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Journal articles on the topic 'Experimental poetry, Russian'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Laletina, Olga S., and Iwei Zhang. "Describing the verse of Russian émigré poets: Poetry by Nikolay A. Shegolev and its metrical system." Vestnik of Saint Petersburg University. Language and Literature 18, no. 4 (2021): 661–79. http://dx.doi.org/10.21638/spbu09.2021.402.

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The article analyses Russian émigré poetry: it describes the lyric poetry of Russian emigrants in the Far East, its connection to the poetry of the metropolis and the western branch of Russian emigration. The work is focused on one of the least studied issues in the history of Russian émigré poetry, i. e., the specific development of its verse. Lyric poetry by Nikolay A. Shegolev (1910–1975), a poet of the so-called “Russian China”, offers extensive material in this respect. His poetry has been overlooked in terms of academic verse analysis to date; however, many scholars note that he was very

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Wang, Yong, and Olga V. Vinogradova. "Contemporary Chinese poetry and Russian modernist and postmodernist poetry: influence and analogy." RUDN Journal of Studies in Literature and Journalism 24, no. 4 (2019): 704–12. http://dx.doi.org/10.22363/2312-9220-2019-24-4-704-712.

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For the last thirty years, Chinese poetry mostly has been well-known for three schools, namely: “Misty Poetry”, “Intellectual Writing”, and “Folk Writing”. Russian poets of diff erent periods were among those who had a notable impact on the works of Chinese poets. Russian lyric poets praising freedom, love, and relationships with nature became the main source of inspiration for “misty” poets. “Intellectual” poets felt their being close to the Russian Silver Age poets: A. Akhmatova, A. Blok, B. Pasternak, M. Tsvetaeva. Their poems include examples of direct addressing to them. “Folk” poets crea

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Huttunen, Tomi. "Montage in Russian Imaginism: Poetry, theatre and theory." Sign Systems Studies 41, no. 2/3 (2013): 219–29. http://dx.doi.org/10.12697/sss.2013.41.2-3.05.

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The article discusses the concept of montage as used by the Russian Imaginist poetic group: the montage principle in their poetry, theoretical writings and theatre articles. The leading Imaginist figures Vadim Shershenevich and Anatolij Mariengof were active both in theorizing and practising montage in their oeuvre at the beginning of the 1920s. Shershenevich’s application of the principle in poetry was called “image catalogue”, a radical poetic experiment in the spirit of both Walt Whitman and Sergei Eisenstein. Mariengof ’s main contribution to the montage poetics was his first fictional nov

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Dreyzis, Yulia A. "Performative Strategies in Contemporary Chinese Avant-garde Poetry." Oriental Studies 19, no. 10 (2020): 100–116. http://dx.doi.org/10.25205/1818-7919-2020-19-10-100-116.

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The paper presents an attempt to explore the problem of mediality in Chinese poetry of the last thirty years. New Chinese poetry is particularly susceptible to the influence of the latest concepts of modern art and now more than ever needs a clear contextualization in relation to other forms of culture and avant-garde practice. This can be achieved through applying an analysis paradigm for performative word art developed by Dr. Tomáš Glanc in the context of Czech and Russian neo-avant-garde. It perceives experimental poetry as a form that fulfills a shift of the word thus making it labile. Exa

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Wenjuan, Tian. "TWO ORIENTALISMS: THE ROLE OF ORIENTAL DICTION IN G. G. BYRON’S THE BRIDE OF ABYDOS AND I. I. KOZLOV’S RUSSIAN TRANSLATION." Russkaya literatura 2 (2021): 50–53. http://dx.doi.org/10.31860/0131-6095-2021-2-50-53.

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«Oriental diction» is an important exotic element of Byron’s poem The Bride of Abydos. Using Oriental words that jarred with English poetry of early 19th century, and accompanying them with extensive notes, Byron gave his poem an experimental and scholarly character. While translating the English poem into Russian, I. I. Kozlov chose a creative approach to the problem of reproducing the Oriental diction (the exotic and bizarre words, style and poetics were somewhat downplayed), the reasons being the originality of the Russian culture of the early 19th century and Kozlov’s own literary taste.

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SHCHYHOLIEVA, Svitlana, and Svitlana Kryvoruchko. "ABOUT THE AUTHOR SHCHYHOLIEVA SVITLANA." Astraea 3, no. 1 (2022): 139–42. http://dx.doi.org/10.34142/astraea.2021.3.1.08.

