Typical Passages Research Articles

«Песнь о Шара Гюргю» («Шара Гүргүһин бөлг») в репертуаре джангарчи Михаила Манджиева

Introduction. The article provides a comparative insight into two versions of The Song of Shara Gürgü [the Furious]: the first was recorded in 1862, and the second was heard in the mid-to-late 20th century. The Appendix publishes The Song of Shara Gürgü recorded by N. Ts Bitkeev, E. B. Ovalov, N. B. Sangadzhieva — then employees of Kalmyk Institute of Language, Literature and History (present-day KalmSC RAS) — on 24–25 August 1971 in the village of Kamyshovo (Limansky District, Astrakhan Oblast). The introduction into scientific circulation of the narrative by jangarchi Mikhail Mandzhiev, a devout representative of the Kalmyk epic tradition, is of great significance for the comprehensive research of the phenomenon of taletelling. Materials. The paper examines the original text of the Song integral to the Kalmyk heroic epic of Jangar, recorded in 1971, and archived by Kalmyk Scientific Center (RAS). Goals. The article aims to introduce the version of jangarchi Mikhail Mandzhiev, conduct a comparative analysis of plot and compositional elements, including typical places of the Song, to an early recording of 1862. Results. As compared to the latter, the narrative of jangarchi Mikhail Mandzhiev differs in a smaller volume (only 849 poetic lines). The reduction is due to that the narrator omits some typical passages. However, this did not affect the harmony and conciseness of the Song because the taleteller retains plot-compositional structure and motif fund almost in full.

Типические места Малодербетовского цикла эпоса «Джангар» как средство определения авторства сказителя

Introduction. Russian folklorists have tended — and still do — to focus on formula-type language patterns inherent to traditional epic poetry. The shaping of epic songs would be facilitated by the wide use of structurally identical and stylistically similar descriptions and situations referred to as loci communes (‘typical passages’). Goals. The paper aims at identifying the personality of the taleteller to have recited the Baga Dorbet (Russ. Maloderbetovsky) cycle of the Jangar epic. With this in view, the work reveals typical passages of the Cycle, provides comparative insights into ones within prologues of the Cycle, compares the typical passages to similar elements from other cycles and individual repertoires. Materials and Methods. The study employs the methodology developed by P. D. Ukhov for the classification of Russian bylinas, and analyzes Jangar epic songs from the Baga Dorbet and Baga Tsokhor cycles, repertoires of such renown jangarchis as Eelyan Ovla, Mukӧvün Basangov, Dava Shavaliev, Nasanka Baldyrov, and Badma Obushinov. Conclusions. Typical passages of the Baga Dorbet cycle are structurally identical and stylistically homogenous descriptions where both syntactic patterns and described details and grammatical forms of parts of speech coincide which attests to that the texts were authored by (recorded from) one and the same taleteller. The opinion is confirmed by the below given examples of typical passages from other cycles that differ not only in terms of style or structure, but the very depicted objects, events, participants of the feast, the seating chart of theirs, and even numbers and sequence of stanzas significantly vary. The differences are determined by that the taletellers were representing different epic performance traditions with certain narrative patterns inherited from their predecessors. The comparative analysis of typical passages from the Baga Dorbet cycle shows the taleteller not only reproduces the once learnt song but rather creatively approaches every single performance maintaining standard elements of typical passages, modifies epic formulas employing synonyms, rearranging stanzas, reducing or adding details of descriptions, etc. This can be explained by that ‘above all in epic memory is not the formula precisely and intactly articulated in words but the artistic content, the taleteller (who) adheres to the framework of epic knowledge <...> (to) select one of the possible paths’, since this epic knowledge is wider than the text recited. So, the study concludes the whole of the Baga Dorbet cycle was recorded from (authored by) one taleteller and students whose names still remains unknown.

