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Journal articles on the topic 'Genre signs'
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1
Forceville, Charles, and Jens E. Kjeldsen. "The affordances and constraints of situation and genre." International Review of Pragmatics 10, no. 2 (2018): 158–78. http://dx.doi.org/10.1163/18773109-01002002.
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Abstract Visuals are generally considered to be rich in information, but also to be open to many different interpretations. As a consequence, many argumentation scholars doubt that visuals can constitute argumentation (e.g. Fleming, 1996; Johnson, 2003, 2010; Patterson, 2010). In this paper, we argue that the rhetorical and argumentative potential of visuals and multimodal texts is strengthened if they belong to recognizable genres, genres being governed by discourse-internal factors as well as situational/pragmatic understanding. The genre of traffic signs can draw on specific genre conventions thanks to these signs’ highly coded nature. As a consequence, traffic signs constitute an exemplary category to make the point that visuals and multimodal texts can function rhetorically or even argumentatively. We support our claim by first analysing a number of unusual instances of the genre and then discussing a few visual and multimodal signs whose argumentative potential no longer depends on specific traffic-related circumstances but crucially depends on the pretence that they are traffic signs.
2
Ю., В. Коваленко. "ОСОБЛИВОСТІ ОСУДУ ЯК МОВЛЕННЄВОГО ЖАНРУ". Лінгвістичні дослідження: Зб. наук. праць ХНПУ ім. Г.С. Сковороди, № 46 (14 листопада 2017): 174–82. https://doi.org/10.5281/zenodo.1048791.
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<em>The problem of evaluating speech genres is currently relevant, since modern journalistic discourse often indicates the need to express a particular position or attitude of the speaker; evaluation of an event, object or personality. In particular, negative evaluation can be expressed by the speech genre of condemnation. The purpose of this work is to define the concept and relevant features of the speech genre of condemnation. The achievement of the purpose includes a number of tasks: analyzing the differences between the speech act and the speech genre; outlining of genre peculiarities of the speech genre of condemnation; analyzing features that distinguish the actual condemnation from other speech genres. The article analyzes the existing genre research studies, examines the differences in the speech act and speech genre, the characteristic genre signs of condemnation, analyzes the main cases of use of the speech genre of condemnation and the genres related to it. Thus, condemnation is a complex communicative phenomenon, which is a speech realization of the evaluation and expression of the negative emotions of the speaker. It is characterized by certain parameters. The communicative goal is to provide a certain assessment. The general communicative meaning is a negative, disagreeable attitude to someone or something. The genre tone is aggressive, sometimes manipulative.</em>
3
Zhakenova, R. "FOLKLORE MOTIVES AND FANTASY GENRE SIGNS IN ANTONINA SCHIPULINA'S WORKS: "THE WITCH OF THE MISTLAND" AND "THE MYSTERY OF THE WITCH URSULA"." Scientific heritage, no. 92 (July 7, 2022): 63–66. https://doi.org/10.5281/zenodo.6807007.
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The article views genre peculiarities of the work of modern Kazakh children's writer Antonina Shipulina. The analysis reveals the mixture of folklore motives and fantasy genre signs, which allows to single out hybrid genres as a separate group in the genre system of modern children's literature in Kazakhstan.
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Nazarova, Nurjahon Bahodirovna. "DISCURSIVE SIGNS OF A FAIRY TALE." International journal of word art 5, no. 2 (2022): 83–86. https://doi.org/10.5281/zenodo.6634057.
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This article discusses the relevance of the study of the text of the fairy tale genre and the concept of discourse and its categorical features, as well as aspects of the relevance of these discourse categorical features to the fairy tale genre. Today, the study of the fairy tale genre is becoming a topical issue. Although many of our scientists have studied this genre so far, they are not of a research nature. According to the author, this is due to the fact that no consensus has been reached on the discourse phenomenon and discursive analysis.
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Zymohliad, Nataliia. "Trends in Genre Modification in Contemporary Ukrainian Piano Music: from Meta to Anti-Genre." Bulletin of KNUKiM. Series in Arts, no. 44 (June 25, 2021): 60–65. https://doi.org/10.31866/2410-1176.44.2021.235312.
