Genre Structure Research Articles

Spacious Grammar: Agency and Intention in the Teaching of Research Writing

Standardized academic English is now understood to be rooted in histories and practices that are colonial, classist, nationalist, heteronormative, ableist, and sexist. Current teaching of academic English carries an ethos of making practices of research writing accessible to students from marginalized backgrounds through explicit attention to language patterns and genre structures. In the context of both ideological critique and explicit pedagogy, I discuss three pragmatic elements of research writing—positionality, citation, and evaluation—with examples from one of my courses. I present these elements and my approach to teaching them as a practice that is attentive to both details of published scholarship and students’ agency and intentionality in shaping their own writing projects, claims, and arguments. My work is framed by a functional approach to grammar where grammar is not interesting as a standardized apparatus but as a code that provides a range of options for producing performative effects. I call this spacious grammar.

Turkmen Epos: Origin and Modern Conditions

The epic branch is one of the central directions of the oral musical and poetic heritage of the Turkmens. The carriers of the epic tradition in Turkmenistan are the bagshy-dessanchy, the modern heirs of the ancient art of ozans. The centers of epic storytelling are located in the Dashoguz and Mary regions, they differ significantly from each other in terms of repertoire, genre and performance features. The main genres in the repertoire of bagshy-dessanchy are the monumental cycles of epic tales “Gokut ata” and “Gorogly”, numerous author's and folk dessans, legends with music, as well as musical transcriptions of literary works of Turkmen classical poets. The structure of epic genres is based on the alternation of poetic and prose sections. Poetic lines are sung in the form of songs, and prose is recited in a performing manner characteristic of each school. Songs determine the development of musical dramaturgy in dessans. The performances of the bagshy-dessanchy represent a consistent movement towards the climax, where each stage of the narrative is characterized by a certain type of epic songs.

Жанровый код «страшной новеллы» в повести И. С. Тургенева «Клара Милич»

The aim of the work is to reveal the hybrid genre nature of Turgenev’s last story. The use of unusual narrative strategies in the recognizable and stable genre structure of the fantasy short story is considered. The subject of the research is shifts in the genre structure of the story, with the help of which the components of the “physiological” essay and the “terrible short story” interfere in the structure of the narrative. The scientific novelty of the study lies in the description of some features of the narrator’s image (the presence of an implicit narrator, the convergence of the hero’s and the narrator’s points of view) and the plot structure of the story. As a result of the study, the hybrid genre nature of Turgenev’s last story has been revealed; the ways of narrative instances interaction in the text have been clarified; the main difference between Turgenev’s story and the structural organization of the “terrible short story” is noted, which consists in the internalization of the text events.

Тема Рождества в рассказе Н. П. Вагнера «Телепень»

The aim of the research is to reveal the specifics of the artistic embodiment of the Christmas theme in N. P. Wagner’s story “Telepen” (at the level of the work chronotope, the system of images and the plot-compositional organization of the narrative). The theme of Christmas, as well as the problem of the genre Christmas canon transformation in N. P. Wagner’s fabulous creative work has not become a subject of a special comprehensive research yet. The scientific novelty is determined by the fact that for the first time one of the least known N. P. Wagner’s works with the Christmas theme - the story “Telepen”, which is included in the collection of philosophical tales and parables “Tales of the Purring Cat” (1872) and has the subtitle “A Christmas Story from Bygone Times”, is subjected to a holistic analysis in the chosen aspect. The article deals with the origins and tradition of the Christmas story formation in the Russian literature of the second half of the 19th century, the canon of the Christmas story as a source for N. P. Wagner’s work plot and its transformation there. As a result of the study, the expansion of the traditional framework of the “Christmas theme” by N. P. Wagner has been determined; a complicated genre structure of the text has been ascertained combining the traditions of the Christmas prose, everyday anecdotal tales and Gogol’s motives.