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Svitlana Shchyholieva – modern Kharkiv poet, member of the National Union of Writers of Ukraine, engineer of Department of Experimental Physics of Kharkiv National University named after V. N. Karazin, write and sing her own songs. Svitlana Shchyholieva started writing at the age of 5, but more seriously at the age of 16. She is the author of poetry collections in Russian “November berries” (2007) and “Live thread” (2018), have poems in Ukrainian and a little in English.

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Sokolova, Olga, and Vladimir Feshchenko. "“Spaces of Silence” and “Secret Music of the Word”: Verbo-Musical Minimalism in the Poetry of Gennady Aygi and Elizaveta Mnatsakanova." Arts 13, no. 2 (2024): 66. http://dx.doi.org/10.3390/arts13020066.

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Two major poets of the Russian Neo-Avant-Garde—Gennady Aygi and Elizaveta Mnatsakanova—created textual works that transgressed the limits of language and the borders between the arts. Each pursued their own method of the visualization and musicalization of verbal matter, yet both share a particular musical sensibility, which guarantees the integrity of the linguistic structure of their verse, despite the fragmentation and logical incoherence of its elements. The atonal (serial) musical tradition has a special significance for these experimental poetics of minimalism. Mnatsakanova, herself a mu

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Shafranskaya, Eleonora F., and Shevket R. Keshfidinov. "Ararat as the Main Pattern of the Armenian Text in Russian Poetry." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 69 (2023): 176–88. http://dx.doi.org/10.37816/2073-9567-2023-69-176-188.

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The paper explores the current direction of modern literary criticism — local texts, in particular — the Armenian text in Russian poetry. The purpose of the presented study is to determine the range of associative images that arise in the mind of a modern person around the lexical token “Armenia”. The authors conducted a survey of respondents in one of the social networks. One hundred and ten responses (mostly representatives of the academic, intellectual environment, with a reader's background) became the basis for statistical analysis. The most common answer came to be the word “Ararat”. In

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Vishnevetsky, Igor Georgievich. "Three Contemporary Russian Poets and Biblical Tradition: Sergey Zavyalov, Natalia Chernykh, Jaan Kaplinski." Religions 13, no. 11 (2022): 1103. http://dx.doi.org/10.3390/rel13111103.

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The poets in question belong to different generations, as well as different cultural, ethnic, and even religious backgrounds. Ethnically Mordvinian Zavyalov (b. 1957), who is also a noted scholar and translator from Ancient Greek and Latin, and ethnically Russian Chernykh (b. 1969), who is trained as a librarian and grew up among hippies, are both Eastern Orthodox Christians. Jaan Kaplinski (1941–2021), half Polish and half Estonian, was born and died a Roman Catholic, yet for a considerable part of his life, until his gradual switch from the Estonian language to Russian, considered himself a

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Polilova, Vera. "German and Spanish rhythmic accents in Russian three-ictus dolnik." Studia Metrica et Poetica 11, no. 2 (2024): 7–44. https://doi.org/10.12697/smp.2024.11.2.01.

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This article presents a comparative rhythmic analysis of two types of Russian three-ictus dolnik: a heterosyllabic variant used as an equivalent of the German three-stress meter and an isosyllabic variant (7M/8F/9D) used as an equivalent of the Spanish octosyllabic meter. The corpus under examination is divided into two subcorpora. Subcorpus A consists of translations of Heinrich Heine’s poems, comprising 732 lines from 51 translations by twelve Russian translators, published between 1911 and 2003. Subcorpus B consists of translations of Federico García Lorca’s and Spanish folk romances, compr

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Feshchenko, Vladimir V. "Treatise Disguised as Poem: the Border-Line Genre and its Linguistic Features." Slovo.ru: Baltic accent 15, no. 2 (2024): 144–59. http://dx.doi.org/10.5922/2225-5346-2024-2-9.