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The purpose of the study is to identify the determinants and specifics of trends in the modification of genre models in contemporary Ukrainian piano music and the associated transformations of the performer’s status and artistic communication. The research methodology of the article consists of cultural, art studies and comparative approaches that made it possible to understand the ways of genre transformation in the paradigmatic dimensions of modern culture, as well as the principles of musicological, in particular genre analysis, which provided awareness of the specifics of the transformation of genre paradigms, which are essential tasks of modern musicology. The scientific novelty of the article is to identify ideological determinants, conceptual and compositional and structural specifics of the transformation of genre models in piano works of modern Ukrainian composers, in particular, based on the analysis of the works of A. Yakovchuk, S. Zazhytko, O. Huhel, V. Runchak, which have not received exhaustive coverage in scientific discourse. As a result, it is proved that the genre, as a phenomenon of musical art, in contemporary Ukrainian piano music appears in subjectivised interpretations, the diversity of which resonates with the paradigmatic attitudes rhizome of Postmodern culture and determines the change in the functions of the performer and the revision of the principles of artistic communication. Conclusions. Contemporary piano music of Ukrainian composers demonstrates the rhizome transformation of the genre, the manifestations as follows: “implicit” synthesis of genres in the declaration of genre certainty by the author; declarative synthesis of genres in the stylistic modulation of genre models, orientation to meta-genre as a reflection of the modern polylogue of cultures, detailing of the declared model of the genre by the bill and genres’ additional signs; synthesis of musical, verbal and visual principles; experimental synthesis of signs of historical and cultural eras, types of art, genres, in particular, the trend of a theatrical adaptation of piano music; interpretation of genre as a meta-cultural phenomenon; “simulacrum” – a postmodern parody transformation into an “anti-genre”.
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Trostina, M. A., and A. A. Raslova. "LOGIC AND ABSURD IN "PARENTAL PROHIBITIONS": REPRESENTATION IN FOLKLORE TEXTS." Bulletin of Udmurt University. Series History and Philology 30, no. 6 (2020): 1097–103. http://dx.doi.org/10.35634/2412-9534-2020-30-6-1097-1103.
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The article deals with educational paremies, which are stable formulas that contain a ban on a child violation of the norms of behavior in society. Stable genre features of parental prohibitions are identified (formality, absurd of the forecast, humour, imagery, educational orientation), their connection with folk pedagogy is shown and their difference from traditional signs that is orientation at age peculiarities is determined. The main functions of "parental prohibitions" are educational and entertaining ones. The classification of signs-prohibitions on a thematic basis is given. The ancient origin of certain prohibitions related to the taboo on actions that cause the wrath of the gods is indicated. In the context of predictive paremy genres of children folklore, signs-rules and situational signs are indicated. Possible prospects for further study of the genre are determined. It is pointed out that they include comparative studying of educational paremies of various nations, determining their functional role in the genre system of Russian and national folklore.
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Мухина, И. К., and А. С. Липанина. "«CULINARY MAILING» AS A NEW SPEECH GENRE OF INTERNET DISCOURSE: GENRE-FORMING SIGNS." Vestnik of Russian New University. Series "Man in the modern world", no. 1 (February 28, 2022): 73–78. http://dx.doi.org/10.18137/rnu.v925x.22.01.p.073.
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Речевой жанр «Кулинарная рассылка» одновременно представляет собой особую форму структурирования и организации текстов пищевой тематики и базовую единицу интернет-коммуникации в кулинарной сфере общения, обеспечивая тем самым упорядоченность виртуального дискурса. Рассмотрены специфика и речевое оформление жанрообразующих признаков речевого жанра «Кулинарная рассылка»: его коммуникативная цель, амбивалентный образ автора, образ адресата, образ будущего, диктумное содержание, лексическое и грамматическое воплощение речевого жанра. Актуальность исследования обусловлена недостаточной степенью изученности новых жанров речевого общения в коммуникативной среде Интернета как важнейшей среде существования современной культуры. The speech genre “Culinary mailing” at the same time is a special form of structuring and organizing food-related texts and the basic unit of Internet communication in the culinary sphere of communication, ensures the ordering of virtual discourse. Article is devoted to description of the specifics and genre-forming features of the speech genre “Culinary mailing”: communicative goal, ambivalent image of the author, image of the addressee, image of the future, dictative content, lexical and grammatical embodiment of the speech genre. The relevance of the study is due to the lack of knowledge of new genres of speech communication in the communicative environment of the Internet as the most important medium of the existence of modern culture.
