Transformation Of Genre Research Articles

Consciousness and commodity: towards a critical theory of genre in American popular music

ABSTRACT This paper uses a critical theory approach to analyse the process of genre in American popular music. Synthesizing views from Herbert Marcuse and Theodor Adorno with more optimistic perspectives from Angela Davis and Tia DeNora, the paper proposes a cyclical theory of genre transformation from communal resistance to commodified product. Three case studies are used to show this process. In the 1920s, Appalachian music transformed from indigenous, multi-racial folk to commercialized ‘hillbilly music'. During the 1970s disco originated in queer communities to provide liberation on the dancefloor, became the dominant music of the decade, resulting in its homophobic extinction while inspiring new dance genres like house. Finally, the 1980s saw the rise of rap as a mode of defiance to racial and economic violence, but subsequent generations of artists worked to self-commodify to appeal to suburban white audiences, becoming the world's most popular genre. The paper examines how each genre originated as a form of resistance, gained widespread popularity, and ultimately became commodified. It concludes by exploring how AI-driven algorithms have disrupted traditional consumption patterns based on genre. In its place, machine learning and artificial intelligence is fabricating an ‘algorithmic self’ that individuates while disconnecting from specific communal expressions.

DEVELOPMENT TENDENCIES IN THE EVOLUTION OF SPORTS JOURNALISM

This article analyzes the specialization, genre transformation, development trends and evolution of sports journalism.

THE PRESSING ISSUES IN TRAINING SPORTS JOURNALISTS

This article analyzes the forms of sports journalism that have emerged as a result of the specialization of journalism and the transformation of genres in traditional journalism.

TRANSFORMATION OF LITERATURE GENRES ON THE INTERNET(on the example of Kazakh authors)

This article discusses the genre typology of online literature based on works of art by Kazakh authors published and promoted on Internet platforms and social networks. The purpose of the article is to identify modifications of traditional genres in the online environment. Therefore, the main direction is to describe the subgenres that have arisen between traditional book-format literature and digital literature. Studying the transformation of literary genres on the Internet is relevant for understanding the evolution of literature under the influence of technologies and expands theoretical knowledge about Internet literature. In the course of the study, such scientific methods were used as an analysis based on comparative historical, typological, hermeneutic, cultural and historical methods of works of Kazakh literature published in electronic resources and an analysis of the factors that subject to the transformation of the genre and types of canonical genres was also carried out. As a result of the study, an assessment was made of the state of formation and development of developing electronic literature in Kazakhstan, and specific aspects of online literature were identified. Internet platforms where domestic authors are published were analyzed. It was concluded that the state of development of the modern literary process led to the assumption that, over time, several new types and genres of literary works are being formed on the Internet. It has been established that although samples of traditional literature in the Kazakh language are actively published on the Internet in the form of electronic versions, new technologies and the Internet have remained relatively the exact structure of works.The topic of Internet literature is very well developed and researched in Western and European countries. The value of this study is determined by the fact that a broad analysis of literary genres on the Internet was carried out using the example of domestic authors. The study's practical significance lies in using its results for the development of educational programs and the popularization of Kazakh literature on the Internet. The results of this study make it possible to use the obtained theoretical results and the collected material in the courses of modern literature and the media sphere.

