Stylistic Tendencies Research Articles

Cubism in America: Modernist explorations and domestic concerns

American artists started to become aware and knowledgeable of cubism around 1910 through the galleries of Daniel-Henry Kahnweiler and Alfred Stieglitz, exhibitions like the Armory Show, private collections like Leo and Gertrude Stein and Arthur Jerome Eddy, and publications like The Rise of Cubism and Camera Work. Some of the best and earliest American cubists were Max Weber, Marsden Hartley, Lyonel Feininger, Charles Demuth, H. Lyman Säyen, Stuart Davis and Charles Sheeler. American cubists were very interested in the so-called “salon cubists” or “Puteaux cubists”, such as Fernand Léger and Albert Gleizes. Weber and Hartley developed personally distinctive styles that combine aspects of expressionism and cubism for social observation and personal revelation. American cubism developed two interconnected stylistic tendencies that are particularly American: billboard cubism and precisionism. They are characterized by sharp contours, flattened, emphatically geometric and abruptly juxtaposed forms, smooth and bright surfaces, clear mechanical and industrial references, and references to advertising, packaging, logos and labels. This extremely American sensibility is seen in the work of Davis, Demuth and Sheeler.

Some style tendencies of Hellenism which formed the basis for the pictorial canon of Eastern church rite

The article systematically presents and substantiates the stylistic concept of some unique artistic tendencies of Hellenism, which share a common sacred nature with the pictorial canon of eastern churches. It also proposes updated retrospective artistic principles to reassess the role of these tendencies. This finding allows us to reveal additional roots of the pictorial canon and review the cause-and-effect relationship between the narrative-symbolic-decorative attributes of ancient funeral rituals and the spiritual-philosophical foundations of early Christian art. It suggests filling the gaps in art history and cultural studies within the framework of relevant themes by introducing modeled and unified conceptual-categorical constructions into scientific circulation. The purpose of the research. The main purpose of the article is to rethink and systematize some artistic and stylistic tendencies of the Hellenistic’s era in late antiquity, from which all Eastern church pictorial traditions drew their conceptual and stylistic foundations during their formation period. The methodology. A combination of specialized methods was applied: historical-comparative method for identifying key artistic tendencies; cultural-deductive method for formulating artistic categories; abstraction method for delineating key stylistic features of sacred attributes, as well as for identifying differences and similarities; expert artistic assessment method for theoretical characterization, substantiation, and expansion of conceptual-categorical components; stylistic correlation method for unifying newly discovered stylistic connections of Hellenistic artistic products and the Christian tradition. The combination of the listed methods allows us to reveal the concept of the stylistic basis for the pictorial tradition in the church paraphernalia of the Eastern rite and to systematize the existing authoritative evidence base regarding to origins of the pictorial canon of the Egyptian and Greco-Roman periods. Conclusions. Our analysis shows that in the broad context of the formation of the pictorial canon, peculiar to the churches of the Eastern rite, some artistic trends of the first centuries of the new era turned out to be an unchanging and stable conceptual basis for the pictorial canon in a complex artistic and philosophical coordinate system. Thus, the artistic canon of the Eastern churches, formed between the VI and IX centuries, is nothing more than a borrowed status-functional category for the multi-level gradation of Christian value aspects with specific techniques and means of Hellenistic fine art of the times of ancient Egyptian and Greco-Roman syncretism. Their intermedial nature and appellative character in relation to the Theogony of the ancient world limit the traditional interpretation of the Christian symbolism of the vast majority of canonical images in the artistic plane. The scientific novelty. For the first time our research analyzed the cause-and-effect relationship between canonical Christian stylistic attributes and Greco-Roman and Egyptian features as the ideological basis of the latter for the formative role of the former. It reassessed and re-evaluated some Hellenistic artistic tendencies in terms of their significance and complexity. A number of expanded cultural and art historical concepts and categories of the ancient world are proposed and substantiated.

