Stylistic Variants Research Articles

Shortening mechanisms in construction morphology: the Russian spec-N construction

AbstractThis study presents an in-depth analysis of Russian stub compounds in spec ‘special’ and their competition with the corresponding full adjective special’nyj ‘special’ followed by a noun. Couched in Construction Morphology the corpus-based analysis addresses four understudied areas in theoretical and Russian morphology: shortening mechanisms, competition between morphological words and multiword expressions, blocking, and compounding in Russian. It is argued that shortening mechanisms create words that are more than stylistic variants of the corresponding longer constructions, although full synonymy may occur under specific conditions. The diachronic and synchronic motivation of the shortening mechanism under scrutiny is analyzed in terms of economy, extravagance and expressiveness. Blocking is demonstrated to be statistical (involving tendencies rather than categorical rules) and bidirectional, whereby a morphological construction may be favored over a syntactic construction and vice versa. The proposed analysis adds to the knowledge of stub compounds in Russian and demonstrates how a wide variety of generalizations can be adequately accounted for in Construction Morphology.

BODY LANGUAGE VOCABULARY IN ALBANIAN AS A PROOF OF AN ABUNDANT AND ANCIENT LANGUAGE!

The richness of language vocabulary is directly related to the personal culture of reading and educational background of the person belonging to a specific ethnic community, altogether with the tradition, customs and folklore, as factors of its historic cultural development. The historical development of an ethnicity plays a decisive role in the richness of words and the abundance of vocabulary for specific types and fields of cultures, such as the musical culture, the culture of fine arts, legal and institutional culture, culture of housing buildings, culture of healthy living, etc. The national conscience is related to the common language speaking and the cultivation of tradition, folklore and clothing by the people living in a common geographic territory. Their fights for survival and freedom, as well as the wars for defense of the territory has produced an abundant vocabulary up to details and stylistic varieties and a detailed description of the fighting tools and processes, such as struggle, fight, wars, call for freedom, on the other hand, but also is a lack of words and poorness of vocabulary related to the technical description of the manufactured products and merchandises coming from abroad. Depending on the cultural development of the institutions, the law enforcement and written rules regulating the rights and the responsibility for obeying the legal restrictions and prohibitions has produced a better legal and institutional culture in one country, rather than in an old fashioned organization of social life in countries of a specific stage of national development, where the legal institutions were perceived as strange and hostile originating by an occupying country or nation. These institutions were only accepted as temporary and people obeyed them only by coercion, unwillingly and due to the threat of use of force, in case of lack of obedience. The culture of reading newspapers and watching TV has influenced the richness of vocabulary by meeting new words of the literary, official and the international language, except for the vocabulary of the dialects in their native language.

IDIOM БОГЪ ВѢСТЬ/ВEДАЕТ/ЗНАЕТ I BOG ZNA U RUSKOM I SRPSKOM JEZIKU

The subject of this article is the idiom БОГЪ ВѢСТЪ / ВЕДАЕТ/ ЗНАЕТ, that is, БОГЪ ВѢСТЪ / Bog zna in Russian and Serbian. In the first chapter, which deals with the origin and genesis of the expression, the evidence of its biblical origin is given, while the process of its development as a phrase, its course and the reasons for the emergence of a new meaning of the idiom in communicative use are explained. The second chapter provides an analysis of the idiom from a paradigmatic aspect. Its lexical, morphological and stylistic variants are analyzed. The third chapter deals with the status of the idiom черт/бес/леший ЗНАЕТ in the Russian language, i.e., джବ¬vo zna (will znati, bi znao) in Serbian and its relationship to the idiom Бог весть/ ведает/ знает, that is, God knows. Descriptive, phraseological - monolingual and translation dictionaries - both contemporary and historical - were used as the basic corpus in the research. As an additional corpus, we used our own file created on the basis of excerpts of examples from literary and artistic works and epic poetry. The National Corpus of the Russian Language (NKRJ) served us as a basic check of the functioning of idioms in context. The application of the diachronic, contrastive and descriptive method on the aforementioned corpus was aimed at discovering the origin and genesis of the idiom highlighted in the title. The semantics of the expression Бог весть/ знает is identical to the semantics of the idiom черт знает, with the same syntactic structure, which unequivocally proves that it is an idiom of a structural-semantic model, but, on the other hand, despite the fact that both idioms have an identical global meaning, in the key component of the expression Бог i черт (God and the Devil) are made distinct, and are actualized today in the process of communication despite the phrasing of the meaning of the original expression. It is precisely this transparent internal form that causes a double actualization of the idiom in use and which means that the mentioned idioms in a specific context usually differ in their connotative value. Ta The different connotations of the idioms Бог знает and черт знает were created as a set of expressive (metaphorical and evaluative) elements related to the key components of the idiom, i.e. God or the Devil, The analysis of numerous examples of the contextual use of the two idioms in our literature confirms that apart from the meaning of uncertainty or doubt, which they have in common, they clearly also differ from each other in the connotative sphere. The idiom Бог знает (God knows) is used predominantly in situations that are accompanied by, if not positive, then at least neutral pragmatic content, while черт знает (the Devil knows) give rise to uncertainties and ambiguities, but often also expresses anger, displeasure, resignation or even rage. This type of differentiated relationship between the idiom and the component theonym and demonym can also be applied to the similar idioms used in Serbian.