THE ANTHOLOGY “STATE OF WAR”: SYNERGY, PROBLEMATICS, GENRE ORIGINALITY OF THE TEXTS

The anthology “State of War” is a fiction and documentary prose about the bloody war unleashed by Russia on Ukrainian lands, a prose in which the authors, through the prism of their own worldview, experience and emotions, offer the general readership the recorded tragedies of “timeless truth”, the facts of grave illegal crimes committed by the Russian occupiers. The article aims to examine the reception of martial law events in the anthology as non-fiction literature in contemporary Ukrainian prose. The object of the study is the texts of the anthology “State of War”, united by the subject of depicting military events in Ukraine in order to document the war in its various manifestations and tell the world about it in the “Ukrainian voice”. The study was conducted using elements of descriptive, structural and semantic, receptive and interpretive, and contextual methods of analysis. The anthology “State of War” is a genre transformation that combines “sophisticated fiction and the accuracy of documentary” (V. Sayenko), and is dominated by essays, narratives, and memoirs that have only recently been classified as fiction and documentary literature. The textual and social conclusions of “State of War” with an appeal to autobiographical memory made it possible to consider texts in the genre of “non-fictional prose” (T. Bovsunivska): they contain autobiography, the authors appeal to personal experience, indicate involvement in the events described, the narrative is in the first person and is based on a reliable fact, as in memoir genres. The core format of the anthology’s textual content is determined by the history of everyday life. The authors of the book (fifty of them), like the characters in the stories, are writers and public figures, journalists and scholars, volunteers and soldiers of the Armed Forces of Ukraine. Combatant writers, i.e., active military personnel – Oleksandr Mykhed, Artem Chapai, Artem Chekh – create stories not based on other people’s impressions but on what they have seen and experienced, proving that the problems of a soldier are not only related to fighting and defending positions, but also to the aesthetics of survival, to the belief in victory over the aggressor for the further development of society. The texts of the anthology “State of War” contain genre “inclusions” (“Siren-Hyena” by L. Taran, “Under the Bridge” by S. Povaliaiev, “After the Occupation” by V. Puzik) that organically fit into the author’s narrative, confirm significant events, and increase the recipient’s responsibility in the reading process. The semantic core of the narrative of “State of War” is determined by the titles: they influence architectonic expressiveness, inform the reader about the objective reflection of events, facts and phenomena, transform into message titles, decode the content (“Being a Teacher Under Occupation” by L. Denysenko, “My First Bomb Shelter” by I. Pomerantsev, “After the Occupation” by V. Puzik, “Roots Up, or Fear of Migration” by T. Gundorova, “Presentation with Stress” by Y. Vynnychuk).

Огюст Бризё как тип романтического певца локальной культуры

The aim of the research is to identify the main features of a creative type embodied in the figure of A. Brizeux. Based on the analysis of the poems “Marie” (1831), “The Bretons” (“Les Bretons”, 1846) and “The Breton Elegy” (“L’Élégie de la Bretagne”, 1857), the paper describes the main features of the artistic world created by the writer, as well as the most significant features of the author’s poetics. The paper is original in that it provides a typological examination of the Breton poet’s creative work, focusing on the analysis of the works on the Breton theme, which was most important to A. Brizeux. This approach significantly differs from a complete description of the writer’s creative heritage (with all the incidental details distracting from the main material) and is closer to a thesaurus-based thematic and content-based limitation in the selection of research material. Such a method brings typical features to the foreground and emphasizes them: Brizeux is not just the “bard of Brittany” (the most widespread and well-established view of the poet), but the “bard of Brittany” who lived in an era dominated by Romantic tastes in literature and, therefore, saw his homeland in a way that poets of other eras could not. As a result of the research, it has been found that A. Brizeux represents, firstly, a type of writer not uncommon for the Romantic era, who actualized interest in local culture (Breton culture) and created a romantically idealized image of the homeland, similar to how Virgil created the most memorable myth of “blessed Arcadia” in the “Bucolics”, and, secondly, a type of writer who simultaneously participated in processes characteristic of different Romantic literary periods: the rethinking of poetic norms and the practical transformation of genres.