Late Ottoman Mardin houses: Stylistic tendencies in facade decoration and artistic encounters

Late Ottoman Mardin houses: Stylistic tendencies in facade decoration and artistic encounters

“THE DAY OF WRATH” BY YURII KOSACH: MODERNIZATION OF THE HISTORICAL NOVEL

The novel “The Day of Wrath” by Yurii Kosach is a modernist literary experiment, which reflected genre and stylistic searches of the late 1940s and the features of the individual creative and ideological evolution of the writer. The novel by Kosach attempts to question Polish and Russian imperial views on the events and the era of the Ukrainian Cossack Revolution, as well as to discard established social and religious concepts in favor of a national-cultural one.
 The novelty of Kosach’s literary technique in the novel lies, in particular, in the method of kaleidoscopic arrangement of material chosen by the author, the specific alternation of images and situations, the incorporation of cinematographic elements, and the utilization of the ‘stream of consciousness’ technique. There are elements of baroque, romantic, and expressionist poetics in the structure of Kosach’s novel, and it’s the syncretism of these stylistic trends that underlies the uniqueness of Kosach’s author’s style. His works are marked with ornamentality, complicated associativity, the motif of duality, and the special function of the metaphor. These features bring Kosach’s writings closer to baroque poetics. Kosach’s “Day of Wrath” is also connected with the tradition of the romantic historical novel through the use of typical romantic images, schemes, and situations, which the author attempts to modernize. The expressionistic stylistic tendencies are evident in “The Day of Wrath” at the linguistic level, characterized by fragmentary writing, elliptical sentences, and a deliberate violation of syntax. These tendencies also manifest themselves in the means and techniques used for image and form creation. The paper highlights the characteristics of Kosach’s ideological and literary interpretation of Bohdan Khmelnytskyi’s image. The hetman is portrayed as a historical figure, a "baroque man," and a statesman-demiurge. Yurii Kosach created a sample of the historical novel, resonating with his time and his own historical and literary views. In order to fulfil this task, he updated its content and form, making some changes in genre and narrative canons.

The paper examines the Stations of the Cross installed in the public space of Lviv from the late 20th to the early 21st century in terms of their artistic features and iconography.

The scientific novelty lies in this being the first study of Stations of the Cross in Lviv, wherein the artistic and iconographic features of the works were analyzed, the prototypes of the sanctuaries were identified, primary artistic trends were outlined, and a classification based on form and materials was proposed. All samples were collected and analyzed through empirical research using photographic documentation, visual observation, and description. Additionally, the paper employs methods such as iconographic, semantic, comparative, and cultural-historical analysis. The research covers the Stations of the Cross in the Brukhovychi Forest, on Mount Khomets, at 10 I. Lukasevych Street, 5 V. Symonenka Street, 28A Zahirnyi Street, in parks named after Pope John Paul II, the 700th Anniversary of Lviv, "Bodnarivka," and the "High Castle". It was established that the most widespread stations consist of wooden crosses and reproductions of works by authors such as Joseph Ritter von Fürich, Cesare Secchi, and Luigi Morgari. Research on the stations in the 700th Anniversary Park of Lviv suggests that these works likely replicate the mosaic cycle of the Italian company Demetz Art Studio, with their form mirroring the silhouette of the Novgorod Alexius Cross. The investigation of the "Pietà" station in the context of the Church of the Holy Virgin of the Orthodox Church of Ukraine at 40 Myshuhy Street revealed peculiarities of religious kitsch in Lviv, characterized by a blend of imitation of high Western European Catholic sculptural art and elements of Russian Orthodox architecture, including glossy onion-shaped domes. The analysis of two Stations of the Cross at the High Castle delineated two stylistic tendencies. Stations from 2005 imitate a naive style akin to folk carvings, while samples from 2010-2012 stylistically resemble Stations of the Cross in Lourdes, Stradch, Roshachi, Sambor, among others. Additionally, it was noted that its particularities include certain disproportions and unnatural poses, departing from traditional iconography by avoiding the depiction of negative characters. Research into the sacred space of the Royal Spring, where the Stations of the Cross are located, revealed signs of religious kitsch, namely semiotic and stylistic inconsistency, the presence of sanctuaries from various cults, imitation of high art, and low professional quality in most works.

