Stylistic Models Research Articles

La figura del periodista en el nacimiento del film noir. Stranger on the Third Floor (1940, Boris Ingster)

This article summarises the results of an investigation into the figure of the journalist and the importance of journalism in early film noir in the United States. To this end, we analyse the film Stranger on the Third floor (1940, Boris Ingster), a low budget feature (a so-called B-movie) produced by RKO. This film should be considered the first full-blown example of the US film noir genre and in it, the press and the carácter of the journalist are key to understanding its plot, internal narrative, and even the structure of the film. Here, we propose a three-fold análisis encompassing the historical context, plot, and form of the film to examine how Boris Ingster and the RKO cinematic production team succeeded in making Stanger on the Third Floor into a stylistic model for US film noire in which journalism plays a key role.

Необарочное концертирование в произведениях российских композиторов последней четверти XX века

The relevance of the stated topic is determined by the significance of neo-Baroque trends in the 20th century as a means of support for the high humanistic traditions that shaped classical musical art. In the research methodology, the authors rely on the general theoretical principles concerning the baroque concertos developed in the Russian musicological tradition (Yuri Kholopov, Natalia Zeifas, Svetlana Bakuto, Svetlana Goncharenko, etc.), as well as on the typology of compositional models in the contemporary concerto genre proposed by Irina Grebneva. A comparative method, applied to such historically distant phenomena as the baroque and neo-baroque styles, as well as to individual composers’ interpretations of the baroque form-generation is used. The article examines for the first time the group of concerti grossi composed during this period, and carries out a comparative analysis of them on the level of an integral organization, interpretation of the orchestra and the concerto form. The archetypal and kenotypic compositional models of Sofia Gubaidulina, Alfred Schnittke, Rodion Shchedrin and other composers who have provided innovations to similar 18th century stylistic models are systematized. By disclosing the general and the particular aspects in the interpretation of the principles of concerto performance, their interaction with the features of theatricality and meditative-vs.-conflicting symphonic dramaturgy, the author demonstrates that the concerti grossi composed during the time period between the 1970s and the 1990s reflect the multipolarity of the neo-baroque perspective of the modern world.

Сопоставительный анализ русскоязычных и франкоязычных рекламных слоганов в контексте их коммуникативно-прагматических особенностей

The study aims to identify and compare the communicative and pragmatic features of Russian-language and French-language advertising slogans in the context of their semantic-stylistic and linguocultural specifics. The paper examines the semantic-stylistic features of advertising slogans in Russian and French in the framework of comparative analysis, reveals the relationship between the semantic content, the choice of stylistic models of the representation of slogans and their linguocultural propositions. The study is novel in that it is the first to analyse the communicative and pragmatic features of Russian-language and French-language advertising slogans in the context of considering their semantic-stylistic and linguocultural specifics. As a result, it was proved that advertising slogans are characterised by both universal communicative and pragmatic strategies (attraction, persuasion and suggestion, etc.) and differential features (in particular, the strategy of “soft” influence on the audience is peculiar to French-language slogans, while the strategy of “active” influence is peculiar to Russian-language ones).

Capriccio for piano and orchestra by I. Stravinsky (between baroque and modern style models)

The object of the study is the work of I. F. Stravinsky of the neoclassical period. The subject of the study is Capriccio for piano and Orchestra, which is a vivid example of the manifestation of the composer's neoclassical approaches. The purpose of the work is to identify the principles of the correlation of "old" and "new" stylistic models in this essay. The research involved theoretical and empirical research methods, including analysis, generalization and systematization of scientific sources, stylistic analysis of I. Stravinsky's Capriccio for Piano and Orchestra. As a result of a detailed examination of the first part of the composition, some features of the figurative structure, form formation, intonation, harmonic language, texture are revealed. When considering Stravinsky's work, the main attention is paid to the composer's practical mastering of musical dialects of the past and present. In particular, a detailed analysis of the first part of the Capriccio makes it possible to detect manifestations of musical experience of both past eras – Baroque, classicism, Romanticism, and modernity (first of all, at the level of pitch and metrorhythmic features of the work). It is concluded that, taking as a basis the compositional idea of a baroque concerto, assimilating stylistic models of various epochs within one composition, Stravinsky creates an independent, modern composition, which is one of the variants of the composer's "neoclassical" reading of the concert genre.