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The hybrid genre of poetic treatise occupies a somewhat marginal position within the literary genres landscape. Nonetheless, it holds particular interest as a realm of interaction between artistic and scientific discourses, sometimes intertwining with everyday speech. In the twentieth century, the interplay between scientific and poetic texts, as well as between verse and prose, took on new experimental forms. Western literature saw the influence of Ludwig Wittgenstein and his philosophical treatise form on artistic practices, including poetry. Wittgenstein's "Tractatus Logico-Philosophicus

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Botvinova, E. D. "Nayman, A. (2023). Russian Long Poem. Moscow: Alpina non-fiction. (In Russ.)." Voprosy literatury, no. 3 (June 7, 2024): 194–97. http://dx.doi.org/10.31425/0042-8795-2024-3-194-197.

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Anatoly Nayman’s Russian Long Poem is devoted to six landmark works of Russian literature: opening with a discussion of I. Bogdanovich’s Dushenka, A. Pushkin’s The Bronze Horseman [Medniy vsadnik], and N. Nekrasov’s Red-Nosed Frost [Moroz, Krasniy nos], the book goes on to analyze 20th-c. experimental long poems, including V. Mayakovsky’s A Cloud in Trousers [Oblako v shtanakh], A. Blok’s Dvenadtsat [The Twelve], and A. Akhmatova’s Poem without a Hero [Poema bez geroya]. The author proposes a new angle for viewing the poems, shifting the reader’s focus from preconceived interpretations to the

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Botvinova, E. D. "Nayman, A. (2023). Russian Long Poem. Moscow: Alpina non-fiction. (In Russ.)." Voprosy literatury, no. 3 (June 7, 2024): 194–97. http://dx.doi.org/10.31425/0042-8795-2024-3-194-19.

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Anatoly Nayman’s Russian Long Poem is devoted to six landmark works of Russian literature: opening with a discussion of I. Bogdanovich’s Dushenka, A. Pushkin’s The Bronze Horseman [Medniy vsadnik], and N. Nekrasov’s Red-Nosed Frost [Moroz, Krasniy nos], the book goes on to analyze 20th-c. experimental long poems, including V. Mayakovsky’s A Cloud in Trousers [Oblako v shtanakh], A. Blok’s Dvenadtsat [The Twelve], and A. Akhmatova’s Poem without a Hero [Poema bez geroya]. The author proposes a new angle for viewing the poems, shifting the reader’s focus from preconceived interpretations to the

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14

Gamsa, Mark. "Sergei Tret'iakov's Roar, China! between Moscow and China." Itinerario 36, no. 2 (2012): 91–108. http://dx.doi.org/10.1017/s0165115312000587.

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The writer, poet and dramatist Sergei Tret'iakov was a central figure of the early Soviet literary and artistic avant-garde. Born in 1892 in Kuldiga, a town in what is now Latvia and was then the Governorate of Courland, one of the three Baltic provinces of the Russian empire, he was educated in prerevolutionary Riga and Moscow. Fluent also in Latvian and German, he started out as a poet in Russian and came under the influence of futurism when living in Vladivostok in 1919. During the Russian Civil War, Tret'iakov spent several months in Harbin, Tianjin, and Beijing in 1920 and 1921, and he re

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Samostienko (Suslova), Evgenia V. "POETIC THEORY OF COMMUNICATION BY ELIZAVETA MNATSAKANOVA." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 3 (2022): 98–110. http://dx.doi.org/10.18522/2415-8852-2022-3-98-110.

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This article is devoted to the study of communication strategies in the poetry of Elizaveta Mnatsakanova, one of the main Russian-speaking poets of the second half of the 20th century. Using the principles of working with sound and experimental musical composition, the author creates a very special poetic language that is typologically close to the so-called spectromorphology, an approach developed by the composer Denis Smalley in the 1980s. The author of this concept made a great contribution to the development of the theory of sound art, as he proposed a kind of grammar for electro-acoustic

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DAVIDSON, IAN. "The Languages of Charles Reznikoff." Journal of American Studies 45, no. 2 (2011): 355–69. http://dx.doi.org/10.1017/s0021875811000107.

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This paper examines the representation of American everyday life and the language of the legal system in the work of Charles Reznikoff. It draws comparisons between Reznikoff's accounts of the lives of immigrants to America in his work, and Jacques Derrida's experience of colonial relationships as described in his book Monolingualism of the Other or The Prosthesis of Origin. Charles Reznikoff was the son of Russian Jews who moved to America to escape the pogroms of the late nineteenth century. His parents spoke Yiddish and Russian, his grandparents spoke Hebrew, and Reznikoff's first language

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Khaninova, Rimma M. "Баллада в калмыцкой поэзии ХХ в. (Ц. Леджинов, С. Байдыев)". Бюллетень Калмыцкого научного центра Российской академии наук 15, № 3 (2020): 264–77. http://dx.doi.org/10.22162/2587-6503-2020-3-15-264-277.