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Sinelnikova, Olga V. "FROM OPERAS AND CONCERTS TO "PROVERBS" AND "FRAGMENTS": RODION SHCHEDRIN'S GENRE EXPERIMENTS IN THE XXIST CENTURY." Arts education and science 2, no. 35 (2023): 43–51. http://dx.doi.org/10.36871/hon.202302043.
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The article is devoted to Rodion Shchedrin's genre experiments in the last two decades. During this time, the composer has created a large number of works covering many typical genres, mixed compositions and new, original musical genres. Among them are operas (4), concerts (5), a concert symphony, piano cycles (4), a vocal cycle, a sonatina, variations, numerous program orchestral and chamber-instrumental compositions, choral miniatures and cycles. At the same time, none of these areas of creativity looks traditional in the catalog of Shchedrin's opuses of recent decades. The article examines the author's versions of the concert genre, interesting varieties of opera genres from the composer's viewpoint, unusual interpretation of the vocal cycle genre and mass, musical interpretation of the Russian folk proverbs, as well as genre modulations; it emphasizes original varieties of symphonic program music, such as a symphonic or dramatic fragment, symphonic etudes, symphonic fresco. In exploring Shchedrin's innovations in the genre sphere, the author analyzes genres or genre varieties that were created by him and have not previously appeared in the works of composers. These are the genres of musical hagiography (choral opera "Boyarynya Morozova"), musical reading ("Adventures of a Monkey"), musical proverb (choral cycle "Proverbs"). As a result of the study, it is concluded that Shchedrin's mobile genre system can only be considered in terms of the mobile interaction of intersecting genre signs.
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Kukshinova, Elena. "Maiden speech as a genre of parliamentary discourse: a functional aspect." Scientific Research and Development. Modern Communication Studies 12, no. 5 (2023): 80–88. http://dx.doi.org/10.12737/2587-9103-2023-12-5-80-88.
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Introduction. The paper focuses on the genre of a maiden speech, which is the first official speech of a newly elected parliamentarian. The relevance of the research is due to the fact that no special studies of this genre have been presented in the linguistic literature so far.
 Aim. The study aims at discovering and describing the functional features of a maiden speech. 
 Methodology and research methods. The methods used in the work include the descriptive method, the methods of discursive, contextual, functional and stylistic analysis.
 Results. As a result of the study, the following main functions of a maiden speech are identified: the functions of presentation, social identification and solidarity, the performative function, the functions of orientation, differentiation and confrontation. Special features and means of implementing each of the functions are considered. It is concluded that a maiden speech is a “hybrid” speech genre, in which the signs of ritual genres are combined with the signs of orientational genres; the features of agonal genres can also be found in a maiden speech.
 The scientific novelty of this study lies in the functional approach to the description of the speech genre under consideration.
 The practical significance of the paper is determined by the fact that its results can be used in the courses of lectures on political linguistics, discourse theory, genristics and rhetoric.
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Veselkova, Tat’yana V. "Genre-forming signs of self-presentation (based on the material of students’ self-presentation)." International Journal “Speech Genres” 19, no. 3 (43) (2024): 247–55. http://dx.doi.org/10.18500/2311-0740-2024-19-3-43-247-255.
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The article is devoted to a relatively new genre of speech – self-presentation. The research is based on self-presentations of non-philological students of the geographical, sociological, biological faculties, Faculty of Mechanics and Mathematics, Faculty of Computer Science and Information Technology, the Institute of Physical Culture and Sports of Saratov National Research State University named after N. G. Chernyshevsky and philologists studying at the Institute of Philology and Journalism. The purpose of the study is to identify the genre features of these texts. The multidimensional analysis of self–presentations revealed genre-forming features, the most typical cognitive models (scenarios) of self-presentation, which allow us to conclude that the student’s self-presentation is a synthetic speech genre pursuing informative, imperative, evaluative goals. It can also be attributed to the genre of reaction. The genre of self-presentation interacts with other speech genres, as a rule, self-presentation includes a call, a message, gratitude. Bachelors and specialists choose a strategy – the desire to please, to seem attractive to others, Master’s students – self-advertisement, self-promotion, proving their professional competence. The choice of these strategies is related to the basic characteristics that the author defines for himself as essential: for Master’s students this is a career, for bachelors and specialists – a family, in which they live, and positive personality qualities. The article presents an overview of the forms of students’ self-presentations. Examples of atypical self-presentation are poetic texts and fairy tales, in which verbal-logical and emotionally expressive elements of speech as means of influencing the audience. Irony, jokes, puns are successfully used in students’ self-presentations, but in general the degree of seriousness within the genre is very high, for the most part self-presentations are a variant of business communication. In the works of students of all faculties, except philologists, a rhetorical technique is productive and frequent – the use of quotations and references to the opinions of famous people, philologists use lyrical reflections.
