundaries that give them life in new material.

ПОЕТИКА АЗЕРБАЙДЖАНСЬКИХ ЛЮБОВНИХ ДАСТАНІВ

The article aims to study the peculiarities of the content and structure of the love dastan genre as a product of the artistic thinking of the Azerbaijani people, to determine its poetic originality as well as the impact on the development of Azerbaijani literature and spiritual values of the next generations. The article traces the causes and origins of the similarities and differences between the ancient Turkic epic as a product of folk poetry and the subsequent medieval classical love epics created by Ashuga poets. In order to achieve the goal, historical-literary, cultural-historical, comparative, and hermeneutic research methods were used. Poetological originality of love dastans is conditioned by cultural-historical and literary aspects. On the one hand, love dastans contain the ancient culture of composing epics, which is characteristic of the Turks, and on the other hand, they combine features of the artistic outlook specific to medieval Sufism. Thus, the features of Turkic folklore and Sufi consciousness are synthesized in the Azerbaijani love dastans, which is reflected in the level of structure and content specificity of the love epic. In contrast to the works of the heroic epic, which often consisted of separate songs and legends united by a single plot line in a complete work (“Keroglu”, “Kitabi-Dede Gorgud”, etc.), the structure of love dastan tends to the structure of fairy tale genre, where the original plot is built into a universal structure. Love dastans are mainly characterized by a five-level structure, which includes the introductory part (ustadname) and the main one, where the following stages are distinguished: the wonderful birth of the hero, the stage of obtaining “buta”, the stage of overcoming obstacles, and the stage of winning in competitions. The specificity of the content of love dastans is determined by the dominance of the love theme, the understanding of the problems of morality, family values, cognition and mentoring, and a special type of hero – a young man with a pure heart, worthy of receiving a higher gift, which contributes to the spiritual growth of the character and success in achieving the goal (conquest of the beloved). It should be noted that unlike the heroic epic, which focuses on patriotic issues, social values, the main of which is devotion to the Motherland and its people, in love dastans the theme of individual love is understood in the context of the general national values of the Azerbaijani people. In this regard, love dastan as a work of folklore already has the features of an author’s literary work, marking the stage of transition from traditionalist to individual creative poetics.