Siberian Animal Style: Stylistic Features as Generic Indication

This paper is devoted to the problems of differentiation of stylistic variants in the common phenomenon of the so-called Scythian and Siberian animal styles, which is one of the main distinctive features of Eurasian nomadic art. The animal style is a concept of more scale than an artistic style proper which distinguishes with some formal characteristics and depends directly on generic traditions and ethnic and cultural roots of art. Together with the technical-technological methods these formal features could be evidential indications of the origin of works of art. The Siberian collection of Peter the Great includes some different groups of golden ornaments decorated in animal styles of different origins. The paper focuses on a compact group of items originating from various mostly unknown sites from different territories in Asia including the Oxus treasure, several items from the Siberian collection of Peter the Great from Southern Siberia, a few jewelry pieces from other collections of the world museums as well as items made of leather and felt coming from the First and the Second Pazyryk kurgans. A distinctive feature of this group of zoomorphic images are colored inlays that accentuate a hind-leg or a shoulder of the animal; such inlays have the form of an intricate figure made up of a circle and a curvilinear triangle abutting to it or elongated round brackets. Genetically, such an ornamental motif, which is not generally typical for Persian art, may be linked to a periphery area of the Iranian world and nomadic culture, while the group of sites can be dated back to the 4th–3rd centuries BC. The paper considers a bracelet from the Siberian collection of Peter the Great which is the only item in this category of jewelry type of bracelets. It represents a rare type of ornament with a multi-component structure. It consists of three open-work strips with zoomorphic compositions in an animal style similar to the above-mentioned stylistic group. All three parts of the bracelet are created in a unified style, but obviously in different individual manners. There is no doubt, that the zoomorphic images show three different authors’ hands, and were made by different artisans. So, there is evidence of collective work on the object when each artisan makes his own operation to create a unique jewel at a workshop. Some parts of the composition on the bracelet are similar in style to zoomorphic images from kurgan Issyk in Kazakhstan which perhaps were made in the same workshop. This fact confirms the assumption of the origin of some of Siberian jewelry.

Стильові властивості употужнення ознаки«однорідність» у структурі простого речення сучасної української літературної мови

Introduction. The article presents the material that certifies the implementation of the feature «homogeneity» in the meaning variants of the syntactic category «part of a sentence» in terms of structural-communicative and communicative-pragmatic linguistics. At the same time, the content of the article and its concluding parts show how the phenomenon of «homogeneity», embedded in a set of features united by «homogeneity», finds reproduction in specific works, genre varieties and styles, that is, how this feature reveals the ability of a kind of empowerment, provided that it is marked qualitatively -quantitative indicators. Purpose. The purpose of the article is to present the research findings, which prove the continuation of the study of problematic issues related to the category «part of a sentence». Methods. Traditional methods of linguistic analysis and partly quantitative methods were used. Results. The study, the results of which are presented in the article, shows the possibility of using the «empowerment» criterion in its qualitative-quantitative manifestations of the homogeneity of the meaning variants of the «part of s sentence» category. Originality. The originality consists in the use of the sign «homogeneity», based on specific qualitative and quantitative indicators (parity, triplicity, multiplicity) of the semantic variants of the «part of a sentence» category used in sentences. Conclusion. Homogeneity as a syntactic feature distinguishes a two-syllabic sentence in its stylistic varieties: from a maximum in an artistic style to a minimum in a scientific one. The hierarchy of manifestation of the sign of «empowerment» consists of: predicates (triple and plenary use); main semantic variant of a monosyllabic sentence (triplicity), subject (triplicity). The «triplicity» indicator can be interpreted as a parameter of the artistic style of the Ukrainian language.

