Stylistic Features Research Articles

Размышления над новым изданием переписки Л.Н. Толстого и Н.Н. Страхова

The review is devoted to reflections on the new edition of Correspondence between two outstanding people, Leo Tolstoy and Nikolai Strakhov. The review article touches on the history of the publication of the Correspondence, the differences between editions and the features of the latest edition. The author examines not philological or stylistic features, but mainly the philosophical presentation of Nikolay Strakhov and Leo Tolstoy within the latest edition. The author notes both the advantages and disadvantages of the identified approach to considering the worldview of two correspondents. The review notes as a merit of the edition the high quality of the research work, the inclusion of S.A. Tolstoy’s letters from S.A. Tolstoy. At the same time, the problematic part of the new edition is the active inclusion of the subjective historical and cultural commentary context and value judgments contained both in an unnecessarily cumbersome introductory article and in a number of comments on individual letters.

A Digital Animation Generation Model Based on Cycle Adversarial Neural Network

This paper proposes a digital animation generation model based on Cycle Adversarial Neural Network (CycleGAN). Compared with the classical CycleGAN, this research presents a multi-attention approach to enhance the network’s generalization. Specifically, a style enhancement module and a style cross-attention mechanism are introduced into the generator network structure, which enables the model to better parse the structural information of the content image and realize the accurate matching of content features and style features. Furthermore, the introduction of a multi-scale discriminator with a fused attention mechanism enhances the preservation of content information from the source image in the output animated image. The experiments conducted in this study demonstrate that the model proposed in this paper exhibits superior performance in generating digital animation. This model not only enhances the realism and variety of the generated effects, but also achieves significant improvements in the coherence and stability of long time-series animation. The contribution of this paper lies in the introduction of the multi-attention mechanism, which enhances the generalization of the network and is of great theoretical and practical significance for the development of the field of digital animation generation.

TSGAN: A two-stage interpretable learning method for image cartoonization

Interpreting style transfer methods and generating high-quality style images are two challenging computer vision tasks. However, most of the current image style transfer methods are inexplicable, and their image cartoonilation performance is also not satisfactory due to the complex lines and rich abstract features of cartoon style. To alleviate these two issues, in this paper we propose a novel two-stage interpretable learning method, the two-stage generative adversarial network (TSGAN), for image cartoonization. Particularly, we first divide the generative model into a content learning stage and a stylization stage. The advantages are twofold. The first is that the finely differentiated two-stage image generation model has better interpretability and easy understanding. The second is that TSGAN can adjust the content and style details of the generated image. We further propose a Cartoon Image Enhance (CIE) module for dynamically sampling salient cartoon texture details from training data to generate cartoon images with higher quality. Experimental results show that our TSGAN is effective when compared with four representative methods in terms of visual, qualitative, and quantitative comparisons and user research.

Wreath of sonnets “Movement” by Yu. V. Linnik

Yuri Linnik is an outstanding poet, scientist, philosopher, literary critic, culturologist, art critic, writer, creator of many museums, teacher and member of the Writers’ Union of Russia, whose work has left a deep mark on the world of modern poetry. The focus of our attention is the wreath of sonnets “Movement”, which helps to consider some thematic, stylistic and versification features of sonnets of Yu. V. Linnik of recent years. An analysis of the artistic and expressive means, structure and main ideas embodied in these poems, as well as comments, allow a deeper understanding and appreciation of the sonnet work of the poet in 2015–2018. The wreath of sonnets “Movement” is a vivid example of Yuri Linnik’s skill in using artistic techniques and creating a special style. He masterfully plays with language and rhythm, achieving deep emotional richness and expressiveness. In general, the wreath of sonnets “Movement” by Yuri Linnik is imbued with philosophy, deep images and harmony of nature and space, which makes his works real works of art inspiring for readers.