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The article discusses ballads of the Kalmyk poets Tseren Ledzhinov “Бальчгин туск баллад” (“A Ballad about the Mud”, 1941) and Sanzhar Baidyev «Башмгудин туск баллад» (“A Ballad about Boots”, 1967). The analysis of the two ballads in the original showed that neither the content nor the form of Ledzhinov’s poem fits the announced genre. The poem by Baidyev, on the other hand, is one of the interesting ballads of the Kalmyk poetry of the past century, it is experimental in terms of the plot and the characters. The original text of S. Badyev’s work is compared to its Russian translation “Boots” t

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Bezrukov, Andrei N. "Poetics of surrealism by Boris Poplavsky." Nizhnevartovsk Philological Bulletin 9, no. 2 (2024): 6–17. https://doi.org/10.36906/2500-1795/24-2/01.

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Poetry of Boris Poplavsky is a phenomenon quite interesting for Russian literature. His texts in most critical works are assessed as experimental, complex, shocking. For Poplavsky, a special role was played not only by the form, but also by the syncretic consolidation of heterogeneous poetic devices, in particular, surreal ones. The purpose of this article is to identify the signs of surrealism in the poet's lyrical heritage. In the course of the study, the receptive approach seems to be the most effective, since it will allow not only to determine the poet's choice of artistic means, but also

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I.S., Zayarna. "THE PLOT “SEASONS” IN THE RUSSIAN POETRY OF THE SECOND HALF OF THE XX – BEGINNING OF THE XXI CENTURY." South archive (philological sciences), no. 84 (December 23, 2020): 54–60. http://dx.doi.org/10.32999/ksu2663-2691/2020-84-8.

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Purpose. To find out the peculiarities of the embodiment of the plot “seasons” in the poetry of the second half of the 20th – beginning of the 21th century based on the texts by G. Sapgir, Timur Kibirov, D. Bykov.Methods: comparative-typological, historical-literary, structural and motivational analysis of the text.Results. The article argues that the transformation of this plot occurs by reducing the landscape and climatic characteristics of the seasons in comparison with the poetic classics of the 19th century and the lyrics of the Silver Age. Instead, there is a significant expansion of the

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Feshchenko, Vladimir. "R. Jakobson as Mediator of Cultural Transfer between Linguistics and Literary Experiments." Przegląd Wschodnioeuropejski 9, no. 2 (2018): 309–17. http://dx.doi.org/10.31648/pw.3217.

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The article analyzes one of the forms of nomadism in the intellectual world, which is called cultural transfers. One of the directions in the study of cultural transfers is the migration of concepts and notions between scientific knowledge (in this case linguistic) and literary experience (mainly experimental). The article is devoted to one of such migration trajectory from the perspective of interdiscourse methodology. We discuss the works of one of the agents of cultural transfer in the field of linguistics – R. Jakobson. The task of the article is to draw a trajectory according to which the

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Захаркив, Е. В. "Resemantization of Discourse Markers in Contemporary Russo- and Anglophone Poetry." Иностранные языки в высшей школе, no. 2(57) (July 12, 2021): 42–56. http://dx.doi.org/10.37724/rsu.2021.57.2.004.

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В статье рассматривается прием ресемантизации дискурсивных слов (ДС) на материале поэтического дискурса. Ресемантизация определяется как авторский прием, реализуемый посредством модификации лексического значения и функциональной нагрузки дискурсивных единиц, а также в некоторых случаях — снятия с ДС свойственной им стереотипности и осмысления их в качестве полнозначных единиц. Новизна исследования обусловлена недостаточной изученностью прагматического аспекта поэтического дискурса на фоне разработанности семантики и синтактики поэтического текста. Кроме того, актуальность анализа авторских лин

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Barannikova, Tatyana B., and Fatimat N. Suleimanova. "Back Translation as a Tool for Achieving Equivalence of Literary Texts in the Conditions of the Lezgin-Russian Bilingualism." Polylinguality and Transcultural Practices 20, no. 1 (2022): 7–16. http://dx.doi.org/10.22363/2618-897x-2023-20-1-7-16.