Meta-genre formations in the poetry of Valery Bryusov

The subject of the article is the peculiarities in the formation of genre trends in the work of Valery Bryusov. Author pays attention to Bryusov's appeal to supercycles-catalogs, which occur when the evolution or transformation of the genre is carried out in several collections. Among such genre supercycles-catalogs, the genre of the poem-"monument", or historical and mythological medallion, stands out. This genre can take different forms from Bryusov (lyrical ecphrasis, the poem -"glory", which combined various types of genres). In this context is also considered the issue of continuity and transformation of the lyrical genres of World and Russian literature in the Bryusov's work. In the proposed article, the author aims to identify the features and nature of the interaction of traditional and non-traditional genre formations in Bryusov's poetry. The author uses systematic-typological and structural-semiotic, as well as comparative-historical and cultural-historical methods and focuses on the works of M. L. Gasparov and L. G. Kikhney as a methodological base. The novelty of the research lies in the study of the genre in Bryusov's lyrics as a changeable category that undergoes changes and transformations in the poet's work. The article draws following conclusions: 1) the formation of sections of Bryusov's lyrics was carried out not only on the content side, but also on genre affiliation; 2) large-volume supercycles-catalogs created by Bryusov was almost a new phenomenon for the Russian literary tradition; 3) the poem-"monument" as a genre of the supercycle -catalog often takes different forms in Bryusov's work; 4) mythological and historical portraits reflected in the poems-"monuments" originate in sculptural images of great people; 5) poems-"glory", in turn, includes various genre types (for example, requiem and testament).

The Evolution of the Sonnet as a Genre: Tracing Its Development and Influential Sources

This article explores the evolution of the sonnet genre in Uzbek literature, tracing its origins from European literature, particularly the Petrarchan and Shakespearean traditions, to its manifestation in the works of Uzbek poets such as Barot Boyqabilov and Rauf Parfi. Utilizing comparative analysis, the study examines the structural and thematic adaptations of the sonnet form in Uzbek poetry, highlighting the influences of both European models and indigenous innovations. Results demonstrate the diverse approaches adopted by Uzbek poets in reimagining the sonnet, showcasing a synthesis of traditional forms with unique cultural expressions. This research sheds light on the dynamic interplay between global literary traditions and local artistic practices, contributing to a deeper understanding of cross-cultural literary exchange and innovation. Highlights: Cross-Cultural Sonnet Adoption: Sonnet's European origin influenced Russian, Turkish, and Uzbek poetry, demonstrating its cross-cultural adaptability. Literary Influence and Innovation: Uzbek poets like Boyqabilov and Parfi expanded the sonnet genre, inspired by Petrarch and Shakespeare. Sustaining Tradition and Individual Expression: Uzbek poets blended European tradition with personal themes, enriching Uzbek poetry's cultural tapestry. Keywords: Sonnet, Petrarch's Style, Genre Transformation

“Rus', You are but a Kiss in the Cold!” (1921) by V. Khlebnikov: Text as a Combinatory Model / Dynamic Construction

The paper is devoted to analysis of the poem by Velimir Khlebnikov “Rus', you are but a kiss in the frost!” (1921) as part of a study of transformation of the sonnet genre in the poet’s verses. Velimir Khlebnikov elaborates his version of a lyrical story of ‘a kiss in the frost’, originating from the poem by Alexander Pushkin “Winter. What do we do in the village?…” (1829). The love scene is represented as a natural phenomenon, embedded not only in the winter landscape but also in the Universe. There are no persons in the Nature’s integrity, and the couple of lovers are designated only by demonstrative pronouns. The tension of feelings (“the lightning kiss”) is but one of the manifestations of the Elements. The phenomenon of a lightning as a “potentially energy-embracing symbol” has a conceptual character in Khlebnikov’s perception of the world, is both the “primordial image” of the world and the principle of universal unity, which has already been noted by the eminent researchers’ of Khlebnikov’s works. From the formal viewpoint, the text is a special variant of structural deformity and overcoming it, which is directly related to the idea of accumulation of energy, explosion, and return to tranquility. The poem is characterized by increased expression of the arrangement of its sounds; alliteration of the occlusive, fricative, and sonorant sounds, their combinations, and paronymic attraction create the effect of a special energy of sound-making. The rhythmic arrangement of the text “deceives” the reader’s expectations: fast shifts and transitions from one meter to another (polymetry in the first stanza), occasional caesuras in the first, fourth, and ninth verses, an enjambement in the seventh and eighth verses: breakage of the seventh verse, when the verb “would [swiftly] outline” starts a line, visualizing the movement of a lightning. Structural deformities are settled in the final — the last verse is written in a classical iambic tetrameter. Graphically, the lyrical text is a combinatory dynamic model which may vary in terms of strophic division, the “headless” sonnet, preserving the characteristics of the Italian sonnet, dominates. The mechanism of cohesion is ensured by all the levels of the artistic whole, and the genre of the sonnet is a harmonizing form, balancing the structural instability of the text.