The Tamburitza Extravaganza and its “evolution” in the American tamburitza musical ecosystem

The Tamburitza Extravaganza, a musical event in the United States organized by the Tamburitza Association of America (TAA), has presented tambura-based ensembles for over 50 years. At the event, American stylistic variants of Croatian and Serbian music are performed to exuberant diaspora audiences, and musicians are honored for sustaining tamburitza music. Drawing on the author?s experience as an Extravaganza performer, interviews with TAA members, published TAA documents, and published tamburitza sources, the Tamburitza Extravaganza is analyzed as a sui generis music festival using the musical ecosystem model.

Onomastic Space of Ekaterinburg: Level-Based Markers of Regional Identity

The paper examines the onomastic space of the city of Ekaterinburg containing regional linguocultural information through the lens of a three-level model of onymic identity markers as “part of the collective regional identity manifested in general language and speech activity” (Marina V. Golomidova). This space is formed by a set of urban proper names with different scope of reference — from the astyonym naming the city, through urbanonyms naming districts, streets, and other urban topographical objects, to advertising names in the broad sense of the word. On the first level, the authors describe the stages of the city’s renaming (Ekaterinburg / Sverdlovsk), analyze colloquial stylistic variants of the astyonym, identify figurative appellations motivated by the modern socio-political situation. The class of urbanonyms, markers of the second level of regional identity, includes the names of streets, squares, parks, alleys, boulevards, districts, metro stations, individual buildings, as well as names of residential complexes. Amongst this variety, several naming themes related to the regional features of Ekaterinburg were identified and analyzed. The third level of regional identity markers is a group of advertising names regarded as any product name in the broadest sense of the word: these are the names of commercial enterprises (ergonyms), names of mass media (hemeronyms), names of festivals, competitions, concerts (georthonyms), names vehicles (poreonyms). These names are coined for marketing needs and pursue the ideas of the name giver. The large number of regionally marked advertising names in the onomastic space of Ekaterinburg indicates to the residents’ awareness of the unique character of the territory, the positivity of its perception, emotional connection, and regional identity. Advertising names continue and develop the naming themes set by the previous levels.

MINDSET LANGUAGE IN LITERARY PROSE BY LINA KOSTENKO

Lina Kostenko, a representative of the Ukrainian creative intelligentsia from the 1960s cohort, recorded her vision of the historical time of Ukraine at the end of the 20th and beginning of the 21st centuries in the original prose work “Notes of a Ukrainian Self-made Man”. The work of a unique linguistic and stylistic genre, in which the themes of state formation, globalization and family, psychological problems alternate, is saturated with artistic, cultural, literary information, precedent names of world history. The volume of various information, conditionally structured according to time headings, is perceived as a certain model of a chaotic digitalized society, in which stylistic varieties of language become blurred, interchangeable. One of the key ideas of the work is language. The thoughts of the main character about the connection between language and the worldview of the people are unfolded in mini-texts of journalistic-evaluative, analytical-historical, humorous and everyday narrative. Language as an indispensable agent of social protests declares itself in its own way. The kaleidoscopic text of the notes combines different information about the concept of identity. The topic of the linguistic identity of Ukrainians is related to the conditions of survival of the Ukrainian language in various empires, numerous prohibitions, and assimilation processes that did not contribute to the full functioning of the Ukrainian language. Narration of the artistic narrative, reproduction of its emotional and expressive shades (humor, satire) is carried out using various language game techniques. Varieties of paronomasia are the most common in the author's style. Along with lexical innovations in an individual style, an important linguistic and aesthetic function is performed by syntactic-intonational units – isolated syntagms that emphasize the ironic-satirical perception of someone else’s opinion. A characteristic feature of Lina Kostenko’s individual style is the use of foreign vocabulary of terminological origin. Words from various scientific fields are organic in modern intellectual text. They not only testify to the level of the multi-style Ukrainian literary language, but also express and visualize the syntactically-intonationally and lexically-semantically linguistic portrait of the narrator, the main character of the novel. Various styles and genres of the modern Ukrainian literary language are integrated into the artistic text. It is this text-creative function of the language of the beginning of the 21st century in Lina Kostenko’s work that testifies to the active process of creating a new aesthetic and socio-cultural canon of the Ukrainian literary language.