Multilingualism and the Indigenous Novel: Paths of Comparatism Inscribed in Aqupampa by Pablo Landeo Muñoz

Aqupampa (Desert Sands, 2016) by Pablo Landeo Muñoz is the first novel published in Quechua and the first novel in a Latin American Indigenous language published monolingually––and the author insists on in never to be translated into Spanish. This article focuses primarily on two its aspects: literary genre and multilingualism. It posits Aqupampa as an opening of a field of intertextuality and comparison, inviting a transformation of current comparative frameworks. This analysis builds on the reflection on how translation has played a central role in theories of postcolonial, decolonial, and world literature. Since translation is an asymmetric practice, its asymmetry seeps into literary categorizations and analysis. This study proposes to rethink these frameworks through the lens of multilingualism constructed from the perspective of an Indigenous language. It is an impulse to rethink literary circulation, putting in question the centrality of impact within the literary and cultural sphere, and insisting on values other than vast readership. Aqupampa allows us to conceptualize the participation in world literature of texts that do not travel easily but have different (dis)locations inscribed in their linguistic and genre structures.

CINEMATIC CODE OF SHORT PROSE

The paper is motivated by new perspectives in expending the boundaries of the literary text analyses in the aspect of intermediality theory. The short story "Freeze-Frame" by Tatiana Belimova from the collection "Rose Jam" (2015) is examined in the context of intermedial studies. The relevance of the paper is emphasized by new attitude to the interplay between different arts. The analysed text is a bright contemporary example of the active interaction between literature and cinema, where cinema manifests itself not only in terms of subject matter and personosphere. Respectively, the key techniques of film poetics (retrospection, editing, framing, medium and close-up, detailing) are built into the structure of the traditional literary genre, presenting, at the same time, a kind of cross-genre experiment, which allows to consider Belimova's short story as a sample of film narrative. The findings support that these techniques allow to reveal new receptive and interpretive properties of the literary text and to study in depth the specifics of the "intermedial vision" of the writer.

STUDY OF THE CATEGORY OF THE GENRE ON THE EXAMPLE OF THE SOLID FORM OF THE SONNET

The article is devoted to the consideration of the sonnet genre. This topic is presented in classical poetics and textbooks on philological text analysis. However, in the studies of recent years, it was not covered enough, since it was reduced to the consideration of the genre by specific authors or by comparison in the poetry of different peoples. In the course of the philological analysis of the text, the problem of the genre is reduced only to its indication. Nevertheless, in the genre structure of a work of art, formal features are inextricably linked with meaningful ones. Therefore, the relevance of this topic is due to the need to focus on their interaction. The research problem is to find effective ways to achieve this.
 The aim of the study is to systematize the requirements of the sonnet genre for content and form and conduct a comparative analysis of the canonical and non-canonical sonnets.
 The methods of the study are as follows: method of observation and descriptive, structural-semantic, which consists in describing the semantics of language units of different levels in different contexts, as well as comparative – comparing canonical and non-canonical sonnets. It is he who allows us to trace how formal and meaningful features interact in a sonnet.
 Results of the study: it was stated it is the comparative analysis that allows us to work out the skills of determining the formal and substantive features of a sonnet and, using the example of their interaction, to trace the way the elements of form can act as elements of content in the literary text.

OWGC-HMC: An Online Web Genre Classification Model Based on Hierarchical Multilabel Classification

Web genre plays an important role in focused crawling, web link analysis, and contextual advertising. In this paper, web genre is defined as the functional purpose and the information type contained in the website. The intelligent classification of web genre can predict the content and functional type of website. However, there are several critical challenges to solve the web genre classification problem: lack of web genre classification dataset and efficient web genre classification mechanism. To improve web genre classification performance, we crawled Chinese websites of different web genres and converted crawled data into a hierarchical multilabel classification dataset. A website knowledge graph is constructed based on the relationship of website and meta tag features. Using entity features extracted from the knowledge graph, we propose an online web genre classification model based on hierarchical multilabel classification (OWGC-HMC) to mine the functional purpose of the corresponding website. Experimental results show that our OWGC-HMC model can mine hierarchical multilabel structure of web genre and outperform other web genre classification methods.