ФОРТЕПИАННОЕ ТВОРЧЕСТВО Р. ХАСАНОВА В КОНТЕКСТЕ СТИЛЕВЫХ НАПРАВЛЕНИЙ МУЗЫКАЛЬНОГО ИСКУССТВА ВТОРОЙ ПОЛОВИНЫ XX ВЕКА

The article is devoted to a significant date — the 75th anniversary of the birth of the famous Bashkir composer Rim Khasanov, whose piano work has long remained outside the scope of musicological analysis. The composer's work in the field of piano music coincided with the time of changes in the country's musical art, reflected in a new attitude to folklore. During these years, the composer's thinking was shifting towards mastering deeper layers of folklore sources, which was facilitated by the formation of a new view of the surrounding world, leading to a special approach to the selection of means capable of adequately reflecting modern problems of being. In addition, the XXth century opened up the aesthetics of jazz to the music of Europe and Asia, as well as the inclusion of folklore material into the context of European and jazz traditions. The process of penetrating innovative compositional means in the works of Bashkir composers took place with due regard for national specifics. For the piano art of Bashkiria of the second half of the XXth century, the interest in jazz stylistics was quite natural. This interest was most clearly manifested in R. Khasanov's "Concertino for Piano and Orchestra", which for the first time synthesized Bashkir intonation vocabulary and classical foundations of form construction with specific features of jazz aesthetics. At the same time, the works of the 1970s – 80s expressed a desire to bring the musical language closer to the intonations of the human voice. This trend was reflected in the piano cycle "Temperaments" by R. Khasanov. The works created by the composer in the second half of the last century reflected the stylistic tendencies of the era and were at the forefront of the development of Bashkir piano art of those years.

Источники к реконструкции творческой биографии П. Б. Ламбина

The present article is devoted to analysis of the sources for the reconstruction of the artistic biography of the S. Petersburg-based theater artist Piotr Brisovich Lambin (1862–1923). The research makes use of methods of reconstruction, the biographical and the iconographic method, as well as the method of artistic-stylistic analysis. On the basis of the archival documents of the RGIA (Russian State Historical Archive) the main landmarks of Lambin’s life and artistic activities have been revealed: information about his parents, his christening, his education and academic progress at the Academy for the Arts, his promotion up the career ladder to the position of decorator of the Imperial Theaters during the period from 1885 to 1919, his state awards, his material and family positions. The reference edition “Ves’ Peterburg” [“All of St. Petersburg”] (1895–1916) has made it possible to ascertain the addresses of Lambin’s residences and to reveal that they were situated at close proximity to the Mariinsky Theater. The study of the graphic sources (over 500 sketches by the artist) from various museum funds has made it possible to assemble a list of theatrical productions (of which there are presently 141) on which the master hand worked. An analysis of the sketches makes it possible to come up with the conclusion that Lambin, while being a continuer of the official romantic-academic tradition on the stages of the Imperial theaters, had a responsive approach to the influences of his time, absorbing alternative stylistic tendencies (the Symbolist, the Impressionist, the World of Art trend) which it was not possible to manifest in full measure on the mainstream theatrical stage. The article illuminates for the first time the main landmarks of the paths of life and art of Piotr Lambin, whose legacy has not become an object of academic interest up to the present time. Lambin, undoubtedly, was not in the vanguard of the artistic processes, he pertained to the artists of the “second echelon” without whom the work of the Imperial theaters of the late 19th and the early 20th centuries would be unthinkable.

The article by A.V. Bakushinsky, “Exhibition of works by V.N. Chekrygin”, in the magazine “Russian Art” as the foundation for art historical interpretation

The article undertakes an analysis of the artistic aspects of V.N. Chekrygin’s creative activity based on the article by A.V. Bakushinsky, “Exhibition of works by V.N. Chekrygin”, in the magazine “Russian Art” (1923). The author highlights the specificity of the critic’s research approach in defining the artist’s individual style, linked to the reflection of socio-cultural phenomena of the time, the nature of the artist’s process in creating the series of drawings “Resurrection of the dead” and the substantiation of the problematic nature of coexisting contradictory stylistic tendencies in these works.