A Comparative Study on the Character Modeling of Chinese Shadow Play and Malaysian Wayang Kulit

The shadow play cultures of China and Malaysia have a long history and rich cultural connotations, both of which belong to folk art forms. Due to the origin of shadow play culture and the differences in cultures between the two countries, the character designs of shadow play have formed unique regional cultures. This article mainly compares the character styles of shadow play between the two countries, summarizes the similarities and differences in artistic forms of shadow play, and showcases the beauty of different styles. In Chinese shadow play culture, the modelling of characters is usually related to historical stories or myths and legends. The modelling of characters includes the modelling techniques of Paper Cuttings and the colour shading of New Year pictures. In Malaysia's shadow play culture, shadow play is called "Wayang Kulit" and was introduced in Java, Indonesia. Generally, it portrays mythological stories about Hinduism, which is closely related to Java, Indonesia, which originated mainly from Hinduism. Regardless of the culture, the unique shapes and characteristics of shadow play characters can attract the audience's attention, show cultural value in character design, and help the audience better understand and feel the meaning of the characters in shadow play. Finally, through research, promote cultural exchange, dissemination, and promotion of shadow play between the two countries.

The genre of the piano concerto in John Adams’s work on the example of “Must the Devil Have All the Good Tunes?”

Statement of the problem. The genre of the instrumental concerto is an important part of the famous American composer John Coolidge Adams’s oeuvre. This is evidenced by the popularity of his concertos among performers and the ongoing interest of researchers in them. However, the composer’s piano concertos, especially the Third Concerto titled “Must the Devil Have All the Good Tunes?”, remains largely unexplored, which prevents the elucidation of the principles of interpreting the genre. Objectives, methods, and novelty of the research. The purpose of the study is to reveal the specifics of the genre and stylistic interaction in J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?”. For the first time the genre, stylistic, structural and dramaturgical features of this composition become the subject of analysis. The methods of structural and functional, genre and stylistic , and comparative analysis are used in the study. Research results and conclusion. The analysis of J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?” indicates a combination of classical principles with features of minimalism and elements of jazz (ragtime, swing and other) and rock and roll. The classical principles are evident in the three-part structure of the cycle, the use of sonata form in the first movement and variation form in the second, and the orchestration that predominantly adheres to academic traditions. At the same time, there are the features of music poem genre, an openness of forms that appeal to the late-Romantic tradition, alongside with fragmentation inherited in contemporary compositional approaches. These aspects are counterbalanced by timbre dramaturgy, which embodies the idea of continuous development through the gradual addition of new instruments and registers, from the lowest to the highest. Minimalist features are evident in the repetitiveness, the significant role of ostinato rhythms, in the structure of the theme of the second movement, and the use of variation form with the addition of new episode. They also interact with baroque stylistics, as evidenced by the use of short trill-like motifs reminiscent of ornaments found in French harpsichord music. Jazz features are embodied on the genre basis of ragtime, funk, and swing as the extensive use of syncopated formulas, accents, polyrhythmic combination of parts, quasi-improvised elements and the walking bass in the piano part, as well as the ensemble techniques borrowed from jazz-bands. The inclusion in the orchestra the bass guitar and the piano sampler with “Honky Tonk” timbre refers to the rock music, to the ragtime tradition and the honky-tonk bars’ music-making. The programmatic aspect of the Concerto is realized through the stylistic interaction between the Classical embodying tradition, balance, and restraint, and the “diabolical” embodying fearlessness, freedom, and boldness associated in the Concerto with jazz, rock, and pop elements. Therefore, these aspects define the stylistic and dramaturgical uniqueness of J. Adams’s Third Piano Concerto, “Must the Devil Have All the Good Tunes?”.