Discrediting Strategy as a Dominant of the Discursive Personality of an American Political Radio Commentator

Introduction. The paper reviews the specifics of the implementation of the discrediting strategy as the dominant of the discursive personality of an American political radio commentator. The relevance of the study is conditioned by the interest of modern linguistics in the description of generalized typical discursive personalities. The scientific novelty of the research is due to the fact that the discursive personality of the political radio commentator has not yet become the object of a special study. The study of a discursive personality is reduced to description of the types of communicative tonality to which a person resorts in the process of communication, as well as identification of the main communicative-pragmatic strategies used by them in order to achieve the goals of communication. The discursive personality of a political commentator-radio host is realized in the generated media texts, which are characterized by a specific communicative tonality due to a distant format and a technically mediated form of communication; social evaluation; ideological focus and polydiscourse.Methodology and sources. The study is drawn on the corpus compiled of scripts of 13 complete radio broadcasts of famous American political commentators (Glenn Beck, Michael Alan Weiner and Mark Levin) with a total volume of 115 792 words. The radio broadcasts were devoted to the election campaign (October – November 2016) and postelection polemics (January – March 2017). Based on the quantitative methods and contextual analysis, conclusions were made about the leading discrediting tactics of the genre under study and the main linguistic means of their actualization.Results and discussion. The strategy of discrediting is shown to be supported by a system of communicative tactics, the main of which are: the tactics of compromising the opponent, the tactics of verbal discrimination and the tactics of verbal insinuation. Each of the tactics, in turn, is implemented by a set of its typical communicative passages. Verbal insinuation and verbal discrimination in the studied genre have been established as the ways of linguistic implementation of such discrediting tactics of emotional impact. The role of evaluative vocabulary, slang, low colloquialisms, invectives, stylistic figurative means, occasionalisms and references to precedent phenomena as means of implementing discrediting tactics are considered. It has been proven that speech tactics of discrediting are never implemented in the studied type of discourse in their pure form since tactical schemes interact and overlap each other.Conclusion. The discrediting tactics in the genre under study are found to be a way of implementing speech aggression. Speech aggression as a feature of the discursive personality of an American political radio host is so affective and hostile that it can be argued that the ethics of speech behavior is not among the communicative values of this linguistic and cultural type. The rejection of ethical communication behavior is largely motivated by the need to participate in a tough competition in the context of the growing intensity of the information flow in modern media communication.

Syntactic Markedness as a Stylistic Feature in the Great Gatsby

<em>This study investigates the linguistic code choices of Francis Stott Fitzgerald for one of his masterpieces: The Great Gatsby. It hypothesizes that as a linguistic virtuoso, Fitzgerald exploits marked linguistic choices to convey his intentional meaning throughout the novel. “Marked” linguistic choices are defined as departures from the expected or the norm to negotiate a change during a discourse. This study assumes that the writer who is a linguistic virtuoso will “mark” the crucial passages (i.e., the passages which carry the author’s most important messages) by using marked syntactic structures and certain grammatical categories to set them off from the rest of the work. The study aims to find whether Fitzgerald marks the crucial narrative passages in The Great Gatsby by using particular syntactic structures which are demonstratively different from the typical narrative passages in the novel as a whole. To do so, it analyzes five passages which are crucial in carrying the “authorial message”, and these passages differ syntactically from five matched passages which largely function only to carry the story line forward. The stylistic analysis rests on a frequency count of the major components of the phrase structure and the most important grammatical categories in the paired paragraphs. Based on the analytical results, this study reaches the conclusion that the syntactic markedness stands out as a stylistic feature in The Great Gatsby, and such a stylistic feature can only become salient beyond surface-level considerations of phrase structure and grammatical categories in any stylistic analysis of literary works.</em>

A Multi-faceted Approach to Promote Comprehension of Online Health Information Among Older Adults.