BASNE U STIHU SA VREMENIH PESNIKA ZA DECU – JEDAN POGLED

The paper discusses different types of verse fables for children by contemporary Serbian poets. We researched the framework of the present-day poetic dialogue with the fable on two levels: 1. the relationship with a parti- cular fable as the starting point for poetic reshaping, and 2. the relationship with the genre and generic features within the fable. Our goal is to use qualitative analysis in order to shed light on literary devices which are most explicit in problematizing fable patterns. We started from the evolution of the plot of the fable about the cricket and the ant as a specific example that can be used to shed light on the path of transformation of this didactic genre and the recorded influences of the social context in which it took place. Subsequently, we singled out typical examples of texts that problematize the fable’s moral, question its concept of virtue, or introduce new motifs into the expected structure.

Речевой жанр отзыва потребителя и его трансформация в цифровую эпоху (на материале отзывов о докторах)

We analyze the influence of new technologies of communicative interaction on the transformation of the speech genre of consumer reviews on the Internet. The research is based on reviews of doctors and medical services taken from the websites of specialized online publications and forums. The author compares modern Internet-reviews of the consumer with the genre-prototype – reviews in the Book of Complaints and Suggestions. The research determines the main direction of the genre transformation, connected with the communication channel and the change in the position of the addressee: the Internet review acquires all the properties of a public media genre, since its addressee becomes a mass one. The changes also affect the image of the author: access to an unlimited audience determines the transformation of the text towards the mass media and advertising discourses with their basic functions of influencing and regulating the behavior and way of thinking of the mass addressee. The communicative-pragmatic study of the review is based on one of the essential genre-forming features – the intention of the addressee, which is expressed, first of all, in a positive or negative assessment of the medical service. The study reveals structural-semantic models of two types of reviews and analyses evaluation tactics in the texts of reviews. It is indicated that there exist communicative and legal risks due to the public nature of the negative feedback distributed on the network. The author notes pragmatic characteristics of a positive consumer feedback, which bring it closer to the advertising text.

대학 글쓰기에서의 장르 인식에 근거한 서평 작성 교육 방안

This study aims to present an educational plan for writing a book review based on genre awareness. Drawing upon previous discussions, this study analyzed the problem of perception of book review and presented a book review education plan based on modern genre theory.
 After reviewing previous discussions on how to write a book review, this study found that there were many cases that proposed a book review method based on the comparison between a book report and a book review. However, by looking at the contents of the book reviews written by students, it was found that the distinctions between the instructor's book report and the book review were unclear.
 Accordingly, this study aimed to propose an educational plan for writing a book review based on genre awareness. It was designed to foster an understanding of the book review genre through individual and group activities, which included the following stages: “collecting samples of the genre,” “identifying the scene and describing the situation in which the genre is used,” “identifying and describing the genre’s features,” “analyzing what these patterns reveal about the situation and scene,” “understanding genre transformation patterns,” and “conceptualizing a summary of genre awareness.” Subsequently, as part of the genre-writing practice stage, this study proposed a procedural instructional model for writing a book review. This model includes the following stages: “drafting the book review,” “feedback regarding the book review,” “writing a final version of the book review,” and “reflecting on the process of writing the book review.” This study is significant in that it allows students to self-directedly write a book review based on their awareness of the genre, which is distinct from the familiar genre of book report. In addition, by presenting detailed procedures for genre awareness learning stages that have not been dealt with so far, this study can be evaluated as meaningful in that it allows students to develop a genre awareness of book review.