Read Until You Understand: The Profound Wisdom of Black Life and Literature

Read Until You Understand: The Profound Wisdom of Black Life and Literature

Worlds apart? Testing the cultural distance hypothesis in music perception of Chinese and Western listeners

According to the cultural distance hypothesis (CDH), individuals learn culture-specific statistical structures in music as internal stylistic models and use these models in predictive processing of music, with musical structures closer to their home culture being easier to predict. This cultural distance effect may be affected by domain-specific (musical ability) and domain-general individual characteristics (openness, implicit cultural bias). To test the CDH and its modulation by individual characteristics, we recruited Chinese and Western adults to categorize stylistically ambiguous and unambiguous Chinese and Western melodies by cultural origin. Categorization performance was better for unambiguous (low CD) than ambiguous melodies (high CD), and for in-culture melodies regardless of ambiguity for both groups, providing evidence for CDH. Musical ability, but not other traits, correlated positively with melody categorization, suggesting that musical ability refines internal stylistic models. Therefore, both cultures show musical enculturation in their home culture with a modulatory effect of individual musical ability.

Chekhov’s Gull

Chekhov’s Gull

Russian Visual Art during the Last Third of the 16th and Early 17th Century: Problems of Periodization

Russian figurative art of 1560s — 1600s is an important phenomenon about which researchers still have a vague idea. When reconstructing the process of formation and change of stylistic models characteristic of the era, one has to select carefully the artifacts that can demonstrate this evolution. As a working solution to the problem, the author proposes to make sequences of pieces selected not arbitrarily, but according to certain principles. We mean formation of compact groups of precisely dated metropolitan monuments possessing typological, thematical and technical unity. In our case, these are, firstly, embroidered shrouds (epitaphia) with a scene of the Lamentation of Christ, and secondly, book engravings depicting the authors of biblical texts. Comparison of images within each pictorial series and juxtaposition of the results obtained, which seem to generally coincide, make it possible to give a preliminary periodization of court art of this era. In future it should be verified by using monuments which belong to other forms and media of visual arts.

ОГЛЯД ТА АНАЛІЗ РЕЗУЛЬТАТІВ ІНТЕРВ'ЮВАННЯ З УКРАЇНСЬКИМИ АРХІТЕКТОРАМИ ПРАВОСЛАВНИХ ХРАМІВ ТА КОМПЛЕКСІВ

The basis of the article is the material of the author's dissertation research on the topic «The Evolution of the Architecture of Orthodox Churches and Complexes in the Period of Independence of Ukraine.» As the title indicates, the article deals with the results and analysis of interviewing modern sacred architects of Ukraine. The time of Ukraine's independence was selected as the boundaries of the study, since the country, freed from the Soviet anti-religious policy, got a chance to restore and create new Ukrainian principles, traditions and trends of sacred architecture. As part of the research, interviews were conducted with 21 working sacred architects in Ukraine, a questionnaire was prepared with questions to architects that touch on all the main topics from the beginning of a career and the first object to a personal design method and the future of Ukrainian temple construction. A detailed analysis of the results of the survey is presented in the article in the form of two schemes-tables. During the work on the article, for the first time, a list of architects was compiled by region, whose main or partial activity is related to the design and restoration of Orthodox churches and complexes in the territory of Independent Ukraine. As part of the interviews, some of the architects arranged tours of the author's objects during face-to-face meetings; field survey of these objects and photo-fixation were carried out, part of which is presented in the article in Figure 3. As a result of compiling an architectural portrait of each of the architects, the following stylistic principles of modern Orthodox churches and complexes of Independent Ukraine were deduced: direct imitation of classical architectural styles; interpretation of classical architectural styles; renewal of classic styles with modern materials and techniques; complete departure from classic styles; search for a new stylistic model of the Ukrainian temple. The impact of the work of sacred architects on the formation of modern Ukrainian architecture was also determined.