Development of Chatbots to Support Web Site Content Search Based on Thematic and Genre Characteristics

The paper considers an approach to creating intelligent assistants in the form of chatbots that support information search based on preliminary genre and thematic clustering of website content. The tasks of finding the necessary in-formation and providing information support to the user, organizing feedback to improve the quality of the search are being solved. A feature of the approach is the use of genre models developed for a given type of resource (educational, informational, etc.), on the basis of which genre structuring of the content of a particular site is carried out. The resulting genre structures allow you to more accurately determine the boundaries of thematic clusters related to the topic of the user's search query. To provide feedback to the user, a simple script has been developed that allows not only to clarify the request, but also to implicitly get information about what exactly did not suit the user in the resulting out-put. An experimental study was conducted on the Telegram platform, the results were compared with the Yandex search engine.

Снова о «жанрах речи и языке речи»: что дала жанроведению лингвистика?

This is the second article in a cycle on the connection between genre studies and linguistics. The previous article discussed the question “What have genre studies given to linguistics?” This article focuses on linguistic methods used in speech genres theory: more traditional for linguistics, starting with the descriptive method and its later varieties – structural – and less traditional (component analysis, the method of immediate constituents, the generative method, the method of describing external and deep content structures, the method of semantic fields). Speech genres theory is studied in relation to linguistic paradigms. The most significant for speech genres theory is the turn in linguistics from the study of the language only to the study of speech (discourse), and thus – the recognition of the presence of a specific systematic nature of speech. Besides, speech genres theory is analyzed in connection with traditional linguistic directions: syntactic theory and methodology are used in the study of the composition of speech genres, lexicology and semantics – in the study of the names of speech genres. The major focus is on the modern period when new areas of linguistics and speech genres theory emerge simultaneously (Internet linguistics and Internet genre studies). The article also discusses division of linguistic disciplines in connection both with the speech genre division of language (structural, diachronic, functional) and with the division of genre studies (structure of the speech genres, classification of speech genres, sociology of speech genres, psychology of speech genres and genre thinking, cognitive and culturological aspects of speech genres). The role of speech genres theory in the division of linguistic disciplines into deductive and inductive is also discussed. The article appreciates the role of several outstanding linguists in the development of speech genres theory. In addition, the author briefly touches upon the connection between genre studies and literary studies: in the study of literary texts and genres they converge.

Unveiling music genre structure through common-interest communities

Using a dataset of more than 90,000 metal music reviews written by over 9,000 users in a period of 15 years, we analyse the genre structure of metal music with the aid of review text information. We model the relationships between genres using a user-oriented network, based on the written reviews. We then perform community detection and employ a network "averaging" method to obtain stable genre clusters, in order to analyse the structures of clusters both locally within each cluster and globally over the entire network. In addition to identifying the clusters, we use Dependency Parsing and modified Term Frequency - Inverse Document Frequency to extract significant and unique features of each cluster. These structures and review text information can allow us to understand how music audience (fans) perceive similar and different genres, and also assist in classifying different genres which share common-interest user communities, offering a more objective way in grouping music genres. Furthermore, the classification can also help recommendation engines provide more targeted suggestions of music, and potentially help musicians to select genre labels for their music, and design music to better cater to preferences of their audiences based on previous reviews.

Multilevel Supporting System for Special Forms of Learning

We created this system, because meanwhile another similar system does not exist. For the first usage and testing, multilevel supporting system for special forms of learning is being developed as a web-based support for teaching music theory. First part of the article is focused on basic description of the project. Main parts of multilevel supporting system for special forms of learning is described and described are using technologies for development of system too. In the next part of the article are described some CMS communications with publication and presentation. System is based on web technologies such as PHP, MySQL and HTML with fully featured java-script jQuery API and WYSIWYG editor TinyMCE with useful plugins. Last part is aimed to refer about all developed modules for the Multilevel supporting system for special forms of learning. We established the data-base structure of composers, music genres and music samples. It was necessary to create administration system where will be the teacher able to form the music staves and present them on the web portal. Everything is connected with the learning portal, which allows students to register, to apply for entry into the classes, receive the information, training and test their knowledge through the test module.