AUTHOR`S APPROACHES TO DEPICTING THE PROTAGONIST`S CHARACTER THROUGH THE PRINCIPLES OF EXPOSITION IN FEATURE FILMS

The article examines the author's approaches to the construction of drama used in the presentation of plot events in the first act of feature films. The main subject of the study is the principles of building exposition in feature films as an author's approach to portraying the protagonist's character. The purpose of the study is to outline the approaches to the construction of the first act of a feature film according to the degree of authenticity of the protagonist's character portrayed by the author. The research methodology is based on the search method (for collecting information on the chosen topic), the deductive method (for identifying certain stylistic features of films and principles of the first act), the comparative method (for identifying the peculiarities of the author's methods of constructing expositions) and the method of generalisation (for writing conclusions). The results and conclusions of the work are the allocation of approaches to the construction of the exposition (first act) depending on the degree of naturalism of the protagonist's character. The author's desire to build the exposition depending on the catalyst problem narrows the range of manifestations of the protagonist's individual characteristics, which creates a certain "artificiality" of the character. In contrast to this approach, authors build characters through the depiction of the protagonist's relationships with other characters or through a detailed depiction of the protagonists' circumstances. These conclusions help to outline an approach to building a naturalistic protagonist character in the first act (exposition) of a feature film and its further development throughout the story.Key words: first act, exposition, feature film style, protagonist character, drama.

A Comparative Study of The Palace of Versailles and Imperial Garden Yuanmingyuan

The Palace of Versailles was constructed in the enchanting city of Paris, while the majestic Yuanmingyuan was erected in the imperial capital of Beijing. Built during the same era, they serve as splendid exemplars of Western and Eastern royal gardens and architectural marvels respectively. The purpose of this paper is to compare the Palace of Versailles and the Imperial Garden Yuanmingyuan, two historic royal palaces, and discuss the differences in their construction background, planning layout, architectural style and garden features. Because of the disparity in the personalities of the two emperors, the palace possesses its own distinctive attributes. The Palace of Versailles is famous for its magnificent architecture and French gardens, which demonstrated the power and luxury of Louis XIV; the Yuanmingyuan, on the other hand, is famous for its unique Chinese garden style and exquisite architectural complex, which reflects Emperor Kangxis love and pursuit of traditional Chinese culture. By comparing the two palaces, we can better understand the differences in architecture and garden design across diverse cultural backgrounds, as well as their profound impact on architecture styles, landscaping techniques and cultural heritage.

ОФІЦІЙНО-ДІЛОВИЙ ДИСКУРС І ОФІЦІЙНО-ДІЛОВИЙ ТЕКСТ: ДИФЕРЕНЦІАЦІЯ ПОНЯТЬ В АСПЕКТІ КОМУНІКАТИВНОГО СИНТАКСИСУ

In this work were established parameters of official-business discourse and official-business text, the functions of the addressee and the addressee, the relationship between them are defined. The general development of linguistics contributes to changes in modern business administration. That is why today one of the important linguistic problems is the research of the syntax of the official business style. Text is an abstract formal construction of certain grammatical models, and official business discourse is various types of actualization of this construction within the limits of extralinguistic factors. The main communicators of the official business text and official business discourse are the addressee and the addressee. Discourse is a situational communication using text due to the desire of the addressee to convey the necessary information to the addressee. Official business text is a means of conveying business and professional information. The texts of the official business style of speech contain information about the facts and phenomena of social life in the evaluative, legal and professional plane. The social direction of the official business text and discourse brings them closer together, assimilates them: the text of a business paper conveys and explains the real state of affairs in accordance with the specific moment of speech and can be interpreted as an official business discourse. Through official business discourse and official business text, business communication is carried out: transmission (oral or written) of official information by the addressee for the purpose of its perception, analysis, preservation and possibility of external use by the addressee. The main features of official business discourse are shared with the features of official business text and official business style. These are brevity, compactness (conciseness) of the presentation of information, specificity, clarity, accuracy (unambiguity), clarity (accessibility), minimal use of linguistic means and standardization of the content of what is said, completeness of content and objectivity (impartiality). The concepts of language business discourse and official business text have the following common features: social orientation, influence of non-linguistic factors, in particular innovations, in the spheres of political, scientific, technical and national human life (situational aspect). The use of different types of speech in business papers: narration (autobiography, report), reflection (various types of business letters), description (resolution, order, act, etc.) - emphasizes the stylistic multifunctionality of official business discourse in general.