АНТИЧНІ ОБРАЗИ І ФОРМИ В АРХІТЕКТУРІ ПАЛАЦІВ КІН. XVIII – ПОЧ. XIX СТ.

The article defines antique images and forms in the architecture of palaces of the late 18th and early 19th century It was determined that the architectural and artistic system of classicism, preserving and repeating stable antique images and forms, was established in the compositional solutions of palace buildings on the territory of Ukraine, which for a long period of time preceded, coexisting in parallel with other stylistic currents. The development of the stylistic tendencies of classicism in palace architecture developed in the context of the pan-European architectural school and reflected its ideological and artistic diversity. The architecture of classicist palaces and palace complexes had the imprint of “antiquity” and the influence of the Palladian school, characterized by such typical elements as: water systems – a mandatory element of the palace-park complex; each palace-park complex included not only a well-planned park (garden), but also numerous promenades and a hunting park (forest). The general composition of recreation consisted of the following structural elements: a park (garden) for walks, a menagerie, an orchard, “garden in ants” (an interesting method of growing heat-loving plants in the village of Samchyki, Khmelnytskyi region). Each complex was multifunctional, consisting of such types of buildings as: palace, household, service and cult buildings, a complex of entrance gate and fence buildings, park buildings. The palace was always located on an elevated area with a beautiful view. The architecture of the buildings of the palace and park complexes is characterized by strictness and perfection of style. The facades of the palaces had a clear symmetrical composition, which was decorated with massive porticoes with a colonnade. The main constructive scheme of the palaces was a two-tract scheme (enfilade-type rooms were located along the park and main facades). Rectangular in plan palaces, were supplemented with protruding risalites. The rear facades, like the main ones, were decorated with a portico with a colonnade. The four-pitched roof was decorated with a massive chimney (blocked chimney groupe). Window and door openings are rectangular, discreetly decorated. The tympanums of the pediments are filled with sculptures with cartouches and military elements. Architectural elements used classicist order elements, complemented by sculptures, bas-reliefs and military emblems. The palaces were modestly decorated on the outside and luxuriously decorated on the inside with stucco and distinguished by color. The main decoration of the palace was the living room (mostly with a domed vault, which is decorated with stucco)

Kategorie czasu i formy muzycznej w II Koncercie na wiolonczelę i orkiestrę symfoniczną Pawła Mykietyna

The Categories of Time and Musical Form in Paweł Mykietyn’s Concerto No. 2 for Cello and Symphony Orchestra The paper supplements the research on the latest Paweł Mykietyn's work. It broadens the spectrum of problems related to the technique of deconstruction in his works and allows for a better understanding of the structure of the Concerto No. 2 for cello and symphony orchestra. The main research method is descriptive analysis, bringing Paweł Mykietyn's musical language closer to the harmonic material, textural systems, agogic-metric structures, and the concept of form. The analysis is based on the score of the 2nd Concerto for Cello and Symphony Orchestra, published in 2019 by the PWM Edition in Kraków. The structure of the paper includes: introduction, three paragraphs and a summary. The characteristics of Paweł Mykietyn’s work contained in the introduction will allow the reader to become familiar with stylistic tendencies at various stages of the composer's work. The section devoted to the genesis and reception aims to present the history of the creation of the analysed work, as well as its contexts and resonance. The analytical sketch in the context of the issues of time and form will allow to present selected aspects of the compositional technique.