The Transformation of Prewar Blues into Postwar Rhythm and Blues

Abstract The transformation of blues into rhythm and blues in the mid-twentieth century mirrored the experience of migrants who traveled from the South and adapted to bustling city life in the North and Midwest. When millions of Black Americans moved to cities during the Great Migration, traditional blues traveled with them, but the faster pace of urban life engendered new approaches to blues that reflected the new environment, and rhythm and blues emerged in the early postwar period as an urbanized transformation of the earlier genre. Rhythm and blues was loud, emphatically energetic, and, through greater use of new modern instruments, highly electrified. These attributes were, as many have observed, artistic responses to the new urban setting and marked a distinct divergence from the genre's prewar origins. What have received less attention than timbre, tempo, and volume, though, are the many new formal approaches that mark the new style: the urban environment engendered a corresponding creative explosion of new variants on the traditional twelve-bar form, many of them characterized by faster textual pacing, greater phrase-rhythmic density, and elaborate stylization. These transformations are the formal counterparts to the electrification and livelier tempos that mark the urbanization of blues and its metamorphosis into a new postwar genre, and they appear throughout the work of many pivotal rhythm and blues musicians, including Willie Dixon, Ruth Brown, Howlin' Wolf, Ray Charles, Big Mama Thornton, Fats Domino, Chuck Berry, and Little Richard, the main artists explored in this study.

VOM TAGEBUCH-ROMAN ZUM LIBRETTO. ZU JAKOB VON GUNTEN VON BENJAMIN SCHWEIZER

The following article looks at the genre transformation from Robert Walser’s diary novel Jakob von Gunten to Benjamin Schweizer’s libretto of the same name. Even if the sole aim is to explore the textual processing of the pre-text for the purposes of another (literary) genre, which the plurimedial character of the final text – the libretto – allows us to distinguish between dramatic, musical and performance texts as being isolable components of the opera as spectaculum (cf. Gier 34). In accordance with this interpretation, an intermedial approach seems warranted here.

Creative guidelines of folk­instrumental ensembles in the cultural space of Kharkiv in the second half of the XX — beginning of the XXI centuries

The purpose of the article is to reveal the peculiarities of the creativity of folk-instrumental ensembles in the second half of the XX — the beginning of the XXI centuries in the cultural locus of Kharkiv.
 The relevance of the article is determined by the dissonance between the intensity of artistic practice, the variety of ways of testing innovations, the permanent reinvention of genre, style, timbre, expressive parameters of folk-instrumental ensembles in the cultural locus of Kharkiv, and the discreteness of researching their activities in the musicological discourse. Comparative methodology is based on the guidelines of system analysis, historical approach, musical interpretation method and generalization method.
 The results. The article outlines the conceptual, genre and stylistic, repertoire guidelines of such poly-timbral and mono-timbral folk-instrumental ensembles of Kharkiv of the second half of the XX–XXI centuries, such as “Korobeinyky”, “Rozmai”, “Yarmarok”, “Stozhary”, “TsymBanDo”, “3+2”, “Hrotesk”, “Grey Folk”, “Vesela Banda”, “Koloryt”, duets of accordionists I. Lypnytskyi and L. Hura, O. Mishchenko and I. Sniedkov, female bandurist trio “Kupava” and “Zoredana”, Kharkiv Guitar Quartet.
 The scientific novelty of the article lies in identifying such specific features of the creative activity of folk-instrumental ensembles of Kharkiv, such as: variability of forms and compositions; virtuosity; the trend to expand timbral, sonorous, textural horizons, reinventing the technical and performing arsenal; testing of new improved modifications of traditional instruments and timbre-textural versions of classical world and national heritage; expansion of genre and stylistic horizons with original works of modern Ukrainian, in particular, Kharkiv artists; preservation of authentic music-making guidelines, establishment of the significance of the folklore and repertoire dominant idea; the significance of the academicization trend and the establishment of new sound images of folk instruments; timbral experi-mentalism, acting theatricalization of performance, tending to the aesthetic dimensions of World music and crossover, that are consonant with multiculturalism and ironic metamodernism; combination of perfor-mance, composition, research, pedagogical and methodical activities of its representatives.
 Conclusions. The revealed peculiarities of the creative activity of folk-instrumental ensembles in the cultural space of Kharkiv testify to the establishment of the academic status of the national folk-instrumental ensemble art as a bearer of mentally marked traditional guidelines for instrumental music-making and a reflection of the multicultural essence of metamodernism, the sphere of transformation of aesthetic, genre and stylistic, timbre and technical and performative parameters of folk-instrumental ensemble art based on the diffusion of folklore, academic and variety music, a mediator between cultures in diachrony and synchrony, the bearer of the mission of raising folk-instrumental traditions and finding innovative ways of their embodiment.
 The practical significance of the article is outlined by the heuristic application of its results in pedagogical-methodical, theoretical-practical and performance activities.