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Waller, Robert. "Comparing typefaces for airport signs." Information Design Journal 15, no. 1 (2007): 1–15. http://dx.doi.org/10.1075/idj.15.1.01wal.
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This study combined three research methodologies to inform the choice of a typeface for signs at London’s Heathrow Airport. The methodologies were legibility testing, qualitative consumer research, and expert review. The study showed that, contrary to a number of expert predictions, the serifed typeface performed as well as the sans serif in legibility testing. Character width was a more significant factor in legibility, with condensed sans serif performing relatively poorly. The use of multiple methodologies led to a richer basis for decision-making: the qualitative research revealed clear genre expectations among airport users for sans serif signs; the expert reviewers raised a range of additional issues of genre, culture and context.
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Oripova, Gulnoza Murodilovna. "THEORETICAL FOUNDATIONS OF LYRICAL GENRES." INTERNATIONAL BULLETIN OF APPLIED SCIENCE AND TECHNOLOGY 3, no. 6 (2023): 757–60. https://doi.org/10.5281/zenodo.8049529.
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The nature of the lyric as a kind of literary gender is also reflected in its genre characteristics. The problem of genre and the classification of literary works, the main complexity aspects of determining the signs of their genre are the historical changes in literature and the research of phenomena associated with the development of genres is an important task of literary studies. The point of attempts to classify literature by genus(species)is adjacent to ancient antiquity. helps to manifest qualities. Forobius ' arguments about poetry showed aspects typical of the lyrical type, and laid the cornerstone of Oriental poetry.
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Filippova, M. P. "ONLINE COMMENT AND MESSAGE ON THE INTERNET FORUM: DIFFERENTIATION PARAMETERS OF GENRES." Bulletin of Udmurt University. Series History and Philology 30, no. 6 (2020): 1049–54. http://dx.doi.org/10.35634/2412-9534-2020-30-6-1049-1054.
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The article compares the commentary genre with the genre of forum in order to identify similarities and differences between them. An analysis of the genre system of Internet discourse and a description of the various criteria for distinguishing genres are made to do genre distinction of discursive forms. It includes situational and style-forming signs; structural and compositional criteria; origin; inclusion in a particular discourse; time and location of communicants; the form of speech and the factor of direct participation of communicants; language features; goals of the communication. As a result it was determined that the similarity of genres appears in terms of secondary characteristics towards the initial stimulus, in the polylogical form of communication, in the addressee and addresser characteristics and the presence of observers. The differences are revealed in the initial stimulus, the communicative purpose of the messages, hierarchy and status and in the type of addressing.
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Tsimokh, Natalia. "Trends in the Development of Genres of Modern Television Programs." Culture and Arts in the Modern World, no. 18 (June 15, 2017): 201–19. https://doi.org/10.31866/2410-1915.18.2017.155696.
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Research aim. To analyse classification of genres of modern television, and educe reasons, that assisted birth of the new CRT forms, переосмисленню of traditional genres, becoming of new types of the televisional broadcasting. To extend an idea about genre aspects and investigate progress of genres trends on modern television. Research methodology. By means of analysis of modern telecasts, to investigate socio-economic and political changes in the state, that influenced on diffusions of all genre system, educe reasons that assisted the origin of new genre formations, and also educe basic progress of television trends in a historical aspect. The scientific novelty. In the process of evolution of televisional genres, types and formats of телемовлення it is observed the tendency of the integrated selection of telecasts, diffusion, hybridization of genres, became, new genre formations appear due to confluence, or substituting for one genres other. In connection with it it is expedient to consider a progress of genres trend on modern television, to find out and set reasons of origin of new genres, external and internal copulas between them, to systematize practical knowledge on the basis of scientific approach. Conclusions. In the process of research reasons, that assisted переосмисленню of traditional genres, birth of new, becoming of new types of telecasts, were educеd. It was found out, that in connection with the evolution of genres, next to concepts diffusion and differentiation of genres arise up concept of confluence of genres, and the permanent process of washed out of genre borders results not only in the origin of hybrid genre forms but also permanent genre enriching. A study of genres, their possibilities and characteristic signs is especially important for a journalist, as exactly genres determine the specific of their work and professional activity. In genres maintenance of the program, her subjects and range of problems, methods of work of journalist, form of intermingling, shows up with a spectator. Inculcating the newest digital technologies, using riches of expressive facilities, телевізійники constantly extend and diversify the genre palette of the programs.