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The topicality of the given article is due to the fact that up to the present there has not been a generally accepted classification in the theory of translation that determines the successfulness of the interlingual recoding of the literary text and the level of its correspondence to the original. In modern domestic research, in achieving the equivalence of the original and translating literary texts, more and more attention is paid to experimental methods, but they have not so far received sufficient development. Our article, carried out within the framework of the problem raised, describes

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Meimei, Huang. "POEMS OF KYIV PERIOD OF TEOPHAN PROKOPOVYCH: IDEAS, TOPICS AND GENRES." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 2(34) (2023): 134–39. http://dx.doi.org/10.17721/1728-2659.2023.34.26.

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This paper explores the specificities of Theophan Prokopovich's poetic legacy during his time in Kyiv, focusing on its ideological, thematic, and genre foundations. The article outlines the chronological boundaries of Prokopovich's Kyiv period, analyzing their connection to the writer's biography, and for the first time, identifies two distinct stages within this period. The first stage is characterized by the author's staunch defense of Ukrainian values and interests. The second stage reflects the evolution of Prokopovich's poetics towards imperial positions under Peter I. The article analyze

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Kolmakova, V. V., S. V. Bylkova, and Ya S. Kosyakova. "Digitalizing the Humanitarian Discourse: Modern Technologies in Research and Educational Space of a University." Innovative science: psychology, pedagogy, defectology 6, no. 5 (2023): 73–80. http://dx.doi.org/10.23947/2658-7165-2023-6-5-73-80.

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Introduction. The article is devoted to the analysis and assessment of the methods of the humanitarian discourse digitalization while implementing them in the educational process. Digitalization of the educational space is associated with the use of discourse as an especially complicated communicative phenomenon, as well as with the use of digital technologies and the Internet space. At the same time, the question on the right implementation of the modern technologies in the educational process constantly rises.Purpose. In our study, we will consider the possibilities of the implementation of

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Kolomiyets, Lada. "The Psycholinguistic Factors of Indirect Translation in Ukrainian Literary and Religious Contexts." East European Journal of Psycholinguistics 6, no. 2 (2019): 32–49. http://dx.doi.org/10.29038/eejpl.2019.6.2.kol.

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The study of indirect translations (IT) into Ukrainian, viewed from a psycholinguistic perspective, will contribute to a better understanding of Soviet national policies and the post-Soviet linguistic and cultural condition. The paper pioneers a discussion of the strategies and types of IT via Russian in the domains of literature and religion. In many cases the corresponding Russian translation, which serves as a source text for the Ukrainian one, cannot be established with confidence, and the “sticking-out ears” of Russian mediation may only be monitored at the level of sentence structure, wh

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Bezrukov, Andrey Nikolaevich. "The Semantics of the Color Experiment in Boris Poplavsky's Artistic Discourse." Культура и искусство, no. 10 (October 2024): 83–91. http://dx.doi.org/10.7256/2454-0625.2024.10.72061.

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The purpose of this work is to define the semantics of coloratives in the artistic discourse of one of the brightest representatives of the first wave of Russian emigration, Boris Poplavsky. His work is a kind of aesthetic experiment, which is carried out at the level of form, content, and naturally poetic language. The subject area of the study is the lyrical texts of B.Y. Poplavsky, they are concentrated in comparison with the author's prose and have proper color nominations that expand the semantic halo of the author's artistic world. The analysis of the semantics of coloratives makes it po

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Terjajev, D. A. "GOLDEN SECTION IN SOUND POETIC TEXT(EXPERIMENTAL-PHONETIC RESEARCH RUSSIAN AND UKRAINIAN LANGUAGES)." Scientific notes of Taurida National V.I. Vernadsky University, series Philology. Social Communications 31, no. 4 (2020): 181–85. http://dx.doi.org/10.32838/2663-6069/2020.4-1/33.

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Bobunova, Mariya A. "An Author’s Contrastive Dictionary as an Experimental Lexicographical Form." Voprosy leksikografii, no. 21 (2021): 69–86. http://dx.doi.org/10.17223/22274200/21/3.