Older adults' self-care often depends on understanding and utilizing health information. Inadequate health literacy among older adults poses a barrier to self-care because it hampers comprehension of this information, particularly when the information is not well-designed. Our goal was to improve comprehension of online health information among older adults with hypertension who varied in health literacy abilities. We identified passages about hypertension self-care from credible websites (typical passages). We used a multi-faceted approach to redesign these passages, revising their content, language, organization and format (revised passages). Older participants read both versions of the passages at their own pace. After each passage, they summarized the passage and then answered questions about the passage. Participants better remembered the revised than the typical passages, summarizing the passages more accurately and uptaking information more efficiently (less reading time needed per unit of information remembered). The benefits for reading efficiency were greater for older adults with more health knowledge, suggesting knowledge facilitated comprehension of information in the revised passages. A systematic, multi-faceted approach to designing health documents can promote online learning among older adults with diverse health literacy abilities.

The market as a cooperative endeavour

In my work as a normative economist, I have been deeply influenced by an idea I learned from James Buchanan in the late 1970s, and which is a central theme of his and Gordon Tullock’s Calculus of Consent. In that book, the idea is presented as a defining characteristic of an ‘economic approach’ to politics. I prefer to see it in a wider perspective, as a way of thinking about the terms on which human beings can and should engage with one another in society. For the purposes of their book, Buchanan and Tullock take it that this way of thinking is fundamental to the economic approach to economics. But my sense is that their understanding of market exchange is not quite the same as that of most economists today, or even of most economists at the time they were writing. In this essay, I try to formulate the idea and to say something about its implications for an understanding of markets. In The Calculus of Consent, Buchanan and Tullock repeatedly argue that collective choice should be understood as the many-person political equivalent of market exchange. To adopt the economic approach to politics is to treat politics as a kind of market. Here are two typical passages:

Poemy Esenina: Ot 'Proroka' do 'Chernogo cheloveka': Tvorcheskaia istoriia, sud'ba, kontekst i interpretatsiia by N. I. Shubnikova-Guseva (review)