Experiential Literature? Comparing the Work of AI and Human Authors

Using artificial intelligence (AI)-authored texts as a baseline for reading literary originals can help us discern what is new about today's literature, rather than relying on the AI itself to embody that newness. GPT-3 is a language model that uses deep learning to produce human-like text. Its writing is (in)credible at first sight, but, like dreams, quickly becomes boring, nonsensical, or both. Engineers suggest this shortcoming indicates a complexity issue, but it also reveals an aspect of literary innovation: how stylistic tendencies are extended to disrupt normative reading habits in ways that are analogous to the disruptive experience our present and emergent reality.<br/> There is a dark irony to GPT-3's inability to write coherently into the future: large language models are exploitative and wasteful technologies accessible only to multi-million-pound corporations. The commercial ambitions of the tool are evident in a curiously banal kind of writing, entirely symptomatic of the corporate-engineered sense of normalcy that obscures successive, irreversible crises as we sleep walk through the glitch era. Contrary to this, experimental literary practices can provoke critical-sensory engagement with the difficulties of our time.<br/> I propose that GPT-3 can be a measure of what effective literary difficulty is. I test this using two recent works,The Employees, a novel by Olga Ravn, and the 'Septology' series of novels by Jon Fosse. I contrast their 'experiential literature' with blankly convincing machine-authored versions of their work.

Quotation and Narration in Contemporary Popular Fiction in Swedish

A fundamental feature of many genres of fiction is the alternation between a narrative frame (NF) and quoted inset (QI) dialogue. Both formal and representational features distinguish NF and QI segments. This paper is an explorative study on the stylistic differentiation between frame and inset material in recent commercially successful fiction in Swedish. There are mainly two orthographic options as regards this distinction: Explicitly enclosing inset segments within quotation marks is one. Using an initial dash to indicate utterance display is another, in which case frame and inset material typically alternate in a way not made explicit by the orthography. The corpus behind the present study comprised 450 novels. In order to deal with dash orthography data (135 books), we trained a multilayer perceptron classifier to tell NF and QI segments apart. We relied on the fact that native quotation mark text can be converted to annotated dash orthography data, which can then be used for supervised training and validation. A small-scale manual evaluation on the texts we aim to analyze, yielded an accuracy score around 95%. In order to explore the stylometric relations between NF and QI components in the novels, we looked at a selection of basic grammatical features. A characterization of each feature was made by means of recording the fraction of works in which the relative frequency of the feature is higher in QI than in NF. This summarizes how authors tend to “use” that feature to create a contrast between NF and QI. Another way to examine how the NF and QI styles are related is to apply a correlation test. We then saw, for instance, that QI material in 100% of the books are denser in auxiliary verbs, second person pronouns, and interjections, while NF segments in all or almost all cases are denser in nouns, adjectives, third person pronouns, and prepositions. We could also observe that e.g. noun density in NF and QI correlate in a strong way. The same holds for adverbs and cardinal numerals. This suggests that books and authors exhibit stylistic tendencies which affect both narrator and the characters, as far as the kind of fiction we have studied go.

The Language Structures of Interrogatives in Charles Dickens's "A Tale of Two Cities": A Stylistic Study

This study aims at analyzing the structures of interrogatives used in Dickens's novel "A Tale of Two Cities". It is directed to identify and categorize these structures; and then to ferret out Dickens's stylistic tendencies of using them in the novel under study. A qualitative approach was used as a research design of the study. The data were extracted from the material of the novel after having an extensive reading. The structures were identified and then categorized. Out of more than 800 interrogatives in the novel, ten examples for each category were selected randomly. In addition to categorizing, they have been interpreted stylistically. The qualitative analysis of the data revealed that the author used various categories of interrogative structures in the conversational parts of the novel. These included regular full-formed structures of interrogatives, elliptical structures of interrogatives, statement-formed structures of interrogatives, parenthetical structures in interrogatives, vocative structures in interrogatives, and structures with question tags. In terms of stylistic interpretation, these structures revealed the author's stylistic tendencies to employ these interrogative structures which are linguistic features of spoken language in conversations for enhancing the dialogic language. This dialogic language can be manifested in the utilization of features of an oratorical style in Dickens's novel in hand

Вклад художественной династии Волковых в развитие культуры Узбекской ССР (1920–1990-е годы)