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At the turn of the 21st century, a new trend appeared in lexicographic practice. It was named contrastive lexicography. Contrastive dictionaries proved useful first of all as necessary reference books in learning and teaching foreign languages, and translating. In another domain, folklore lexicography, contrastive dictionaries became dictionary projects of linguafolklorists from Kursk, Russia. The method of comparative description tested on the folk material was applied to the literary text. This led to the idea of creating an author’s contrastive dictionary. The poetry by Fyodor Tyutchev and

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Зелененька, Ірина. "Interpretation of the war in Ukraine: ukrainian, polish, bulgarian, and lithuanian poetry (based on the anthology «Armed spring»)." Українська література: історичний досвід і перспективи, no. 1 (December 18, 2023): 102–12. http://dx.doi.org/10.31652/3041-1084-2023-1-102-112.

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The study analyzed the anthology «Vesna ozbroiena (Armed Spring)», initiated for publication by The National Writers’ Union of Ukraine. The book was published during the unfolding of a full-scale war in Ukraine, in the spring of 2022. The anthology is based on several principles — the coverage of regions with different levels of authorship is particularly noticeable, the principle of generational experiences is sporadically manifested, on the other hand — in the organization of anthology shows the consideration of the tendency to cover the phenomenon, especially how exactly the topic of war is

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Seregina, Elena Evgenevna. "Modern poetic text: Problems of linguistic interpretation (based on the occasional vocabulary of V. Koval’s poems)." Philology. Theory & Practice 17, no. 11 (2024): 3988–94. http://dx.doi.org/10.30853/phil20240562.

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The aim of the study is to determine the semantics of occasional words in an experimental poetic text by V. Koval. Particular attention is paid to the conceptual “reading” of the poem. The scientific novelty of the study lies in the fact that using previously unexplored linguistic material, occasionalisms of one word-formation family are considered as carriers of a complex of meanings and representatives of the figurative system of the poem; their semantic decoding depends on the author’s intention, the reader’s presupposition and does not exclude the possibility of clarification and rethinkin

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Pilgun, Vera S. "The Phonological Department of the Institute of Artistic Culture under the Direction of I.G. Terentiev." Observatory of Culture 19, no. 4 (2022): 410–17. http://dx.doi.org/10.25281/2072-3156-2022-19-4-410-417.

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In the early 20th century, the avant-garde formation in Russia had one significant feature that helped science and art to interact productively throughout the 1920s. The feature was the creation of educational institutions and research institutes, which provided working space for avant-garde artists, theorists, philosophers and practitioners. These people were expected to create a new science of experimental art. Igor Terentiev, a member of the radical futuristic group “41°”, headed the Phonological Department of the Institute of Artistic Culture (INHUK, from 1925 — the State Institute of Arti

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Lanoux, Andrea. "Word Play: Experimental Poetry and Soviet Children’s Literature by AinsleyMorse. Studies in Russian Literature and Theory. Evanston: Northwestern University Press, 2021. xiii + 251 pp. $39.95 (paper). ISBN 978‐0‐8101‐4327‐2." Russian Review, March 16, 2023. http://dx.doi.org/10.1111/russ.12474.

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Scholes, Nicola. "The Difficulty of Reading Allen Ginsberg's "Kaddish" Suspiciously." M/C Journal 15, no. 1 (2011). http://dx.doi.org/10.5204/mcj.394.

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The difficulty of reading Allen Ginsberg's poetry is a recurring theme in criticism of his work and that of other post-WWII "Beat Generation" writers. "Even when a concerted effort is made to illuminate [Beat] literature," laments Nancy M. Grace, "doing so is difficult: the romance of the Beat life threatens to subsume the project" (812). Of course, the Beat life is romantic to the extent that it is romantically regaled. Continual romantic portrayals, such as that of Ginsberg in the recent movie Howl (2010), rekindle the Beat romance for new audiences with chicken-and-egg circularity. I explor

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Jaakkola, Maarit. "Forms of culture (Culture Coverage)." DOCA - Database of Variables for Content Analysis, March 26, 2021. http://dx.doi.org/10.34778/2x.

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Abstract:

This variable describes what kind of concept of culture underlies the cultural coverage at a certain point of time or across time. The variable dissects the concept of culture into cultural forms that are being journalistically covered. It presupposes that each article predominantly focuses on one cultural genre or discipline, such as literature, music, or film, which is the case in most articles in the cultural beat that are written according to cultural journalists’ areas of specialization. By identifying the cultural forms covered, the variable delivers an answer to the question of what kin

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