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Mironchuk, Tetiana A., and Nataliia A. Odarchuk. "CALL FOR DIDACTIC WEBINAR: BRITISH SCIETIFIC COMMUNICATION GENRE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ Fìlologìčna 1, no. 22(90) (2024): 17–20. https://doi.org/10.25264/2519-2558-2024-22(90)-17-20.
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The paper discusses some features of the structure and content of the “call for didactic webinar” genre that functions in the British scientific communication. “Call for didactic webinar” is established to belong to the up-to-date small-format written genres of the scientific communication. The authors reveal the reasons for its popularity with the user of educational servicers demand for formal and structural compactness, informativeness, and attractiveness of the product being dominant. Epistemics of the genre is identified to contain advertising valorative attributes. To study the content aspects of the genre basics of semiotics and deixis, lexical, modal, and textual semantics, principles of addressant-addressee communicative linguistics and communication channels were employed. “Call for didactic webinar” genre is defined as a hybrid functional system and a unit of scientific communication that is characterized by multimodality, polycoding, polydirection, and hypertextuality. Hybridity of the studied genre lies in the incorporation of the attributes and components of the media, advertising, didactic, academic, and institutionalized discourses into its composition and content. Multimodality of the “call for didactic webinar” genre is prevalently represented by lingual modi combined with audio-and-visual ones. Apart from verbal semiosis, polycoding of the studied genre is typically revealed through the following paraverbal semiotic complexes: icons, symbols, indices, idiographic signs, audio-visual, and proxemic signs, as well as signs of digital deixis. Hypertextuality of the “call for didactic webinar” genre lies in the content syncretism of the inhomogeneous information blocks: verbal, paraverbal sign complexes and modi, as well as text compositional parts comprising the block of the metatext, structured basic text, headlines, titles, captions, legends, inforgraphics, audio-video series, and visuals. The deictic semiotic system of the “call for didactic webinar” genre was studied within the coordinates of “who-where-when-how.” As a result, addressant-addressee’ substitutional roles were singled out; the principles of the proxemic deixis modelling were understood; finally, mediatory and facilitatory functions of the digital deixis were identified. Polydirection of the up-to-date hybrid genre “call for didactic webinar” was understood to function within the deictic, spatial-temporal, and modus coordinate systems.
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Goldstone, Andrew. "Genre Fiction without Shame." American Literary History 35, no. 4 (2023): 1745–58. http://dx.doi.org/10.1093/alh/ajad152.
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Abstract When literary scholars enter the terra incognita of cheap fiction, they risk mistaking established customs of the land for baleful signs of the times. Commercial fiction has a history of its own whose internal logic would be worth understanding more clearly, and not only in opposition to literary fiction, in order to avoid reifying either.
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Gavrilova, Liana A. "«BOBOK» BY F. M. DOSTOEVSKY: TO THE PROBLEM OF THE GENRE." Verhnevolzhski Philological Bulletin 23, no. 4 (2020): 16–24. http://dx.doi.org/10.20323/2499-9679-2020-4-23-16-24.
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Тhe article raises the problem of the genre of the work of F. M. Dostoevsky «Bobok», actualized by M. M. Bakhtin, but still of scientific interest. The purpose of the article is to clarify the understanding of the genre of the «Bobok» work existing in literary criticism. The objectives of the research are related to the identification in the «Bobok» story of the signs of the genres of vision and anecdote and the definition of their role in the formation of the genre specificity of the work and its semantic organization. The article uses an integrated approach to the analysis of the «Bobok» story, including the philological and structural analysis of the text. As a result of the study, the conclusion is drawn: the consideration of the «cemetery history» in the «Bobok» story from the standpoint of the medieval genre of vision – more precisely, the vision-test as a variety of the genre of vision – and the anecdote characteristic of the cultural tradition of the time of F. M. Dostoevsky and his work the structural and synthetic nature of the genre of this work. The vision and anecdote are inserted genres in the «Bobok» story reinforcing its versatility. The vision and the anecdote interact with each other. The appeal to these genres allows F. M. Dostoevsky to combine in his story the traditions of Christian literature of the past, folklore and the literary tradition of the present. The presence of the genres of vision and anecdote in the «Bobok» story allows us to define the positions of the author of the story and his hero: the genre of vision accentuates the position of the author, who creates a situation of spiritual and moral test for the hero; the genre of the joke accentuates the position of the hero, who demonstrates his inner ideological, spiritual and moral paradox. The synthesis of genres within the framework of one literary work forms a complex, multi-focus, optics of seeing the world and man.