REVIEWS 323 misprints and a tendency towards wordiness and repetition. Perhaps inevitably , the terminology of theoreticaldiscourseoccasionallyjars and repels(see, for instance, pp. 6, 58, 6o-62, 308-og, 326). The book concludes with an attractivegalleryof seventy-fourcoloured illustrationsof worksby the 'French School' (Monet, Degas, Manet, Renoir, Pissarro,Van Gogh, Seurat),as well aspaintingsby Levitan, Serov and Korovin. A contrasting but equally wide-ranging study is achieved by another scholar, Nina Razumova. Tvorchestvo A. P. Chekhova v aspekte prostranstva ambitiously investigates the evolution of Chekhov's outlook or perception of the world throughout his literary career by analysing his portrayal of fundamental philosophical questions concerning man and space (man's relationship with the surrounding world, or nature). Razumova confronts such momentous issuesas the purposeof life, death, time, civilization,culture, science, and religion. Numerous storiesby Chekhov and all five major plays areconsideredin some detail, andparallelsarecarefullydrawnwith theworks of otherauthors,includingBunin,Dostoevskii,Flaubert,Gor'kii,Hauptmann, Ibsen, Maeterlinck,Maupassant,Shaw, Tolstoi, Turgenev, and Zola. In the course of her painstaking monograph Razumova arrives at a new periodization of Chekhov's work, noting as an important watershed his journey to Sakhalinin I890. She identifiesin chronological order such stages as tragic existential crisis, non-tragic anthropocentrism, creative cultural dialogue with the world, man's assimilationby the materialworld, and man's ontological integration in the world. This periodization perhaps inevitably appears somewhat schematic, and specific assertionsmay be disputed. Thus, Razumova controversiallydeclaresthat Chekhov'stwo 'basicplaces' (osnovnye toposy) are the steppe (step')and the sea (more), and she resolutely insists that Chekhov's 'individualist' outlook on life remained consistently scientific, materialist,non-religious,and non-metaphysical. Nina Razumova isimpressivelywell-read,inphilosophyasin literature,and herobservationsand conclusionsundoubtedlycontain much food forthought. It is regrettable,therefore,that the tone of herbook is so unrelievedlyearnest, and the style so weighed down by its relentlesstheoretical and philosophical terminology (couched often in lengthy words of non-Russian origin), that the resulting text frequently becomes indigestible and almost impenetrable (see, for instance, typical passages on pp. I26-27, 227, 243, 326, 365 . .) Bristol GORDON MCVAY Shubnikova-Guseva, N. I. PoemyEsenina.Ot 'Proroka' do 'Chernogo cheloveka'. Tvorcheskaia istoriia,sud'ba,kontekst i interpretatsiia. IMLI RAN, Nasledie, Moscow, 200 I. 687 pp. Illustrations.Notes. Indexes. Priceunknown. OVER the past decade Natal'ia Shubnikova-Gusevahas proved an assiduous and incisive commentator, compiler and editor in the field of Esenin studies (see, for instance, her contributions,as sole orjoint editor, to such substantial works as S.A. Esenin:Materialy k biografii, Moscow, I992 [issued I993]; Russkoe zarubezh'e o Esenine,2 vols, Moscow, 1993; Sergei Esenin, Russkaiabol'.: 324 SEER, 8 i, 2, 2003 Stikhotvoreniia: Poemy:Proza:Sovremenniki o Esenine,Moscow, 1995; and Sergei Eseninvstikhakh izhizni,4 vols, Moscow, 1995 and 1997). Shubnikova-Guseva'sfirstmajor monograph, Poemy Esenina.Ot 'Proroka' do 'Chernogo cheloveka', stemsfromherintensiveactivityas commentatorto volume three of the academic edition (Sergei Esenin, Polnoesobranie sochinenii v semi tomakh, vol. 3: Poemy,Moscow, I 998) and from her doctoral dissertation, defended at the Institute of World Literature,Moscow, in December 200I. Six 'large poems' (bol'shiepoemy)are investigated - 'Pugachev', 'Strana Negodiaev', 'Pesn' o velikom pokhode', 'Poema o 36', 'Anna Snegina', and 'Chernyi chelovek'. The monograph is handsomely printed, discerningly illustrated,and exhaustivelydocumented. Poemy Esenina.Ot 'Proroka' do 'Chernogo cheloveka' is a serious, ingenious, and impressive work of scholarship. Manuscripts are meticulously perused and compared, contemporary and historical parallels are perceptively drawn, prototypes and literary echoes are revealed. Among numerous insights and discoveries, Shubnikova-Guseva identifies Aleksandr Krasnoshchekov as a prototype of Nikandr Rassvetov, demonstrates that 'Strana Negodiaev' is a finished work, links Esenin's 'tender hooligan' with iurodstvo, considers the three prototypes of Anna Snegina, and indicates a multitude of literary precursorsof'Chernyi chelovek'(citingPushkin,Batiushkov,Gogol',Dostoevskii ,Chekhov, Musset, R. L. Stevenson, Wilde, and others). Shubnikova-Gusevadescribes 'Strana Negodiaev' as a satiricalfarce, and 'Poema 0 36' as a tragicrequiem. Each chapteroffersthoughtfulobservations and interesting hypotheses. As background material for an appreciation of Esenin'spoemy, thisstudyis indispensable.Inevitably,the monographprompts various suggestions and queries. Perhaps 'Chernyi chelovek' also resembles Kusikov's 'Pesochnye chasy' (I922). Esenin's line 'Chest' moia za pesniu prodana'echoes a Russiantranslationof Fitzgerald's'Andsoldmy Reputation for a Song' (renderedby 0. Rumer as 'Achest' moia za pesniu prodana', in OmarKhaiam.Rubai...