On the poetics of emotions and the world’s tenderness in V. Nabokov’s short story <i>Beneficence</i> [<i>Blagost</i>

The article analyses and interprets the short story Beneficence [Blagost] (1924), penned by V. Nabokov during his Berlin period of emigration. The author selected the short story for several reasons. Firstly, it appeals as an example of genre transformation of a love story and demonstrates the multidimensionality of the concept of love; secondly, the protagonist arouses interest as an empathetic narrator whose utterances reveal a complex structure; and thirdly, due to the ways in which the meaning of the title correlates with the decoded concept of the world’s tenderness. The writer’s strategy and the poetics of emotions uncover the core meaning of a reminiscence as a cognitive act and transformation of the hero’s consciousness, i. e., his understanding of love and happiness. The protagonist proceeds to discover happiness on a different plane of existence — in the relationship of ‘me and the world,’ in the harmony of the universe, and in the convergence of the micro- and macrocosms. Taking this into account, it appears that Nabokov’s portrayal of tenderness is endowed with a sacred meaning and reaches completion in the formula ‘me for the Other.’

Shakespeare as Liberal Art Education Contents－Intertextuality and Reading Intertextually Reproduced Modern Hamlets

Shakespeare is an icon of literature that transcends time and language and a cultural content that transcends genres. Especially Shakespeare which have been reproduced intertextuality is not a British speciality, but an essential content of liberal arts education in the flow of convergence culture in this global era. To have logical approach to the various representations of Shakespeare, the concept of intertextuality is closely examined at the beginning, from Kristeva to the present, which is theoretical link that connects the classics and the modern. Tom Stoppard’s Rosencrantz and Guildenstern are Dead is a modern reproduction of Shakespeare’s Hamlet, clearly shows the absurdity of modern life by drawing insignificant characters around the main character, Hamlet. Ophelia, a novel intertextually rewritten Hamlet from a woman's point of view and produced as a movie presents a new defamiliarized perspective to modern readers/learners through genre transformation as well as ending transformation. Hamlet and Yeonsan, two plays directed by Lee in Korea, are the discernible examples of Korean intertextual representations which show regional and cultural characteristics of Korea, that is, an outside of the Anglo-American region. By representing Shakespeare's Hamlet using both Korean symbols, dances, and songs abd western acting style, it suggests the process of expanding intertextuality into interculturality. In addition, it can be said that readers/learners’ literacy to the classics should be preceded to secure the global value of Koreanization. Understanding modern adaptations of Shakespeare is an essential backup for leaders/learners to decipher the synthetic syndrome of global culture of the moment. Therefore, as liberal art education content, it seems necessary to recommend to readers/learners who need to develop critical literacy to understand the current cultural trend to read the intertextually reproduced Shakespeare.