"Nolite te bastardes carborundorum": Corpus Stylistics and Language of Margaret Atwood's The Handmaid's Tale

This paper investigates the stylistic and linguistic characteristics of Margaret Atwood's The Handmaid's Tale, a novel of Canadian origin. Employing a corpus-based approach, the researcher aims to analyze its stylistic features in-depth, focusing on specific predetermined categories. Quantitative analysis was facilitated through WordSmith 8.0 software, enabling the identification of keywords in context, which serve as indicators of the linguistic style within the selected corpus. Results indicate that the novel employs simple language and concise sentence structures. Moreover, it demonstrates lexical diversity, encompassing various themes with a higher type-token ratio (TTR), indicative of a diverse vocabulary. Notably, there is a notable prevalence of first-person singular pronouns throughout the text. Regarding content word distribution, verbs are the most frequently utilized, followed by nouns, pronouns, adverbs, and adjectives—additionally, the analysis of keywords aids in uncovering stylistic and linguistic elements embedded within the text.

The Genre of Ballet in the Co-Creation of Leonard Bernstein and Jerome Robbins (based on the “Fancy Free” ballet)

The article is devoted to the distinctive features of the works of the American composer Leonard Bernstein (1918–1990) in the ballet genre and the tandem of the music creator and the choreographer. A signifi cant contribution to art was made by the joint work of Leonard Bernstein and Jerome Robbins. The author of the article examines the role of music in the work of the 20th century, the stylistic features relating to this period, the history of the classical dance development in the United States of America and the importance of teamwork between two creators. The previous century was marked by the enrichment of the musical word in the ballet performances context: the orchestra becomes not only a mechanism accompanying dancers, but also a full-fl edged part of the performance. Music acquires specifi city in character and conveys the images of the heroes. In the canvas of the performance one can guess the leitmotifs related to each image, running like a red thread through the entire form of the work. “Fancy free” is a work that occupies a special place in the composer’s creative legacy. Subsequently, the musical language of “Fancy Free” can be found in Leo Bernstein’s future works – the musicals “In the City” and “West Side Story”; the author’s handwriting remained true to the style.

Linguistic stylistic features of epithets in english and uzbek fiction

The purpose of this study is to identify and analyze the linguistic and stylistic features of epithets to reveal its both differences and types in English and Uzbek fiction. Moreover, this paper aims to analyze various types of an epithet which is one of the most common types of literary devices and is an artistic definition that creates a figurative, vivid picture of a concept or object.

Сценичность рассказов Раймонда Карвера

The interest of theater directors in R. Carver’s short stories and their adaptability to the demands of the stage opens up new frontiers for the study of his novellas. The texts meet the demands of the stage/screen due to several features. The writer preferred a “dramatized” way of reflecting reality. The aim of this research is to identify the stage characteristics of R. Carver’s texts. The scientific novelty of the paper consists, on the one hand, in identifying the unique thematic and stylistic features of Carver’s writings, his place in American literature, as well as in the context of world literature, and, on the other hand, the paper expands the boundaries of the literary canon, enriching the cultural experience of researchers in Russia. The uniqueness of the research lies in advancing our understanding of the literary genre. By expanding the boundaries of the genre, clarifying its historical evolution, analyzing reader reception, exploring intertextual connections, and assessing literary influence, such a paper makes a valuable contribution to the field of literary studies. The research findings have shown that R. Carver’s experiments with drama and screenplays were reflected in his prose works and manifested themselves in the creation of the “stage story”. The elements of drama used in short stories help recreate an atmosphere of mystery and arouse interest in what is happening off-screen. Dramatic techniques are found at various levels of the narrative: in the composition of the material, in the construction of dialogues of the stories, in attention to the inner life of the characters, expressed in the external, for example, in the description of gestures.