Проанализированы основные аспекты деятельности представителей художественной династии Волковых, оказавшей непосредственное влияние на становление и развитие культуры Узбекской ССР. Материалами явились произведения живописи, аудиозаписи воспоминаний, результаты изысканий искусствоведов и историков культуры. Отражена фактография деятельности местных художественных объединений, установлена роль А. Н. Волкова в их создании и развитии. Исследованы усилия А. Н. Волкова, направленные на формирование в Узбекистане собственной художественной интеллигенции. Раскрыта творческая и организаторская деятельность сыновей А. Н. Волкова. Автор заключает, что культура Узбекской ССР формировалась под воздействием различных региональных художественных центров России и стран ближнего зарубежья. Созидательная работа Волковых обеспечивала синтез местного колорита со стилистическими тенденциями соцреализма и авангарда, дополненных влиянием русских художественных объединений. The aim of the article is to analyze the activities of representatives of the Volkov artistic dynasty (primarily its founder, Alexander N. Volkov) in terms of their influence on the formation and development of the culture of the Uzbek SSR. The sources for the analysis were works of art, audio recordings of memoirs, the results of research by art historians and cultural historians. The applied methodological approach is based on the integrated use of historical research methods (historical-descriptive, comparative-historical, historical-systemic methods) and tools inherent in research in the field of art history (methods of formal analysis of works of art, problem-logical method). The artistic environment of Central Asia in the 1920s–1930s is characterized. The factography of the activities of local art associations (Masters of the New East and Volkov’s Brigade) is revealed; Volkov’s role in their creation and development is established. The author emphasizes the inextricable link between the works of the artists who were part of these associations and the Russian artistic tradition. The author explores Volkov’s teaching activities and reveals his influence on the formation in Uzbekistan of a community of young artists who received professional education on the basis of art faculties that opened in the educational institutions of the republic in the 1930s. The author also describes the difficulties of pedagogical activities in this period, which were caused by the need to find a balance between political requirements and the traditions of Russian classical art education. The creative and organizational activities of Alexander N. Volkov’s sons are described: the sons continued the work of their father’s life in the 1960s–1990s. The author presents the transcript of the audio recording of the memoirs of the artist’s son, Alexander A. Volkov, about the participation of the dynasty’s representatives in the formation of the collection of the Karakalpakstan State Museum of Arts named after I.V. Savitsky. The author concludes that the creative and pedagogical activity of the Volkov dynasty fully reflects the influence of Russian culture on the development of the artistic tradition in Uzbekistan. Its essential basis was the synthesis of local color with the stylistic tendencies of socialist realism and avant-garde, supplemented by the influence of Russian art associations Knave of Diamonds, Blue Rose, New Siberia. Thus, the culture of the Uzbek SSR was formed under the influence of various regional art centers in Russia and in its neighboring states, and with the direct participation of gifted enthusiasts who took on the difficult mission of ensuring the processes of cultural construction.

Примитивистские тенденции в искусстве Свердловска - Екатеринбурга 1960-1990-х годов: творчество членов Союза художников и неформалов