Expression of formality in writing: English-dominant speakers’ and English learners’ knowledge, preferences, and other-language influence

ABSTRACT This study explores English-dominant speakers’ and English learners’ knowledge of (in)formal stylistic variants, their choice of (in)formal styles in relation to social context, their preferences in the use of select (in)formal stylistic variants, and their beliefs about the influence of their other languages. Ten English-dominant undergraduates in Canada, 10 international English-as-a-second-language undergraduates in Canada, and 11 English-as-a-foreign-language undergraduates in Slovakia completed a questionnaire and composed 6 short e-mail messages, each embedded in a unique social context defined by the intended reader (ranging from completely unfamiliar to extremely familiar) and the communication purpose (ranging from completely transactional to completely interactional). Differences were found among the groups in their knowledge of (in)formal stylistic variants, their choice of style, their use of some (in)formal variants, and reported effects of their other languages. This study concludes that primarily classroom-instructed English learners who wish to learn how English-dominant speakers approach expression of formality would benefit from explicit instruction. It further concludes that more research is necessary to identify factors driving individual knowledge of (in)formal variants and preferences in their use, particularly in relation to overall communicative competence and the context of language acquisition and use.

Palatalization of /d/ across word boundaries in UK English

In many spoken varieties of English, the coronal stop /d/ may palatalize or affricate before /j/, including at word boundaries; e.g., “did you” [ˈdɪdʒu], “would you” [ˈwʊdʒu]. We study this process in the large, naturalistic Audio BNC (http://www.phon.ox.ac.uk/AudioBNC). Previous studies have found that coronal fricatives /s, z/ palatalize preceding /j/ in predictable contexts and at increased speech rates, implying that palatalization results from coarticulatory gestural overlap. However, analysis of /t/ shows that palatalization to [tʃ] is a categorical stylistic variant, which is instead selected in formal contexts at slower speech rates. To determine whether [dʒ] results from gestural overlap or as a stylistic variant, we analyze /d/’s rate of palatalization using approximately 8000 tokens of /d#j/ gathered from the force-aligned Audio BNC. Tokens were impressionistically coded as palatalized to [dʒ], released as [d], or unreleased/deleted. With multinomial logistic regressioni, we test whether effects of lexical frequency, speech rate and duration, phonological context, discourse, or speaker characteristics (e.g., region, gender) predict the realization of /d#j/ in naturalistic speech. In line with previous findings, we hypothesize that [dʒ] is more likely in frequent collocations and at high speech rates, but style-driven effects of region, formality, or gender may also predict this variant.

Punctul-și-virgula

This article is a proposal to standardize a punctuation mark – the semicolon –, and describe the situations of use and the communication implications of the sign: prosodic, pragma-semantic and stylistic functions. The relationships between the semicolon and other punctuation marks, as well as recommendations for use in writing practice are also considered. Semicolon is less and less known and used nowadays; its use depends on the author’s preferences. Among the stylistic varieties, the semicolon is used most frequently in the scientific and argumentative style. It is recommended to use semicolon in enumerative series, especially vertically, in constructions containing parallelisms, or in long and complex statements that also contain other internal punctuation marks.