Reminiscence as a Technique for Creating a Work of Art in Creativity of Women Artists of Russia in the Late 19th and Early 20th Centuries

The article is devoted to the formation of female professionalism in artistic creativity, which demonstrates a direct connection with socio-cultural changes in Russia at the turn of the 20th century. The author analyses one of the most important characteristics of women’s artistic creativity — the stylistic features of brushwork based on the combination of the individual and the imitative. It is traced how various artistic infl uences in Russia and Western Europe are manifested in the work of women artists.

Development points of the derivation process related to Nakhchivan dialects and accents (based on written and oral literary and artistic examples)

In linguistics, the study of the characteristics of acquisition of dialects is of particular importance. In particular, the study of dialects based on written and oral literary examples plays an important role for research in this field. Until 1920, Azerbaijani dialects played a fundamental role in the development of the literary language of Azerbaijan. The role of dialects in enriching the lexicon of the literary language is irreplaceable. Thus, dialect words have become the source and base of the lexicon of the literary language. Now this process is going in another direction. In other words, the literary language affects dialects and changes them, creates conditions and grounds for the reduction and disappearance of the expressive function of dialect words. But for now, dialects remain as an independent language unit in the national language. As the literary language affects the dialects, their phonetic, grammatical systems and pronunciation rules also change. They lose their unique features and approach the literary language. The research article deals with the creation of words related to dialects in prose. Word formation of both suffixes is proved by selected examples from the literature. In conclusion, let’s note that word-forming affixes have more stylistic features in works written in spoken language, and their study is important from a philological aspect.

Characteristics of film music functions in the works of Ukrainian composers of the second half of the 20th century

This article investigates the characteristics of music functions in films from the perspective of their impacts on the development of the cultural and social spaces of the modern world. It highlights the main tasks of film music in the second half of the 20th century, as well as the directions and trends that shaped its evolution. It is argued that these processes were particularly noticeable during this period and stimulated the attention of not only practitioners but also theorists — researchers of screen arts, to explore the functions of film music, its stylistic and genre-specific features, and principles of application in films. The latest trends are examined based on individual examples — works of Ukrainian composers, whose activities were associated with the development of cinema in Ukraine in the second half of the 20th century, which, in our view, has been insufficiently studied. As a result of the research, it has been established that the dominant function of both off-screen and on-screen music in the cinema of Ukraine during the second half of the 20th century is to complement the video sequence and sound, as well as to enhance the emotional component of the visual image. Among the important principles of using music in this context are consistency in unveiling the main idea of the screen work, the thoughtfulness in intensifying conflict, and harmonizing the overall plot line. The fundamental principles of composer’s creativity, aimed at the appropriate implementation of the music function in the cinema of Ukraine in the second half of the 20th century, have been substantiated. The main functions of music in Ukrainian cinema of the second half of the 20th century, revealed in the activities of composers from this period, have been summarized, allowing us to trace the practical implementation of models for the interaction of music and imagery in films.

The Mode Exploration of Combining Chinese Traditional Culture Content with Computer Aided Instruction in Moral Education of Colleges and Universities

According to the characteristics of learning style, this paper classifies the traditional cultural classics according to the school. Audio, video, text, pictures and other forms are collected to match students' learning styles. The system uses the three-layer structure of My Batis+ Spring MVC, and uses Ajax+ Free marker+ JS technology, MySQL database, Apache Tomcat8 manager, Eclipse development platform, WebStorm and other network front-end development tools. In addition, auxiliary tools such as Camtasia Studio and PhotoshopCS5 are used to generate prototype systems for traditional culture learning. Its data processing is fast.