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Zhou, Daping. "The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research." Aspects of Historical Musicology 14, no. 14 (2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.
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Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng, Wang Ango, Wang Yuhe, Cheng Xu and other authors, devoted to the problem of the European and national music traditions interaction in the Chinese composers’ piano artifacts. The insufficient readiness of this thesis is mentioned. Namely, it is still the point of discussion and analyzing, to what extend and in what quality the genre system of European piano music is mastered by the Chinese composers. It is another point of investigation if their compositions are the result of the surface signs borrowing, taken from the most widely spread European genres or the Chinese composers were able to comprehend the genre semantics profoundly and develop some genres creatively, basing on the national musical tradition. Objectives. The main objective of the current article is the essential theoretical background specification for the Chinese composers’ piano creations genre peculiarities research; in particular, the polygenicity, the borrowed material usage principle, the composer’s genre stylization method. Methods. The task setting and developing is based upon the functional and morphological approaches to the musical genre comprehension, on the terminological analysis of the musical genres and styles understanding, on the upto-date philological and musicological conceptions of composition poetics, artistic genre and stylization method. Results and discussion. The concept of musical genre is defined as the type of the creation or the musical creative activity. Here the category of genre involves not only the formal but also the substantial musical compositions properties, their typical semantics. The musical genre genesis is specified by three factors: 1) the functional creations similarity, the identity of their assignment; 2) the similarity of the conditions of the composition creating and performing; 3) artistic and contextual affinity. The given factors specify the occurance of common musical form properties among several compositions, and these properties are defined as genre style. The composition style properties quite definitely “indicate” some kind of genre “prototype”, and in this sense they are the sign-index of the genre. The typical artisticcontent properties of musical creations and performing are also the index of the genre. These typical properties and designated as genre image (or genre semantics). The genre style and the corresponding images reflect the real type relations of the musical practice phenomena. It enables the composers to use the formal signs of a certain genre as an artistic attribute well recognized by the audience. In the musical genres system, the areas of interactive and independent music are conventionally separated. The first group includes the numerous kinds of every day musical performing, where music interacts with the riot, dance, poetic verbal speech, theatre performance and other types of a person’s artistic activity. Meanwhile, the main and specific function of the independent music is its being the object of artistic perception. The independent music artifacts don’t need any interaction with the expressive means of other arts. The piano music can belong to both spheres. A lot of independent sphere piano music compositions are bear the names of the genres belonging to the folklore, theatre music, church rituals, urban life. We mean such as piano “lullabies”, “ballads”, “minuets”, “waltzes”, “marches”, “arias”, ”love songs” etc. there is still another phenomenon: the piano music pieces, the name of which is not connected with the interactive music genres, are often profoundly connected with them on the levels of the language and artistic text. Quite often, the piano pieces are built on certain composition, borrowed from the sphere of folklore, popular or church music. In all the alike cases we can notice the artistically justified synchronous (non consequent) interaction of several musical genres signs and properties in the form of the definite composition. This phenomenon is characterized as polygenicity. Two main approaches to achieve the polygenre artistic expressive effect are defined: a) the use of the “exterior” (non native, another’s, alien) musical material; b) the genre style characteristic properties reproduction (genre stylization). The given work gives the definitions for the methods of different musical genres properties combination by means of borrowing and of the “exterior” material use in the frames of the original composition: quotations, arrangements, edited versions, fantasies and transcriptions. The genres, originated by these composing methods, are characterized. The essence of the genre stylization method in the Chinese composers’ creations is revealed. It is the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. The wide range of this method implementation is mentioned: from total style imitation to allusion. Conclusions. The existence of the great amount of the piano music compositions in the today’s Chinese musical culture motivates the overall and profound scientific analysis of this phenomenon, in particular, it stimulates the given sphere genre features revelation in both synchronous and diachronic (historic-evolutionary) aspects. The piano music genre sphere researcher needs the clearly formulated, capacious and non-contradictory categories