Asyndetic complementation and referential integration in Spanish

AbstractThis paper examines a distinctive syntactic feature of (pre)classical Spanish: asyndetic complementation (without complementizerque‘that’). While many authors regard this construction as a stylistic variant which eventually declined (i.a.,Girón 2005), so far no exhaustive morphosyntactic study of the phenomenon has been presented, as previous works either have focused on only one predicate (Blas Arroyo & Porcar Miralles 2016,2018) or do not contain detailed quantitative data (Pountain 2015). Using evidence from richly annotated corpus data spanning between 1400 and 1799 (GITHE 2015), we adopt the diachronic probabilistic grammar framework (Szmrecsanyi 2013) by means of multifactorial statistical models, to identify the language-internal probabilistic constraints that regulated theque/Ø alternation, and to explore whether their relevance changed diachronically. The results indicate that asyndetic complementation is promoted in the domain of manipulation verbs (e.g., requests and commands) and, more generally, by the semantic and syntactic integration of events (Givón 2001a). Diachronically we observe that some of the effects strengthened over time, suggesting a syntactic specialization process, which might have eventually led to the restricted and marked use of the asyndeton in Modern Spanish.

КОРЕФЕРЕНТНІСТЬ У ПОЕТИЧНИХ ТВОРАХ ЛЕСІ УКРАЇНКИ

The category of coreference plays an important role in the creation of texts, as it is based on fundamental principles of text organization. The linearity of a text and the non-linearity of a situation described in the text are closely related to the mention of elements of a situation with another nomination of this object. Therefore, chains of coreferential names appear in the text and, having a binary relation, partly cause the emergence of a secondary nomination, which is an anaphoric relation with the primary nomination. The purpose of this article is to study the category of coreference in the poetic speech of Lesia Ukrainka based on the corpus of the Ukrainian language represented on mova.info. The object of the research is the idiostyle of Lesia Ukrainka’s poetry, and the subject is the functioning of the category of coreference. The categorical essence of coreference is characterized, the types of representatives of real objects, their functional and stylistic varieties and typical objects of representation in a poetic text are determined, and the most frequent structures are considered. Software for working with coreference has been developed and implemented. It has a user-friendly interface, which allows searching, sort, and doing the quantitative processing of the collected information according to the needs of researchers. On the material of 153 texts, 1520 referentially identical pairs are established. The coreferentiality index and the index of coreference coverage of the text proposed in this article helped to quantitatively assess the saturation of the text with the category of coreference. In addition, the classification of coreferential relations is composed: 1) identity; 2) collection gap; 3) part-whole; 4) predicative identity; 5) metonymy; 6) association. A dependency tree of a sentence made it possible to determine the location of coreferential pairs in the sentence, the position relative to each other, the belonging of the segment with the coreferent or the referent to the complicators of the sentence, i.e., a subordinate clause or phrases. This representation also helped to establish the type of syntactic relationship between the coreferent and the referent, the type of syntactic-semantic relationship between them, the presence of referent-dependent words, the intersection of the coreferent and the referent in gender and number. Automatic extraction of coreferential pairs from dependency trees allowed building intersentential coreference.

Резьба по кости и рогу как декоративное искусство Древней Руси IX - первой половины XI в.

The aim of the work is general characteristics of bone carving art of Kievan Rus. The source is the archaeological material of South and North Rus. The methodology includes iconographic and stylistic analysis; use of the results of archaeological dating. In the course of the study, the author characterized iconography, stylistics, symbolism, aesthetics of objects; arranged objects from different regions in a single chronological row according to the dates of archaeological sites and analogies; characterized bone carving in the context of the art of the period in accordance with the kinds of ornament. As a result, conclusions are drawn. The role of the kinds of ornament in the formation of artistic appearance of bone objects and in the formation of style is determined. Complication of geometric ornament in the 9th and 10th centuries destroys the harmony of products, but the rhythmic organization in the 10th and 11th centuries returns harmony. Abstract curvilinear ornament regularly and harmoniously fills the zones and effectively accentuates the shape of the object with grotesque motifs. Curvilinear irregular braided ornament tends to Scandinavian styles; the regular one creates the basis for their adaptation and formation of local styles. Examples of plant ornament demonstrate the development in Rus of Eurasian decorative elite style. Zoomorphic ornament complements the elongated household items with volumetric ends, accentuating their form and function. Some of zoomorphic ends on the horn tips of the 10th and early 11th centuries has Scandinavian style, others original geometrized forms. A number of works reflect a stylistic symbiosis: European and Byzantine traditions; Scandinavian and plant ornaments. The pagan semantics is noted: the crest from Pskov with a mythological plot, idol-like image of human face; other symbolic schemes. The semantics reduces the aesthetic level; accents contradict the rhythm and create disharmony. Some of the works correspond to the level of the folk art: household items and amulets with geometric and abstract curvilinear ornaments, simplified transfer of zoomorphic motifs. The other part corresponds to advanced elite art of the Viking Age: spread and use of Scandinavian, Byzantine, and Eurasian tendencies, the formation of mixed stylistic variants. Display in a simplified manner of Scandinavian ornamental patterns of the 10th-11th centuries indicates its mastering. The art of bone carving demonstrates the same laboratory of choice as other forms of decorative art in Rus. it is related with woodcarving in the active use of geometric and braided ornaments, generalized zoomorphic and idol-like images. Plant ornament is not as widespread as in embroidery, filigree, woodcarving, which emphasizes the stage of its formation. The traditions of folk art were combined with the Scandinavian, Byzantine, and Eurasian ones; the developed versions formed the basis for future styles of Kievan Rus.