About the genre specificity of the plays «Guests» («Gäste») by Oliver Bukowski and «The Ugly One» («Der Hässliche») by Marius von Mayenburg: from the author's definition to the reception of critics and viewers

The plays "Guests" ("Gäste") by Oliver Bukowski and Marius von Mayenburg's "The Ugly One" ("Der Hässliche") reflect the most important genre processes that are typical for the historical and world literary development of drama at the end of the 20th – beginning of the 21st century: the individualization of the genre of each individual play; active hybridization of genres of dramaturgy; the processes of genre transformation, genre convergence and genre diffusion, etc. Modern German drama at this stage of its development is becoming fundamentally dialogic, open to reader / audience interpretations and theatrical reinterpretations. The literary approach implemented in this article – in the paradigm from the author's genre definition to the analysis of the audience's perception of the director's productions of plays – allows a deeper understanding, first of all, of the ideological and artistic originality of a literary work.

Book Review: Transformation of Contemporary Film Genre: The Aesthetics of Chinese Mainland Mainstream Cinema

Book Review: Transformation of Contemporary Film Genre: The Aesthetics of Chinese Mainland Mainstream Cinema

ВПЛИВ ПОВНОМАСШТАБНОГО ВТОРГНЕННЯ РОСІЇ НА ТЕМАТИЧНУ ТА ЖАНРОВУ ПАЛІТРУ ТЕЛЕБАЧЕННЯ: РЕГІОНАЛЬНИЙ АСПЕКТ

<p><strong><em>The purpose of the study </em></strong><em>is to identify trends in the thematic and genre transformation of broadcasts and individual audiovisual products of regional TV channels of Kyiv («Kyiv») and Lviv («NTA») after a full-scale invasion.</em></p><p><strong><em>Research methodology.</em></strong><em> Empirical and theoretical research methods were used in the research process. In particular, these are methods of analysis of television products of regional media, comparison of television products before and after the war, as well as in several media, content analysis of individual television materials and observation. At the first stage of the research, the method of analyzing theoretical sources and already published studies on the topic of regional TV channels, their activity and level of development, response to events taking place in the region, the state and the world was used. During the second stage, specific television materials and broadcasts of individual regional TV channels of Ukraine were analyzed in terms of genre and thematic changes after the full-scale invasion of Russia into Ukraine – that is, after February 24, 2022.</em></p><p><strong><em>Results.</em></strong><em> Regional TV channels remain an important source of information for residents of individual Ukrainian regions, an audience that trusts these media and constantly follows their news. It is such broadcasters who distribute important informational, artistic and analytical audiovisual products on local, national and global topics through a regional prism. The war, as the number one topic in the public life of Ukraine and one of the leading and most discussed topics far beyond its borders, somehow made corrections not only in the functioning of the media themselves, but also in their thematic content and genre diversity. </em></p><p><em>As a result, regional TV channels have changed the broadcast network, creating audiovisual products, primarily on the topic of war, post-war changes, support for internally displaced persons, and the world’s reaction to the events in Ukraine. At the same time, moving away from the previously most used informational and analytical genres, expanding their list and diluting it with artistic genres.</em></p><p><strong><em>Novelty.</em></strong><em> The novelty of the work consists in the analysis of how regional broadcasters (television channels) react to the cardinal social and political changes in the life of the state – a full-scale war, try to continue to provide the informational needs of their audience, while at the same time moving away from the previously approved telecasts, dividing topics by importance and enrichment and change of genre diversity used in television broadcasting. Research can be used for further analyzes and observations of the level of development and formation of regional (local) TV channels of Ukraine, their contribution to the information war and counter-propaganda of Russian lies.</em></p><p><strong><em>Practical meaning.</em></strong><em> The results of this study can be used by journalism experts when studying the peculiarities of television broadcasting in Ukraine during military operations, taking into account the regional aspect.</em></p><p><strong><em>Key words:</em></strong><em> television, war, regional channels, genres.</em></p><p><em><br /></em></p>