ДЕФОРМАЦІЯ ЖАНРУ МЕЛОДРАМИ В УКРАЇНСЬКИЙ ПОСТМОДЕРНІЙ ЛІТЕРАТУРІ: ІРЕН РОЗДОБУДЬКО ТА НАТАЛІЯ ГУРНИЦЬКА

In the conditions of postmodernism, the content and formative components of the melodrama genre (issues, portrayal, narration, plot structure, system of characters, type of protagonist) undergo certain transformations. Today, there is a lack of literary studies devoted to the specifics of the expression of postmodern melodramatism in the works of contemporary writers, namely representatives of “women’s literature” by N. Hurnytska and I. Rozdobudko. Accordingly, there is a need to understand the deformational genre shifts that took place in melodrama under the influence of postmodernist aesthetics. Thus, the relevance of the chosen topic is motivated by the need to analyze the signs of melodramatism in Ukrainian prose and the need to reveal the problem-thematic and genre-stylistic features of melodrama in the context of Ukrainian postmodern literature. The purpose of the work is to study the processes of deformation of the melodrama genre in Ukrainian postmodern literature (based on the works of Irene Rozdobudko and Natalia Hurnytska). Achieving the set goal involves solving a number of tasks, such as: determining the artistic specificity of the melodrama genre; understanding the melodramatic specificity of the works of Irene Rozdobudko (the novel “Once Upon a Time...”) and Natalia Hurnytska (the novel “The Melody of Coffee in the Tonality of Cardamom”) in the context of postmodern aesthetics; elucidation of the peculiarities of representation in both works of typically melodramatic genre features and specifically authorial ones. To achieve the goal, historical-literary, cultural-historical, comparative, hermeneutic, biographical research methods are involved. The development of melodrama at the current stage is determined by postmodern trends in the literary process, as well as the existence of “women’s writing” as an artistic and aesthetic phenomenon, within which the specified genre functions. A comparative analysis of two examples of melodrama in modern Ukrainian literature (the novel “The Melody of Coffee in the Tonality of Cardamom” by Natalia Hurnytska and the novel “Once Upon a Time...” by Irene Rozdobudko) made it possible to conclude that the indicated signs of melodramatism are clearly presented in both works. At the same time, the studied literary works are significantly different from each other, which makes it possible to consider them as certain modifications of the melodrama genre: Natalia Hurnytska’s work is immersed in the historical and cultural atmosphere of the 19th century, and the leading role in it is played by the motive of unequal love of a young girl for a much older, wealthy man; the plot of the novel unfolds around a “love triangle” and has a “happy end”, it is marked by emotional aggravation and the outburst of passions. In the novel by Irene Rozdobudko, autobiographical and confessional motifs are leading, which are written into the modern context related to the life and creative plans of the author and their implementation. At the same time, this work raises a significant range of problems related to selfrealization, achieving a set goal, success and failure, creative activity, the transience of human life, etc. Accordingly, the heroine of the novel by Irene Rozdobudko appears more diverse, while the interests of the heroine of the novel by N. Hurnytska are limited to marriage and children. Therefore, the evolutionary changes experienced by the genre of melodrama in the 21st century are characterized by the loss of established melodramatic features (excessive sharpness of the plot, bright contrast, schematic character images, the theme of the struggle between good and evil disappear); a new – postmodern – angle of understanding the traditional thematic and stylistic aspects of the melodramatic genre: immersion in private life, themes of love and marriage, sentimentality and heightened emotionality; strengthening of psychologism in understanding the images of the characters; actualization of philosophical and confessional motives. There is a shift in emphasis from dialogues to internal monologues, from plot vicissitudes to character images (there is an emphasis on character images, in particular, female rebels functioning within “formulaic” plots and situations). The melodramatic genre acquires pronounced features of postmodern aesthetics. The type of orphan heroine traditional for melodrama is transformed into the type of “absurd heroine-rebel woman” characteristic of the postmodern aesthetic paradigm, the final “happy end” gives way to the variability of the denouement traditional for postmodernism. The canonical genre structure of melodrama is destroyed as a result of the infiltration of elements of postmodern poetics – genre eclecticism (synthesis of melodrama with everyday and psychological drama), intertextual connections, intermediality (features of “musicality” and “cinematography” of the style), irony and playing with the reader.

Genre structure, skill learning, gamification, Vocational Education and Training, game-based learning

Genre structure, skill learning, gamification, Vocational Education and Training, game-based learning

Pietro Aretino e Luciano di Samosata. Paradosso e parrhesia tra parola e immagine

Abstract Pietro Aretino constantly flaunts his originality and uniqueness as a writer. This essay seeks to show that, on the contrary, his authorial figure arises from a rewriting and a ‘refiguring’ of Lucian, especially as far as the centrality of paradox and of parrhesia are concerned. The present study reinterprets or adduces hitherto ignored evidence (consisting of both textual and iconographic materials, such as portraits, marche editoriali, and medals) in order to reconstruct some key aspects of Aretino’s relationship to Lucian, thus questioning the traditional idea of the writer’s unfamiliarity with the processes of imitatio of antiquity. Aretino’s approach to Lucian is investigated on three different levels, i.e. the level of intertextuality, of themes and genres, and of authorship. Firstly, the analysis inspects how Aretino’s Dialogo was influenced by a specific collection of vernacular translations of Lucian (I dilettevoli dialogi, 1525). Furthermore, the essay unveils the close relationship between Dialogo and Lucian’s De parasito as a model of paradoxical eulogy, thereby showing that Aretino’s text not only reverses the structures of relevant literary genres (e.g. the Platonic dialogue) but also originates from a ‘positive’ imitation of other generic templates (such as the Lucianistic paradoxical encomium). Finally, new findings about the sources of Aretino’s motto veritas odium parit and of its iconography shed light on the way Aretino fashions himself as a parrhesiastes by reproducing and transforming – and therefore imitating – Lucian’s figura auctoris.