Всероссийская научная конференция «От “позорищных игр” до кинокомедий: история человека смеющегося»

The article reviews the reports presented at the All-Russian Scientific Conference From “spectacle plays”1 to film comedies: The history of Homo Ridens, which was organized by the State Institute for Art Studies and the GITR Film and Television School on June 2–3, 2022. The event focused on comprehension of the historical development of laughter culture, introduction of trusted research concepts, disclosure of new facts and archival materials, and revealing the relationship between the comic, its intensity and semantics in postmodernist aesthetics. The following key areas were proposed: fundamental problems of aesthetics, cultural studies, and art criticism; genre and stylistic varieties of comedy; circulation of laughter culture in film, television and other screen arts and in the Internet environment; transformations of representation of comic, laughter, and humor in the historical context; provocation, deconstruction, and citation in comics. The reports were divided into two groups: “Komos & ode: The laughter culture of Europe” and “Deconstruction—meaning—reality.” The results of the conference showed the polyvalence of comic existence, the absence of unified ways of achieving aesthetic flawlessness of the genre, and its formcontaining aspects.

LINGUISTICS AND LANGUAGE SCIENCE: SIDES OF RELEVANCE

The modern school of Ukrainian linguistic stylistics produces new approaches, formulates new theoretical positions, generates current, relevant directions of research, marks the latest ideas in the field of linguistic stylistic studies, which testifies to the significant achievements of the national linguistic stylistic scientific school in the world continuum. Ukrainian scientists, noting the change in the scientific paradigm of linguistic-stylistic research, direct attention to the integrative approach in modern linguistic-stylistics as a field of scientific knowledge. Justifying integrative approaches to the definition of the main categories of stylistics and style, pointing out the need to use new methods of interpreting artistic texts, they emphasize the role of linguistic stylistics in the education of linguistic personality. The proven emergence of stylistic research into a wider range of linguistic, literary, folkloristic, cultural, social and communication topics is dictated by the scientific and educational demands of our time. At the time of integration of linguistic stylistics with oral folk literature – a linguistic oral lexicologist. Linguistics is the science of language styles, varieties, forms of speech, language means of all levels. Linguistic oral verbal science studies the language of folklore works. Today, in stylistics, the question of the independence of the folk language style remains unsolved. There is an opinion that folklore can be qualified as a separate type of artistic style or, more broadly, as a separate functional style of literary language. The proven influence of the language of oral creativity on the development of the stylistic system of the Ukrainian language (the selection of colorful and stylistic varieties of the language). In linguistic stylistics, folk songs have been established as a stylistic category. The doctrine of linguistic and aesthetic signs of Ukrainian culture (S.Ya. Yermolenko) also appeals to the depths of the language of oral folk creativity. Connections of linguistic oral word science with all sections of stylistics are observed. The use of stylistic terminology in the process of analyzing the language of texts of oral folk literature is evidenced. The influence of oral folk literature on the development of the artistic style of the Ukrainian language is undeniable.