Khudozhestvennoe myshlenie perekhodnogo vremeni (literatura i zhivopis'): A. P. Chekhov, I. I. Levitan, V. A. Serov, K. A. Korovin by V. I. Silant'eva Tvorchestvo A. P. Chekhova v aspekte prostranstva by N. E. Razumova (review)

322 SEER, 8i, 2, 2003 Silant'eva,V. I. Khudozhestvennoe myshlenie perekhodnogo vremeni (literatura i zhivopis'). A.P. Chekhov, I. I. Levitan, V.A. Serov, K.A. Korovin. AstroPrint, Odessa, 2000. 353pp. + 47 pp. Illustrations.Notes. Bibliography. Indexes.Priceunknown. Razumova,N. E. Tvorchestvo A. P. Chekhova v aspekte prostranstva. Tomskii gosudarstvennyi universitet, Tomsk, 200I. 52I pp.Notes.Index.Price unknown. VALENTINA SILANT'EVA haswritten anambitious, wide-ranging andoriginal book,whichinvestigates thephenomenonof the artist'swayof thinking(or artisticperception)at a timeof transition. Besidesprovidinga detailedand scholarlytheoreticalframework,the author devotes substantialseparate chaptersto a comparison betweenAntonChekhov'swuvre andoutlookand thoseof threecontemporary painters,IsaakLevitan(i86o-I900), Valentin Serov(i865-I 9II),andKonstantin Korovin(i86I-I 939). The introductionand firsttwo chaptersstriveto establishand definea particularhistoricaland culturalphenomenon,the transitional or 'border' mentality(rubezhnoe myshlenie, rubezhnoe soznanie), whenartistsre-evaluate the pastandseeknewforms,combining elementsoftheoldandthenew,tradition and experimentation. Such artistsbelongneitherto the old guardnor the avant-garde, andareoftencriticized ormisunderstood bytheircontemporaries .Morespecifically, Silant'eva assertsthat,formanygenerations ofreaders and viewers,Chekhov,Levitan,Serov and Korovinhave seemed to be 'strange realists', 'somewhat modernistic' (p. 50).Theirartisnotideological, butmoral,contemplative, elegiac,andlyrical.Chekhovformsalinkbetween theGoldenAgeofRealismandtheSilverAgeofModernism. Accordingto Silant'eva,impressionism was the 'ideal platform'in a transitional age, both as a personalphilosophyand as a formof aesthetic perception(p. 89, seealsopp. II 2, 3I6-I 7).The Russianversionof impressionismin paintingis representedby Korovin,Serov and Levitan,while Chekhov's poeticstyleandwayofthinking arealsoessentially impressionistic. Silant'evanotes the importanceof mood and subtext-joyful (Korovin), tranquilly contemplative (Serov),lyricallysad or slightlyironical(Chekhov andLevitan) (p. 87). Chekhovand his friendLevitanare united by their 'subtlepoetry of everyday' (p. I47),their'elegiactonality' and'twilight mood'(p. I55).Neither manpropounded convictions orideas.Inhisportrayal ofcharacters, Chekhov movedtowards mankind ingeneral,the'average person'or'everyman' ofthe late nineteenthcentury(p. 22I), and away from the narrowlysocial or ideological. Chekhov's heroisthe'badgoodperson'(p. 236),the'person who seeks'(p. 256).In the i88os Chekhovand Korovinsharedan 'unfinished' qualityin their subjectmatter.Chekhov'stext appearedas a 'seriesof fragments' (p. 271), combininglifeandLife,proseandpoetry.The moment partakes ofeternity. ValentinaSilant'evais a thoughtfuland methodicalscholar,and also a sensitivepoet (seeV. I. Silant'eva,Stikhiflologa, AstroPrint, Odessa,2001). Her well-producedmonographoffers many perceptiveobservationson Chekhovandthethreepainters,andis onlyslightlymarredby sometwenty REVIEWS 323 misprints and a tendency towards wordiness and repetition. Perhaps inevitably , the terminology of theoreticaldiscourseoccasionallyjars and repels(see, for instance, pp. 6, 58, 6o-62, 308-og, 326). The book concludes with an attractivegalleryof seventy-fourcoloured illustrationsof worksby the 'French School' (Monet, Degas, Manet, Renoir, Pissarro,Van Gogh, Seurat),as well aspaintingsby Levitan, Serov and Korovin. A contrasting but equally wide-ranging study is achieved by another scholar, Nina Razumova. Tvorchestvo A. P. Chekhova v aspekte prostranstva ambitiously investigates the evolution of Chekhov's outlook or perception of the world throughout his literary career by analysing his portrayal of fundamental philosophical questions concerning man and space (man's relationship with the surrounding world, or nature). Razumova confronts such momentous issuesas the purposeof life, death, time, civilization,culture, science, and religion. Numerous storiesby Chekhov and all five major plays areconsideredin some detail, andparallelsarecarefullydrawnwith theworks of otherauthors,includingBunin,Dostoevskii,Flaubert,Gor'kii,Hauptmann, Ibsen, Maeterlinck,Maupassant,Shaw, Tolstoi, Turgenev, and Zola. In the course of her painstaking monograph Razumova arrives at a new periodization of Chekhov's work, noting as an important watershed his journey to Sakhalinin I890. She identifiesin chronological order such stages as tragic existential crisis, non-tragic anthropocentrism, creative cultural dialogue with the world, man's assimilationby the materialworld, and man's ontological integration in the world. This periodization perhaps inevitably appears somewhat schematic, and specific assertionsmay be disputed. Thus, Razumova controversiallydeclaresthat Chekhov'stwo 'basicplaces' (osnovnye toposy) are the steppe (step')and the sea (more), and she resolutely insists that Chekhov's 'individualist' outlook on life remained consistently scientific, materialist,non-religious,and non-metaphysical. Nina Razumova isimpressivelywell-read,inphilosophyasin literature,and herobservationsand conclusionsundoubtedlycontain much food forthought. It is regrettable,therefore,that the tone of herbook is so unrelievedlyearnest, and the style so weighed down by its relentlesstheoretical and philosophical terminology (couched often in lengthy words of non-Russian origin), that the resulting text frequently becomes indigestible and almost impenetrable (see, for instance, typical passages on pp. I26-27, 227, 243, 326, 365 . .) Bristol GORDON MCVAY Shubnikova-Guseva, N. I. PoemyEsenina.Ot 'Proroka' do 'Chernogo cheloveka'. Tvorcheskaia istoriia,sud'ba,kontekst i interpretatsiia...