THE GENRE FEATURES OF UKRAINIAN BAROQUE SERMON

This paper is an attempt to comprehend the theoretical preconditions of the genre structure of the Ukrainian baroque sermon in the process of its formation and development starting from “Teaching Gospel” of the early baroque period written by Kyrylo Trankvilion Stavrovetskyi till the homiletic treatise “The Art or the Method of Composing the Sermon” by Ioanykii Galiatovskyi. The forms and principles of coexistence of two homiletical patterns, Greco-Slavic and Latin-Polish, are considered as a channel of rhetorical and stylistic changes that determine genre modifications and varieties. Viewed in this way, the author’s introductions, topics of sermons, and their consistency with different composite parts of the text give grounds to observe the consecutive actualization of the whole conception within the ambit of the whole book and individual sermon samples.
 One of the key issues is the interaction of oral and written (book) forms of a sermon, which reveals a double level of communication with the recipient: listening and reading. This is demonstrated by the oral practices of preaching by Kyrylo Trankvilion Stavrovetskyi, Ioanykii Galiatovskyi, Antonii Radyvylovskyi, and Lazar Baranovych, on the one hand. On the other hand, in their collections of sermons named “Key of Understanding”, “Virgin Mary’s Garden”, “Spiritual Sword”, “Trumpets of Sermon Words”, the authors, in addition to the practical part, give some theoretical comments and reflections on their creative process, endowed with divine power.
 The development of the theory of Ukrainian baroque preaching was greatly influenced by the homiletic treatise by Ioanykii Galiatovskyi “The Art or the Method of Composing the Sermon”, in which the author consistently elaborates the main issues concerning the theme, composition, examples, and amplification.

MODIFICATIONS OF THE HORROR GENRE

The article analyses the history and genre system of the formation of horror literature and highlights its role in the modern era. Examining the origins of the horror genre in literature, one can trace the combination of mysticism, mystery, and mythological imagery, which acquire new features with the flow of literature. article briefly reveals the genesis of the horror genre in the cluster of genres of horror literature. The structure of the genetic and typological evolution of the genre of horror literature in literary studies is analysed, and the systematisation of genre-creating elements is also presented. It is proven that horror by its nature belongs to those genres that are realized in literature on the basis of genre memory, which was formed in the modification process of the transition from stylistic reception to the actual genre. Horror literature is a complex polysemantic construct, for the interpretation of which, in addition to general scientific methods (descriptive, typological), such methods as hermeneutic, cultural-historical, mythopoetic, psychoanalytic, bibliographic, comparativist, philological, structuralist, and intertextual are used in the article. Such scientific research methods will allow a more detailed description of the functioning structure of both the system of genres as a whole and a separate genre. The horror genre was formed in uneven waves. This process can be characterised as a gradual crystallization of the genre structure, taking into account stable stylistic elements. In the course of its genetic and typological apparatus, the horror genre developed its inevitable functions: specific types of chronotopes and mechanisms for the implementation of genre memory. The article is supplemented with a concise bibliography of thematic critical literary texts and source materials.

Afterimage by H. Humphreys as a Photoreconstruction Novel: Genre Peculiarities

This article is devoted to the study of the peculiar genre features of Afterimage (2000), a novel by the English-born Canadian writer Helen Humphreys. The author of the article introduces the definition of the concept of photographic ekphrasis, i.e. a description in the text of a photograph that is the subject of a character’s reflection or the result of a collaboration of the photographer and the model. The photographic discourse penetrates the plot-compositional, character, space-time, and narrative levels of the poetics of the novel. Starting with the analysis of the title of the novel, the author of the article concludes about the decisive role of photography in the genre structure of the novel. This makes it possible to introduce the term “photoreconstruction novel” and categorise the novel analysed as belonging to this type. This genre form implies a number of characteristic features: the presence of protophotographic ekphrasis (the existence of a real photographic prototype in culture defined by the reader on the basis of secondary cultural experience (this term is introduced for the first time)); the novel is set in a period remote from the modern times, as a rule between the mid-nineteenth and early twentieth centuries; the main character is a photographer-reconstructor of a myth / mythological image; supported by the motif of theatricalisation (“the character of being staged”). Particular attention is paid to the link of allegorical photographic works of the English Victorian photographer J. M. Cameron and photographic ekphrases in the novel by H. Humphreys. The organic synthesis of two types of art — artistic words and photographic art — forms intermediate connections in the novel, expanding the field of interpretation and implying an active role of the reader. Humphreys’ Afterimage based on the genre structure of a photographic ekphrasis fits into the context of the phototextual English-language novel of the late nineteenth — early twenty-first centuries.