The article is devoted to an important period in the art history of Sverdlovsk -Yekaterinburg and of the country in general, when the dogmas of socialist realism were ruining and new artistic thinking was forming, noted by bold innovation and at the same time by interest in diverse traditions. The phenomena that represented the local art of the 19601990s are considered in the context of all-Russian tendencies; during research, the peculiarities of the searches for Ural artists are traced. The author's attention is focused on creativity of members of the Artists' Union, mostly to its “left” wing, and the representatives of an alternative creative environment - informal artists. The formation in the Soviet period of an alternative artistic community not only in the culture of the center - in Moscow and Leningrad, but also in a provincial situation is an independent significant fact. In the text links to the researches connected with studying of this phenomenon, including those initiated by the author of this article are given. The identification of the close tendencies in the art of the Masters of the Artists' Union and in-formal artists, in this case - of appealing to the stylistic of primitive, makes us return to the problem of “convergence” and “divergence” in their searches, which already had been touched upon by scientists. Such “convergences” in practice of official and unofficial art, according to the author, do not belong to the defining features, do not allow to level the existing differences and the borders themselves between the indicated areas. The confirmation of the stated position, which re-quired consideration of the heritage of the local underground and official art, and became the purpose of the research. The lack of special researches close to our topic determines the scientific novelty of this work. The development of primitivistic tendencies in local art is considered on a wide material -from the appearance the stylistic of primitive in book illustrations related to the Ural theme, including the tales of Pavel Bazhov, to easel works made in different decades. A circle of topics that are characteristic of official and unofficial art is outlined, special features that are manifested in the works of artists - primitivists are highlighted. On the example of close tendencies the author highlights common features and differences in the creativity of the Masters of the Artists' Union and informal artists. The comparison of creativity of the members of the Artists' Union and informal artists, under-taken in a research, allowed to reveal essential differences in their searches, - in the themes of works, artistic solutions. It is noted that the ideas of the Soviet mentality appear in a smaller measure in the art of informal artists, the theme of “daily occurrence” is more consistently embodied, interest in the “unofficial” Sverdlovsk is manifested in urban motifs, etc. The originality of the artistic solutions inherent to the works of informal artists is associated, inter alia, with their installation on experiment and greater radicalism. The main conclusion of this research is as follows. Behind the closeness of stylistic tendencies in the searches of representatives of official and unofficial art, is manifested more significant differences, arising from their belonging to different artistic areas, different social and creative experience, worldview, which in turn determined and the behavioral strategies.

Stylistic variation in email

Abstract This study explores how email is partly shaped by writers’ positions within a corporate structure. This stylistic variation is measurable at scale and can be described by messages’ rhetorical organizations and orientations. The modeling was carried out on a subset of the Enron email corpus, which was processed using the dictionary-based tagger DocuScope. The results identify four stylistic variants (Trained/Technical Support, Decision-Making, Everyday Workplace Interaction, and Engaged Planning), each realizing distinctive combinations of features reflective of their communicative functions. In Trained/Technical Support emails, for example, constellations of words and phrases associated with informational production and facilitation are marshaled in fulfilling routine guidance-seeking and guidance-giving tasks. While writers’ positions motivate stylistic tendencies (e.g., members of upper-level management compose a majority of their messages in the Decision-Making style), all writers avail themselves of a variety of styles, depending on audience and purpose, suggesting that learners might benefit from developing adaptable communicative repertoires.

The Spread of Lutherance in the Grand Duchy of Lithuania and Its Influence on the Education Development and Music Culture

The purpose of the article is to determine the influence of Lutheranism on education and musical culture in the Grand Duchy of Lithuania. The research methodology includes cultural and historical analysis, which made it possible to analyze and investigate the influence of Lutheranism on musical culture in the Grand Duchy of Lithuania. Source studies and music-theoretical methods were used during the search and analysis of church-singing collections. The biographical method of research was used to systematize information about the life and work of theologians, composers and theorists. The scientific novelty of the research is the thorough analysis of the Lutheranism influence on education, book publishing and musical art. The first church chanting collections have been identified, in which a gradual transition from monody to polyphony is traced. Conclusions. In the process of studying the influence of Lutheranism on education and musical culture in the Grand Duchy of Lithuania, it was established that one of the main ways of introducing Protestant ideas was the education of gentry and bourgeois Ukrainian youth in Western European Lutheran universities. The competition between Orthodox, Catholic and Protestant schools that existed in the Grand Duchy of Lithuania contributed to the development of education in the country. In the 16th century, Vilno was a printing centre of the Grand Duchy of Lithuania, where printers competed with each other, publishing books in different languages and with opposite religious positions. During this period, thanks to the Lithuanian Protestants, church chanting collections were published. The chants in the first collections combined the stylistic tendencies of Protestant chorales, Czech reformers, and the traditions of local craftsmen.