Opposition in ecological discourse: An ecostylistic scrutiny of speakGreen ecological posts

Abstract This article explores the posts with ecological concerns published by the community organization speakGreen on its website and Facebook page. The analysis falls within the aims and scope of ecostylistics, and is undertaken by applying Lesley Jeffries’ stylistic model of opposition. The main research purpose of this article is to identify the stylistic strategies promoting beneficial stories and those controverting destructive stories, in Arran Stibbe’s terminology. A broader research purpose is to assess whether the stylistic model of opposition can fruitfully be utilized to examine ecologically-oriented short texts and the non-literary text type of the speakGreen post. This ecostylistic study firstly demonstrates that unconventional opposites are more effective than conventional opposites in conveying beneficial stories, since their unexpected contrasts surprise the speakGreen website and Facebook users. Secondly, the study proves that two structural triggers of opposition, namely negation and especially parallel structure, are the most frequent in the sample of posts under investigation, due to the stylistic and discursive characteristics of the speakGreen post text type. The sample was also found to feature: (1) The visual trigger of green and red color-coding, which indicates contrast between beneficial stories and destructive stories; (2) Such stylistic devices as foregrounded end-focus and phonological parallelism. All these stylistic traits contribute to making the posts articulate texts relaying refined ecological messages in very few words.

STYLISTIC DIVERSITY OF ALTERNATE-HISTORICAL LITERARY TEXTS

The article explores the stylistic diversity of alternate history literary texts on the example of works belonging to different national literatures, namely A. Anikin's novella «Death in Dresden», F.K. Dick's novel «The Man in the High Castle» and K. Newman's novel «Anno Dracula». In the course of the analysis, the following problems have been considered: why the variety of styles is characteristic of the alternate history genre, whether the stylistic models of the classical and fantastic types of alternate history novels differ, thanks to which method of narrative organization a sense of narrative authenticity is created, and in which cases the reader immediately manages to understand that what is written is fiction. The results can be used in the further development of the typology of alternate history fiction and the identification of trends in the development of the modern literary process. The article uses typological, structural and cultural-historical methods of literary analysis.

Linking Emotions to Surroundings: A Stylistic Model of Pathetic Fallacy

This article aims to provide a stylistically founded model of pathetic fallacy (PF hereafter). Pathetic fallacy is a Romantic literary technique used in art and literature to convey emotions through natural elements. This technique has been researched mostly from a literary viewpoint, but no linguistic model exists to define it. It is difficult to identify it precisely or consensually because definitions and uses vary, and it is often associated with other techniques (i.e. personification). Despite those inconsistencies, PF is likely to be taught as part of the Department for Education subject content in the English National Curriculum for students studying English Literature at GCSE and A Level. I thus conducted a survey of English teachers to collect data on PF, and based on their answers and suggested texts, created an updated stylistic model of PF using a combination of (cognitive) stylistic frameworks. The model defines PF as a projection of emotions from an animated entity onto the surroundings. I identify three ‘linguistic indicators’ of PF in my corpus: imagery, repetition and negation. I draw on metaphor research to further analyse the metaphorical nature of PF and its effects in texts from my corpus. Four effects of PF are identified: communicating implicit emotions, building ambience, building characters and plot foreshadowing.

Blitz Vision: Development of a New Full-Electric Sports Sedan Using QFD, SDE and Virtual Prototyping

In this paper, industrial design structure (IDeS) is applied for the development of two new full-electric sports sedan car proposals that go by the names Blitz Vision AS and Retro. With a deep analysis of the trends dominating the automotive industry, a series of product requirements was identified using quality function deployment (QFD). The results of such analysis led to the definition of the technical specifications of the product via benchmarking (BM) and top-flop analysis (TFA). The product architecture was then defined by making use of a modular platform chassis capable of housing a variety of vehicle bodyworks. The structured methodology of stylistic design engineering (SDE) was used. This can be divided in six phases: (1) stylistic trends analysis; (2) sketches; (3) 2D CAD drawings; (4) 3D CAD models; (5) virtual prototyping; (6) solid stylistic model. The chassis of the CAD model was verified structurally by means of FEM analysis, whereas the drag coefficients of the two vehicle proposals were compared with one of the main competitor’s vehicles via CFD simulations. The resulting car models are both aesthetically appealing and can be further developed, leading eventually to the production stage. This proves the effectiveness of IDeS and SDE in car design.