Фэнтези в русскоязычном сегменте литературы Республики Казахстан

The turn of the 20th–21st centuries is characterized by highly intensive processes of national self-identification. An important role in this process is played by fantasy as a popular genre of popular literature. The study of Kazakh fantasy is of academic interest due to its popularity with readers, the dynamic transformation of the genre structure. The article demonstrates a wide genre spectrum of Kazakh fantasy books and their authors. In the novel Resurrecting Legends Timur Yermashev turns to the heroic page in the history of the Kazakhs – the Orbulak battle of the 17th century. Ilyaz Nurgaliyev consistently works with national myths and folklore images of the Turkic peoples. Azamat Baigaliev and Kira Nurullina write about aliens. Sabyr Kairkhanov in the format of urban fantasy (the novel Synchro) raises the question of the ambiguous role of the Semipalatinsk test site in the life of the Kazakhs. An example of the combination of children’s and adventure fantasy is the novel by Zira Naurzbayeva and Lily Kalaus In Search of the Golden Bowl: The Adventures of Batu and His Friends. Particularly popular are fantasy texts with plots based on the facts of national history, those resurrecting the heroes of Kazakhstani mythology, national traditions and customs. The themes and poetics of Kazakh fantasy are in line with the processes developing in modern prose, the nature of the transformation of the genre correlates with the changing readership. Fantasy readers are mainly representatives of a certain social and age group, those attracted by the topical issues raised – the growth of national self-consciousness – combined with an exciting adventurous plot. The entertaining genre of popular literature has taken on an important ideological function – to promote and shape the national identity of the Kazakhs in a situation of geopolitical changes.

«Три года» А. П. Чехова: повесть как роман

Considering the creative evolution of Chekhov, an undoubted consequence of his almost a year-long journey in Siberia, the genre structure of the story “Three Years” is regarded as the result of the intention to “write a novel from Moscow life”. Although retaining the definition of the story, in fact, “Three Years” appeared as a work saturated and permeated with the genre intentions of the novel, with the epic breath of a large genre revealed in the issues, the image structure, and the characteristic features of the poetic text. Chekhov conducted his work not towards releasing the story from its inherent functions, but, on the contrary, towards loading the story with the genre features of the novel, i.e., not “from a novel to a story,” but “from a story to a novel.” This study examines and analyzes the contribution of Chekhov to the formation of the Moscow text of Russian literature, manifesting the author’s original intention. The narrative space of the story “Three Years” as the work with clearly expressed novelistic intentions turned out to be so generously saturated with the living feature of the passing time, its social, cultural, everyday atmosphere, that many of its motive-plot concepts would find artistic embodiment in subsequent works, enriched with new ideologically aesthetic meanings and accents. In particular, the paper discusses the impact of the story “Three Years” on the play “Three Sisters” and the story “The Bride.”

INTROSPECTION AS A SIGN OF LYRICALLY-DRAMATIC GENRE TYPE IN E. ELGAR’S VIOLIN CONCERTO

Statement of the problem. Edward Elgar’s instrumental concertos occupy the special place in European music. Most of the violin concertos of Romantic composers were written before E. Elgar created his own (1910); the concertos by J. Sibelius (1904) and M. Reger (1908) are closest to this work in time, and Elgar’s Concerto almost coincides with the chronology of K. Nielsen’s Violin Concerto (1911), which has already been, however, significantly influenced by neoclassical aesthetics. In five years, K. Szymanowski’s First Violin Concerto (1916) will appear, rejecting the romantic way of expression, and later a new “era” in the development of this genre will begin. Elgar’s Violin Concerto (1910), the first of his two instrumental concerts, is another step of the composer on the way to mastering various musical genres, the accumulation of new creative ideas. In a number of parameters, the work is closer to the First Symphony, becoming almost a doppelganger of it but with a solo violin, an instrument played by the composer himself. Thus, the study of the Concerto is relevant, at least, in three aspects: in the analysis of the creative evolution of the composer, for understanding his attitude to the concert genre, and for revealing the meaning of the composer’s self-expression. Consideration of the work in the aspect of the latter – identifying features of introspection in the music of the Violin Concerto as part of its genre structure – is the purpose of this study, which is the first attempt of its kind. Conclusions. Elgar’s Violin concerto follows the tradition of lyricallydramatic type of symphonism, which the composer employed in his First symphony written shortly before the Concerto. It can be seen both in thematically-intonational content and in special features of dramaturgy and composition (“throughout” themes, large duration, conflict dramaturgy). The genre of instrumental concerto suggests additional dimension of the work, relation between solo and orchestral parts, and in this case the composer maintains a balance in such things as distribution of themes and their development and interpretation of soloist’s part. The introspective character of the Violin concerto is most obvious in its Cadenza – the most significant episode for this genre – due to its significant length, the lyrical way of expression, reminiscences and derivative themes, the rejection of a clear metrorhythmic organization that allows the perception of Cadenza as a stop in time for lyrical reflection. Other aspects of introspectiveness include the predominance of lyrical themes, a large number of fragments with quiet dynamics and the genre’s predicted concentration of attention on the soloist, although the composer retains balance between solo and orchestral parts.