STYLISTIC ANALYSIS OF ARCHITECTURE OF MODERN INTERIORS OF FOOD FACILITIES

The research analyzes a large number of food facilities in Kyiv, Lviv, and Odesa. They are famous for special colorit, attractiveness, and innovation in stylistic and thematic solutions of their spaces. The stylistic analysis of the architecture of their interiors showed that there is mostly no trace of a single stylistic solution but a fusion of several styles or trends. 
 The main stylistic tendencies in the organization of food enterprises' object and spatial environment are defined: eclectic, fusion, a single modern style/direction, and auteur design without reference to any particular style. At the same time, within eclecticism, we distinguish the following vectors of its stylistic solution: displaying the atmosphere of different eras, the relevant historical styles of specific countries and places, and reproducing the interiors of food establishments from different periods and countries. Within the framework of fusion trends, we distinguish the following vectors: a combination of components of modern styles/trends with retro/vintage/antique interior items, with an authentic restored architectural, artistic details; use of contemporary style in combination with elements of historical styles: Art Deco, Classicism, Secession, etc.; the use of several modern styles/stylistic trends, a special mixture of components of many heterogeneous styles of the past and the present, has grotesque character and sometimes bordering on kitsch, also take place. Using a single dominant modern style or trend is the third tendency of style solutions for food enterprises' object and spatial environment. The fourth tendency is interiors, which do not have a clear manifestation of a particular style.
 The main styles and trends used today in the architecture of the interiors of catering facilities are identified, their definitions are clarified, and the scientific basis is developed. Modern stylistic trends, such as fusion, loft, industrial or industrial, shabby-chic, futuristic, steampunk, Provence, modern classics, and the Mediterranean, are reflected in the object-space environment of restaurants, bars and cafes. Eclecticism, minimalism, and high-tech are the most common styles in these spaces.
 Performed analysis allowed to determine the main approaches to interior architecture design of food establishments in the context of their conceptual and stylistic solution: conceptualism, eclecticism, environmental friendliness, symbolism, innovation, culturology and traditionalism, cohesion, harmonization, expressiveness, interactivity. Themes of artistic and figurative solution of the subject-spatial environment of food establishments were established.

AN AUTEUR OF DECADENCE: SOFIA COPPOLA AND THE UNBEARABLE HEAVINESS OF COMING OF AGE

As a filmmaker, Sofia Coppola is often under critiques considering her visual excess frivolous. This article is an auteur study towards the thematic and stylistic tendencies of Sofia Coppola’s films. Through analysis of her mise-en-scene, I contend that Coppola, as a film auteur, tends to glorify the image of the lost generation. This glorification is bolstered by her signature style that echoes the spirit of the Decadent movement in the late-nineteenth-century European art scenes, which was preoccupied with the idea of fin de siècle or society in transition at the end of time. This idea is exemplified most vividly by motifs such as hedonistic behavior, visual excess, and cultural decline.

“Hero of Our Time” as Archetype of Plot and Images in “Enchanted Wanderer”

The results of a comparative analysis of the novel “The Enchanted Wanderer” by N. S. Leskov and the novel “Hero of Our Time” by M. Yu. Lermontov are presented. Particular attention is paid to the image ofthe prince, parodic in relation to Pechorin and “superfluous people”, as well as the storyline of Ivan Flyagin, echoing the line of Maxim Maksimych. The novelty of the study is due to both the little study of the connections between Leskov the artist and the work of Lermontov, and the insufficient coverage of the issue of the historical existence of Lermontov’s novel. It is shown that stylistic tendencies that are stable for Russian literature of the 19th century differ among writers. Along with this, the question is raised about Leskov’s critical view of the Pechorin type; in his story in the foreground is the hero named Ap. Grigoriev “meek” as opposed to the demonic, “predatory” type. It is noted that in the plot of the novel “A Hero of Our Time” Maxim Makimych, personifying a folk character, takes a subordinate place, this is explained by Lermontov’s sympathy for a demonic personality. The author points out that in “The Enchanted Wanderer”, on the contrary, there is a change in the function of the hero; the prince turns into a marginal character, and the Russian righteous man takes the place of the plot center.