Style and Reader Response. Minds, Media, Method

Style and Reader Response. Minds, Media, Method

Stylistic Analysis of Coelho’s novel The Alchemist

Style can be defined as the way language is used in a given context. Literary style can be defined as the linguistic patterns chosen by a particular author intentionally or unintentionally among all of the other options that are not chosen by her/him. The focal point of the study is to do a stylistic analysis of The Alchemist (1993), written by famous Brazilian writer Paulo Coelho, which is the most influential novel with its profound thoughts and remarkable artistry. The novel has a unique narrative structure and profound symbolic meaning. As the research is theoretical, analytical, and descriptive in nature, close reading text-based analysis is applied in the analysis of the novel. The theoretical framework for the present study is a stylistic model based on linguistic and stylistic features proposed by Leech and Short (2007) that have been applied. They described a list of different categories; lexical categories, grammatical categories, figures of speech, coherence, and cohesion, but the present study focused on only two categories; lexical categories and grammatical categories. The researcher used a “mixed approach” for the study. The researcher used a secondary source of data collection. The present study used a non-random sampling design. Thus, in this study, the researcher has done a stylistic analysis of the novel and has presented how academic readers can better understand the writer’s use of different literary elements and how meanings are constructed from a specific novel to reveal its themes.

Ballet "Sketches" by A. Schnittke: on the problem of interpretation of Gogol's characters

The research is devoted to the study of the musical interpretation of the heroes of the "Petersburg Stories" and the poem "Dead Souls" by N. Gogol in the ballet "Sketches" by A. Schnittke. The musical characteristics of Gogol's characters in the ballet are considered from the standpoint of ladoharmonic, rhythmic, timbre, texture features. The stylistic context of each number of the ballet cycle is analyzed in the aspect of the technique of polystylistics. Playing with stylistic models in the field of genre, form, and musical language contributed to the expansion of space-time relations and the enrichment of the figurative sphere of ballet. Due to the multi-component nature of the latter, the compositional and dramatic aspects of the ballet cycle are highlighted, based on the principles of extended expositionality, bright contrast, and distinctive characteristics. The study of the musical characteristics of the characters is carried out for the first time and is carried out from the standpoint of the individual characteristics of the Schnittke style. The author's handwriting of the composer is guessed not only in the use of polystylistic means, but also in the methods of displaying Good and Evil, "base" and "sublime". The unattractiveness of the personal qualities of Gogol's characters was clothed in an attractive mask of smash hits. The cartoon waltz, hyperbolized tango, gallop, mazurka became the symbol of the smash hit. The use of a genre stereotype to denounce evil is also observed in the Second Violin Sonata, Concerto grosso No. 1, the cantata "The Story of Dr. Johann Faust", the ballet "Peer Gynt", etc. Conclusions are drawn about the uniqueness of the musical material of each Gogol hero in the context of Schnittke's individual author's approach.

Songs, Rhymes and Stories as Linguistic Tools for Language Development

From time immemorial, songs, rhymes, and stories have always been part of human society that portray many aspects of the cultural heritage of many people. Thus, they portend to be important devices in educational development, especially in terms of language acquisition. The linguistic features in these three genres of oral literature make it possible for language to be learnt in a very enjoyable, pedagogical and natural manner. This study was carried out to bring out the peculiar linguistic features in children’s oral literature with the aim of describing how songs, rhymes, and stories aid language acquisition and learning. The data for the study are eight (8) songs, seven (7) rhymes, and two (2) stories randomly selected from some English reading materials. Linguistic Stylistic Model and Halliday’s Systemic Functional Grammar formed the bases for the analysis. The findings of the study show that composers of children songs, rhymes and stories strategically deploy language to enhance children’s skills in spellings, pronunciations, identifications of words, and arrangement of words into meaningful sentences. The study concludes that songs, rhymes, and stories are useful tools to introduce children to a language and to make the acquisition and learning of such a language easy with fun, activity and motivation.

A COGNITIVE STYLISTIC STUDY OF SELECTED SKITS ON AFRICAN SOCIAL MEDIA/ UN ESTUDIO COGNITIVO ESTILISTICO DE SKITS SELECCIONADOS EN LAS REDES SOCIALES AFRICANAS

This research aims at examining how the cognitive stylistic model of analysis can be useful in the interpretation of African skits. The analytical process reveals how viewers make interpretive connections between the text-world and the real world, by bringing their experience and background knowledge to interact with the text. Two skits – one Nigerian and one Ghanaian – were purposively retrieved from YouTube for the analysis, using a qualitative approach within the cognitive stylistic framework of Text World Theory. We discovered a congruence of the cognitive faculty, experience, and epistemic perceptions leading to the construction of the discourse worlds of the skits.