THE MEMORY MODE IN THE LITERARY WORKS OF NATALENA KOROLEWA

The article examines the specifics and functions of memories in the structure of children prose genres of Natalena Koroleva. The paper is focused on the features of modeling the story unfolded in the form of memories. The purpose of the research is to analytically comprehend the place and functions of memories in the structure of the plot in the short prose by Natalena Koroleva.
 As a result of the analysis, it has been found that the memory should be considered as an important component of the autobiographical memory. After all, these memories are private ones and demonstrate the personal experience of the narrator. In these autobiographical memories Natalena Koroleva introduces her personal experience of being the subject of experience. It can be easily identified due to the constant usage of personal pronouns such as "I", " me".
 It has been noticed that the memory compositionally used in the structure of Natalena Koroleva’s stories is usually found in the prologue, where the writer justifies the reasons, motives for its resuscitation and presentation, as it notes its significance for her autobiographical memory. That is why the writer indicates the date, the year or the specific place of events that supply such memories with persuasiveness and credibility. This way of writing also emphasizes their importance in the formation of author’s life experience.
 Episodic memories prevail in most stories, but there are also those in which significant events in the storyteller’s life became important for her as decisive ones. In addition to memories of her own travels, Natalena Koroleva easily shares with the reader her memories of personalities who she was familiar with. Moreover, she offers her own thoughts about their fate, characterizes their life, reveals their preferences and displeasures. She is as truthful as possible with the reader while sharing these memories.
 It should be pointed out that in her memoirs the writer uses intertextual inclusions that significantly emphasize all the emotions experienced by Natalena Koroleva, especially during her distant archaeological journey. The paper also highlights that intertextual inclusions in the structure of memories perform certain functions, namely: accentual, pictorial, illustrative ones.
 In her memoirs, the writer reflects on her own life experience, and her memories act as peculiar markers of the past life, which she misses nostalgically.

AUTOBIOGRAPHIES BASED ON MODELS OF FICTION LITERATURE PLOTS IN RUSSIAN MEMOIRISTICS OF THE 18TH CENTURY

The article identifies thе alternative changes to the traditional plot pattern for autobiographical narration. Memoirs of the 18th century are based on the cumulative principle presuming that heterogeneous events (both nation-wide and those of public and private life of the memoirist himself) are described in parallel and in a strict chronological sequence. In contrast to the previous tradition of memoir-making, Shakhovskoy conceptualizes his life as moving from happiness to unhappiness and focuses on the cumulative plot of an adventure novel. He describes only official activity and builds up the plot of the autobiography as a number of series, consisting of structurally homogeneous microplots or plot situations. Happiness alternates with unhappiness both within the series of microplots and in the very sequence of the series (loss of patrons — victories over opponents — victories of opponents — success in the service of Her Majesty). Unlike other autobiographies, The Adventures of Ensign Klimov is based not on the cumulative but on the cyclic pattern of the plot (forced abandonment of the Fatherland and the family — suffering calamities in exile — return). The plot of Klimov’s memoirs is semantically based on the story of cruel fate and God’s will. The memoirs of Shakhovsky and Klimov actually represent two possible options for transferring the plot structure of epic genres into memoir narration: specifically, the cumulative plot of an adventure novel in one case, and the cyclic one of the parable of the prodigal son and ancient Russian stories dating back to it in the other. The use of models of fiction literature plots is predetermined by the authors’ conceptual understanding of their own life history, in contrast to most memoirs of the 18th century, where events are simply recorded as a chronicle and do not line up in a semantically determined plot series.

COVID-19-дискурс как особый вид дискурса в структуре университетского интернет-портала (на материале русского и немецкого языков)

The article presents the analysis of linguistic and cultural features of COVID-19 discourse. The current research is an attempt to identify the discourse-forming features of the given discourse as well as to analyze the empirical material focusing on its genre and language features. The analysis is based upon general scientific methods, with the use of interpretive methodology and contextual analysis. The author analyzes methods of construction and navigation of COVID-19 Internet pages integrated into the university Internet portal providing the justification of its hypertext characteristics and describing the thematic features of the headings. The article describes constructive features of the COVID-19 discourse including its participants, chronotope, goals, strategies and values. The author considers COVID-19 discourse an institutional hybrid interdiscursive phenomenon which forms a thematically limited communicative space in the structure of the university Internet portal during the coronavirus pandemic. The article contains the analysis of the genre aspects of the given discourse based on two non-similar languages (Russian, German) focusing on their discourse-conditioned lexical, syntactic peculiarities. The research revealed the specific genre nature of the COVID-19 university discourse which is determined by the formation and existence of the COVID-19 discourse in different linguocultures. The author shows the interdependence of genre structure and intra-genre linguistic means focusing on the similarities and differences in syntactic and lexical markers of discourse. All this allows to suggest the presence of linguocultural determination of COVID-19 discourse in the structure of the university Internet portal of two non-similar languages. The study opens up the prospects for further focus on the linguocultural determination of COVID-19-discourse and a detailed analysis of its linguistic and translatological features.