Children's production and recall of narrative passages

To develop a scale of organization in narrative passages, adults were asked to produce passages based on prompt words. From 30 passages generated in Experiment 1, a 7-point scale was developed, reflecting differential use of temporal and causal connections and episode structure. In Experiment 2, third-grade, sixth-grade, and college students produced narratives. Third graders relied primarily on temporal connections to organize their narratives, whereas sixth graders and college students used more causal connections and episode structure. Recall of these passages was not predicted by organization scores at any of the three age groups. Passages were also evaluated for “typicality”, more typical passages were those that followed the implied storyline of the prompt word outlines without much deviation or idiosyncratic elaboration. More typical passages were remembered better by third and sixth graders, but not by adults.

The Family, the State, and the Novel in the Early Republic

some of the central concerns involving the practices of the state and the family, and the institution of the novel in the early republic, a period roughly defined here as between the American Revolution and the Civil War; on the other, I want to show how these concerns have been re-examined but also replicated by recent literary and social historians working on the early republic. I am particularly interested in what has been called the new historicism and its effects on the study of the literature of the period. Focusing on the complicated relations among women and politics, the family and the state, and the home and the world, I want to proceed by looking at how these relations are thematized in some typical and resonant passages in the literature, and to move then to a more general consideration of the links between the literature and politics of the period.'

Philosophical Basis of Bohr's Interpretation of Quantum Mechanics

In an attempt to throw some light on the controversies over the foundations of quantum mechanics, the author presents what he believes to be the philosophical viewpoint (namely, “idealism”) underlying Bohr's interpretation of quantum mechanics and then illustrates this with some typical passages by Bohr. Why the “realist” might find this interpretation unsatisfactory is briefly indicated by some statements by Einstein.