Creative dimensions of dniprovs's underground artists: Volodymyr Bublyk and Anatoly Sologub

The purpose of the article is to analyze the creative layer of the little-known Dnipro underground representatives in Ukrainian art criticism Volodymyr Bublyk (1950–2007) and Anatolii Solohub (1953–2014). As the methodology of scientific research was used an art history analysis based on the complex systematization, comparison, and generalization. The scientific novelty is in the introduction into scientific circulation of a significant part of the graphic heritage of Volodymyr Bublyk and Anatolii Solohub in the Dnipro region underground context of the 1980 s – 2000 s. Conclusions. An analysis of Volodymyr Bublyk and Anatolii Solohub’s work reveals a number of important aspects for characterizing the Dnipro “art of resistance”. The latter was formed in the conditions of a “closed” city, the impossibility of official exhibiting due to an alienated attitude towards the dominant ideology in the artistic process of that time. For many artists, these factors often became the cause of the existential catastrophe of every creative person. With contemporaries-brothers Volodymyr Loboda (1943), Serhii Aliev-Kovyka (1956), Oleksandr Nemiatyi (1954), the above-mentioned masters were related by the chosen format of radicalism, which was truly underground. However, the methods of creative communication of each person differed depending on the acquired life experience, the available body of knowledge, and personal temperament. The paintings of Volodymyr Bubluk combine the expression of images in a coloristic system that goes back to the aesthetics of the Fauves. A similar stylistic model of the master's painting can be delineated by the category of intuitive expressionism. The works of Anatolii Solohub are closely related to the folk tradition in their subject matter. The inner tension of his compositions, combined with unrestrained dynamics, strives for visual communication with the viewer. Key words: Dnipro underground, plein air, painting, graphics, sculpture, folk painting, art society "Steppe".

Style evolution of Sting’s creativity

The purpose of this article is to outline the evolutionary vector of the style evolution of G. M. T. Sumner’s (Sting) creativity.
 The methodology. The study is based on the comprehensive use of systematic, historical and cultural approaches, as well as methods of periodization and genre-style analysis.
 The results. The article analyzes the work of one of the recognized masters of world popular music — English musician G. M. T. Sumner, better known by the stage name Sting.
 The topicality of the chosen topic is due to the artistic and socio-cultural significance and genre and stylistic diversity of Sting’s creative work, which in the research space of modern musicology still remain poorly understood.
 The article considers the preconditions for the formation of Sting’s authorial style, reveals the key stylistic trends that shaped his individual authorial style, and highlights the personal and professional-artistic criteria of his creative activity. Embodying in one person the guise of a composer, poet, singer, guitarist and actor, G. M. T. Sumner (Sting) is a shining example of a modern universal artist. He illustrates by his own example typical genre-style metamorphoses of mass music of the late XX — early XXI century, revealing new paradigms of modern world music art.
 The stylistic evolution of Sting’s creativity is substantiated in accordance with the proposed concept of periodization of his creative activity. The main periods of the artist’s creative activity are outlined: 1) early (1977–1990); 2) mature (1991–2012) and 3) late (since 2013). The stylistic priorities inherent in each of these periods are described. The uniqueness and originality of Sting’s authorial artistic style lies in the peculiarity of his artistic thinking, which to some extent is based on the concept of stylistic pluralism.
 The stylistic evolution of Sting’s works represents his appeal to various stylistic models of modern mass music (rock, jazz, pop, reggae). At the same time, the artist’s stylistic search goes far beyond popular music, extending to the spheres of academic and ethnic musical traditions.
 The scientific novelty of this article is that this study for the first time reveals the stylistic evolution of Sting’s works, its periodization and identifies the main stages, identifies the leading genre and style features of the artist’s works and the characteristics of his artistic thinking.
 The practical significance of the article lies in the possibility of using its materials and conclusions in further research on this issue, in performing and pedagogical practice (in the courses “Music of the XX century”, “History and theory of modern music”, “History of rock music”, etc.).