«Style» and «memory» in the publications of the collection «Culture of the word»

The article provides a segmental review of the publications of the «Culture of the Word» for more than half a century, the formal criterion for selecting materials was the presence of style and memory in the titles of the words. The argument in favor of the informative nature of such an analysis is the belief that the key problems of the research are usually reflected in the title of the scientific work. The chronological approach to the analysis is applied. The chronological structuring of the material will make it possible to reveal the time marking of the study of the stylistic specificity of the Ukrainian language. The articles in the collection "Culture of the Word" can be viewed as a coherent popular science text in which theoretical issues of linguistics are presented to the reader in an interesting narrative presentation, illustrated with a variety of linguistic and informational material. In fact, the overwhelming majority of the articles in the collection are permeated with the understanding of style, and the term style is represented in the titles of publications from the 70s of the twentieth century. The linguosophical reception of memory is projected in the following directions – national memory of the word and linguocultural memory. As the analysis shows, over the more than half-century history of the Culture of the Word collection, the methodological vector and interpretive practices in linguistic and stylistic studies of style and memory have changed. The center of the dynamic model of style is a person who creates and decodes stylistic varieties of language. And the national memory of the word (and the memory of the text) brighten the linguistic and cultural image of the modern literary language.

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 Style of the 18th Century German Poetry Book

The article considers a question mainly unexplored — the history of German book art of the 18th century. There are outlined the main trends in the evolution of German books and highlighted their stylistic varieties. The “archaic” style, inherited from the 17th century, has its characteristic disharmony, rough types, and eclectic ornamenting. It remains relevant until the 1770s. From the 1730s, a style called here the “Leipzig classic” strives to overcome the limitations of the archaic. Its development is related to the partnership of the poet J.C. Gottsched and the publisher B.K. Breitkopf, and to the short period in German literature when classical standards prevailed. Probably, the Leipzig publishers’ practice directly affected the Russian book style of the third quarter of 18th century. In the 1750s, the literary program of the writer J.J. Bodmer and the circle of Zurich writers, opponents of J.C. Gottsched, fused with the publishing program associated with an attempt of some fundamental reforms. Bodmer himself, and later the poet Salomon Gessner, were co-owners of the largest Zurich publishing company. Through that, the original “Zurich” style appeared, heralding the future book “empire” style. Its most characteristic features are the Roman-faced type instead of the Gothic type and the lack of ornamentation. The end of the century typography is marked by some further evolution of the “Leipzig classic” style, the Gothic type standardization, and later the Roman-faced type standardization as well (“Walbaum” type). Consequently, German books of the 18th century represent a complex and uneven evolution, with huge regional differences and directly or indirectly related to the development of national literature, which is a phenomenon that cannot be observed in other European countries.

The Dead Brother’s Ballad as a Balkan Shared Place of Memory

There is a ballad saved in the folklore and oral literary tradition of several Balkan peoples and their collective memory under different names, but with the same proto narrative: “The Dead Brother’s Song” (Greek), “The Return of the Dead Brother” (Macedonian), “Brother and Sister” (Serbian, Montenegrin, Bosnian), “Lazar and Petkana” (Bulgarian), “Constantin and Doruntinë” (Albanian), and “Voika” (Romanian). Appearing in several linguistic and stylistic variants, this ballad can be considered as an illustrative shared place of collective Balkan memory. Saved both as a local (national), and regional (transnational) cultural heritage, Тhe Dead Brother’s Ballad contains the most significant aspects of the Balkan cultural paradigm: mythical, mystical, folkloric, religious, ethical, and historical ones. The interpretation of this ballad in the mythopoetic context demystifies the Balkan identity prejudices and the misinterpretation of the shared cultural heritage. Methodologically, the present interpretation of the Balkan ballad is syncretic, combining diverse theoretical and interpretative tools from mythology, theory of literature, culturology and post-postcolonial criticism. Instead of giving an ultimate conclusion, this paper deconstructs the dominant interpretative strategies of the Balkan spiritual and historical heritage in the last two centuries (adoptive, contestable, convertible, competitive) showing that they all actualise the conservative principles of cultural hegemony on the Balkans. Having a scientific consensus for the transnational aspects of the Balkan cultural heritage might be a starting point for a new, empathetic strategy of their perception.