Production technique and multi-analytical characterization of a paint-plastered ceiling from the Late Antique villa of Negrar (Verona, Italy)

The research focuses on analyzing the production techniques and materials of a Roman paint-plastered ceiling from a Late Antique Roman villa near Negrar (Verona, Italy), recently uncovered. Stylistic features of the decoration, found in reworked collapse debris during the villa’s excavation, date the ceiling to the original construction phase in the 4th century CE. The paper presents the protocol we adopted for recovering and analyzing the painted decoration of the villa, which was in-laboratory recomposed in its original layout after a meticulous and systematic retrieval of fragmented materials. Microsamples of mortar and pigment were then taken to fully reconstruct the execution technique and raw materials used in the paint-plastered ceiling, detailing the application of the tectorium and pigment preparation. Mortar samples were analyzed to define preparatory layer properties, using various analytical techniques including Transmitted-Light Polarized Optical Microscopy (TL-OM) and Scanning Electron Microscopy with Energy Dispersive X-Ray Analysis (SEM-EDS). Optical reflected-light microscopy detected guide incisions on the preparatory mortar, while Reflected-Light Optical Microscopy (RL-OM) revealed the microstratigraphy of pictorial micro-layers. Micro-samplings of painted decorations were conducted to define pigment palettes, determining their mineralogical composition through X-Ray Powder Diffraction (XRPD) analysis coupled with micro-Raman analyses for the determination of carbon-based compounds. The research aims to establish a comprehensive protocol for future endeavors, integrating archaeological reassembly with precise micro-analyses of pigments and mortars, deciphering the intricate layout of ancient, fragmented decorations. This study is the first of its kind in Northern Italy, overcoming challenges posed by fragmented and reworked artifacts in previous research, enabling detailed analytical studies like those conducted here. Moreover, this study of the paint-plastered ceiling of the Late Roman villa of Negrar aims to provide a new impulse for the knowledge of Late Antique painting techniques and materials, which were only marginally considered within Roman painting tradition so far.

C.OSTİN VƏ İ.ƏFƏNDİYEVİN ƏSƏRLƏRİNDƏ SOMATİK FRAZEOLOJİ BİRLƏŞMƏLƏRİN ÜSLUBİ XÜSUSİYYƏTLƏRİ

Stylistic Features of Somatic Phraseological Combinations in the Works of J.Austin And I.Efendiyev Summary The article is devoted to stylistic features of somatic phraseological combinations in the works of J. Austin and I. Efendiyev. The conducted studies show that somatic phraseological units perform similar functions in the works of the mentioned authors. The functional activity of somatic phraseological units in both psychological and situational signs has a typological characteristic. Key words: phraseology, somatic, emotion, expression, text

Особенности волевой регуляции поведения у осужденных женщин, имеющих наркотическую зависимость

The article presents a study of the features of volitional self-regulation of convicted women with drug addiction in conditions of social isolation. The purpose of the study was to study the characteristics of volitional regulation of convicted women with drug addiction. The subject of the study is the peculiarities of volitional regulation of convicted women with drug addiction. The hypothesis of the study is the assumption that the volitional regulation of convicted women with drug addiction differs from the volitional regulation of convicted women who do not have drug addiction. The study was carried out using the following diagnostic tools:
 – a methodology for studying stylistic self-regulation of behavior (SSP) aimed at the emotional-volitional sphere;
 – the methodology for studying volitional regulation (VVR) is aimed at studying the emotional-volitional and motivational-need spheres of the individual;
 – the “Volitional Personality Qualities Questionnaire” (VQL) technique designed to assess the volitional qualities of an individual.
 60 respondents took part in the study. The subjects were divided into two groups. 30 convicted women with drug addiction were selected for the experimental group. The control group consisted of 30 convicted women who did not have drug addiction.
 The results obtained during the study indicate that convicted women with drug addiction are extremely dependent on the opinions and assessments of others, are unable to independently develop plans and programs of action, and often and uncritically follow other people’s advice. In the absence of outside help, they inevitably experience regulatory failures. The stylistic features of self-regulation of activity reveal uncertainty in a rapidly changing environment; they have great difficulty getting used to changes in life and are extremely dependent on the opinions and assessments of others. They also have a reduced ability to consciously overcome obstacles on the path to their goals and conflict-free behavior; they are characterized by low initiative, independence, suggestibility, and dependence on the opinions of groups.