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.

Rhythm is a Dancer: Music-Driven Motion Synthesis with Global Structure.

Synthesizing human motion with a global structure, such as a choreography, is a challenging task. Existing methods tend to concentrate on local smooth pose transitions and neglect the global context or the theme of the motion. In this work, we present a music-driven motion synthesis framework that generates long-term sequences of human motions which are synchronized with the input beats, and jointly form a global structure that respects a specific dance genre. In addition, our framework enables generation of diverse motions that are controlled by the content of the music, and not only by the beat. Our music-driven dance synthesis framework is a hierarchical system that consists of three levels: pose, motif, and choreography. The pose level consists of an LSTM component that generates temporally coherent sequences of poses. The motif level guides sets of consecutive poses to form a movement that belongs to a specific distribution using a novel motion perceptual-loss. And the choreography level selects the order of the performed movements and drives the system to follow the global structure of a dance genre. Our results demonstrate the effectiveness of our music-driven framework to generate natural and consistent movements on various dance types, having control over the content of the synthesized motions, and respecting the overall structure of the dance.

Leopold Levytskyy painting of the 1930-th as a part of the Andrey Sheptytsky National Museum of Lviv collection.

Leopold Levytskyy painting of the 1930-th as a part of his painting heritage placed in the Andrey Sheptytsky National Museum of Lviv collection was the main objective of this study. It was marked that he started his education in Krakiv academy of arts at the department of sculpture, starting the third year studied graphic technics, but finished it as a painter. The analyses of genre structure of the collection revealed that it consists of portraits, landscapes, abstractive and genre compositions. Portraits were painted during his staying in Chortkiv. Special attention that was paid to the remarkable self-portrait dated 1935 was caused by it declarative inside idea. In the process of study it was reveal not only preserved art pieces from the museum collection, but also objects that are known through reminiscences and archive documents. Analyzed landscape compositions exposed deep interest of the artist in creating generalized images of cities, towns or villages. Also it was made conclusion that some paintings have controversial dating, but it was stressed that there is not enough objective information for making changing in dating. The results of analyses of abstractive colorful compositions exposed artist’s great enthusiasm in plastic experiments, that was inspired with his interest in non-objective art. As in the case of portraits also it was studied examples of genre painting which are known only from archive photos and descriptions. Obtain results helped to make a comparison between artists graphic of the 1930-th and art pieces of the next periods and uncover several matters, scenes or narratives and compositional methods that could be treated as typical for creative heritage of the master. Analytical interpretation of combining such scenes as “wood-cutters”, “women with a pail”, “cow with a calf” in the same painting composition as “Working day” allowed to make a conclusion that this art piece is of a program importance in artist’s heritage.

Success and its Relativization: General Remarks on the Fate of Literary Works and their Authors (Specific Features of Czech Literature)

The author of the present paper deals with the general features of success of literary artefacts on the examples of several Czech authors. Regardless of some typical cases going back to the 19th century, among others a famous one connected with the name of possibly the only real Czech romantic Karel Hynek Mácha, probably the most significant romantic poet in the world observed from the point of view of poetics and artistic values and existential angles, there are quite a lot of interesting 20th-21st-century authors whose success on the one hand and loss of popularity on the other signalled the causes of the whole process and its markers. While the 19th-century authors and the success of their work were linked with the preparedness of the reading public, with aesthetic tastes and prevalent styles, more modern literature since modernism has been connected, besides the mentioned factors, more with political shifts of emphasis and with the whole social atmosphere; it also depends on the thematic and genre structure of literary artefacts, on the problems dealt with, on the degree of experimentalism. The examples of several Czech 20th-century authors demonstrate various aspects of the problem of the markers of succes and their association with their creative individuality.

Study of Literature Review Writing in English Academic Papers from the Perspective of Move-structure and Generic Theory

In English academic writing, genres play an important role, and move analysis is rooted in genre analysis. This study comprehensively discusses the three-move model of literature review and a six-step Genre-Based Instruction (GBI) approach. In the first study, 55 master's theses of a university majoring in foreign linguistics and applied linguistics were used as the corpus to study the moves of literature review. The results showed that students were not familiar enough with the moves and strategies of literature review, so they needed to strengthen their knowledge of the corpus. The second study guided junior English majors in a university to conduct English academic writing training. The results showed that under the guidance of GBI approach, the students' genre awareness was enhanced and the ability to use genre structure was improved.