Frontline Drawings of Ukrainian Artists of the Second World War Period

Purpose of the article. During World War II, hundreds of Ukrainian artists were at the front. The drawings they created were a powerful source of propaganda for the Soviet regime. At the same time, in the general unity of the full-scale front-line drawing the individual features of artists of great artistic skill are clearly traced. The aim of the article is to determine the circle of leading Ukrainian artists who during the Second World War were in the troops of the Workers 'and Peasants' Red Army (RSCA) and worked in the field of drawing; to study the genre, artistic and stylistic structure, as well as materials and techniques of frontal drawings; identify the features of the reproduction of space-time in the front-line drawing of Ukrainian artists. Methodology. The study is based on the principle of historicism, a combination of historical and cultural, contextual methods, art history image and stylistic and system-comparative analysis. Scientific novelty. Peculiarities of human psychology of perception were clearly manifested in the drawing of frontline artists. The compression of the time field in the drawings of frontline artists is due not only to the doctrine of socialist realism, which was based on spatial three-dimensionality, but also to the peculiarities of human perception of time and space in stressful conditions. This also explains the difference of time display in the drawings created by the artists in the conditions of the front and evacuation. Artists, whose period of study coincided with the years of the avant-garde, the introduction of formal foundations of art in educational institutions, have achieved a much deeper and broader interpretation in the drawing of temporal and spatial categories. Conclusions. Frontline sketches were pictorial diaries: notes, sketches that were intended to be triggers for memories, for further writing of pictorial "memoirs" - paintings on the theme of war. This theme of Soviet propaganda will become a pass for future decades in all artistic spheres, both artistic and literary, musical, film and theater, etc., ensuring the favor of party leaders and the respect of the average Soviet man. Drawings of Serhiy Hryhoriev, Zinovy ​​Tolkachov, Vasyl Ovchynnikov, Anatol Petrytsky, Georgy Melikhov, Anton Komashko and other prominent Ukrainian artists are distinguished by the ability to give the passage of events the meaning of epic generalization, elevation above the simplified goal of capturing the moment. Keywords: drawing, Ukrainian drawing, frontline drawing, sketch, the Second World War, portrait, landscape.

Authoring support for Spanish language writers

Abstract Authoring support consists of (semi)automated aids to be used at different stages during the writing process. Language information, however, tends to be restricted to areas such as spelling and grammar checking or term banks, and text construction difficulties that writers face concerning the structure of particular genres, associated sentence formulations or genre-specific vocabulary have not received proper attention. An additional gap in the research is that this support is generally addressed to English language users. This paper addresses these concerns focusing on a particular genre: the company’s directors’ report, and on Spanish language writers writing in English. A custom-made monolingual corpus has been analyzed using Bhatia (1993, 2004) and Swales (1990, 2004) definitions of genre and move combined with theme characterization. Recurrent strings for each move/step, which are conventionally associated with each rhetorical unit, were identified and formulated as “meta-strings.” The bilingual glossary includes domain-specific items as well as move/step or genre-specific lexical and phraseological options, i.e., elements used irrespective of the business, places or people involved. The results are valuable by themselves, as an analysis of the genre, but also as the empirical basis for the authoring support tool that we present here, and as language training materials.