of musical genre, genre style, genre system, genre semantics, as well as of the notions, derivative and connected with them. As it was mentioned by numerous specialists, the Chinese piano music distinctive feature consists in its lasting connection with the national music tradition. The task, set for the musicologists, is to define the nature, the principles, the variants of the interaction between the European piano music genres and styles and the traditional Chinese music genres and styles ( folklore, theatre, popular song). The given article states that the first artistic method, leading to the combination of the European and Chinese traditions in the frames of one composition consists of the composer’s borrowing and using some “alien” material, a fragment of the famous musical creation in his artifact. Thus, using serves as a general notion, embracing a number of certain musical text composing methods, which include quoting, arranging, creating versions, fantasies and transcription. The second artistic approach, leading to European piano music and the Chinese traditional music interaction, consists in the artistic method of stylization. This method implies the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. This method reveals the unlimited possibilities to create the bright vivid effects for genre dialogue, conflicts, interaction, as well as very delicate conceptual modus, allusions, hints, promoting the remarkable enrichment of the compositions genre figurativeness. Basing on the given theoretical background the author is going to analyze the genre-style contents of the seven-volume edition “A century of Piano Solo Works by Chinese Composers”. This content may serve as a working model for the studying of the whole thesaurus of piano music artifacts, created by the Chinese composers.
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Azizova, Aysel. "On the Structural and Semantic Features of Nanai Songs of the Agbaba Historical Region." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (2024): 6–15. http://dx.doi.org/10.31866/2616-7581.7.1.2024.303753.
Full textAbstract:
The purpose of the research is to study the archaic features of the Nanai musical language, which is one of the genres of authentic musical folklore of the Agbaba historical region. Agbaba is one of the ethno-cultural zones of Azerbaijan, distinguished by its diverse genre system of musical folklore. It should be noted that the Agbaba region is now part of the Republic of Armenia and has been called Amasia since 1930. Historically, this region was inhabited by ancient Turkic tribes, which played a significant role in the ethnogenesis of Azerbaijan, and until the end of the twentieth century was famous for its cultural and ethnographic traditions. Research methodology. The article analyses from the semiotic point of view the samples of one of the genres of authentic folklore of the region – Nanai. According to the author, the use of semiotic methods of analysis can help to identify archetypal patterns of samples of the Nanai genre. Based on the analysis of the fretting and metro-rhythmic features of the musical language, the general typological model of the studied genre is determined. The scientific novelty of the research is that for the first time in ethnomusicology, the semantic analysis of samples of the Nanai genre, which was an integral part of the ceremonial culture of ancient Azerbaijanis, is carried out in this article. Conclusions. Based on the collected musical and ethnographic material and the analysis, it was concluded that the peculiarities of the Nanai musical language played an important role in the semantic content of various rites, distinguished by their syncretic nature. Notably, signs of syncretism are also manifested in the peculiarities of the musical language of Nanai samples that have survived to this day. For example, some kinetic musical signs testify to the applied function of Nanai samples. This fact eloquently testifies to the fact that the Nanai genre is of considerable interest from the point of view of modern ethnomusicology.
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Azizova, Aysel. "On the Structural and Semantic Features of Nanai Songs of the Agbaba Historical Region." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 7, no. 1 (2024): 6–15. https://doi.org/10.31866/2616-7581.7.1.2024.303753.
Full textAbstract:
<strong>The purpose of the research </strong>is to study the archaic features of the Nanai musical language, which is one of the genres of authentic musical folklore of the Agbaba historical region. Agbaba is one of the ethno-cultural zones of Azerbaijan, distinguished by its diverse genre system of musical folklore. It should be noted that the Agbaba region is now part of the Republic of Armenia and has been called Amasia since 1930. Historically, this region was inhabited by ancient Turkic tribes, which played a significant role in the ethnogenesis of Azerbaijan, and until the end of the twentieth century was famous for its cultural and ethnographic traditions. <strong>Research methodology. </strong>The article analyses from the semiotic point of view the samples of one of the genres of authentic folklore of the region – Nanai. According to the author, the use of semiotic methods of analysis can help to identify archetypal patterns of samples of the Nanai genre. Based on the analysis of the fretting and metro-rhythmic features of the musical language, the general typological model of the studied genre is determined. <strong>The scientific novelty </strong>of the research is that for the first time in ethnomusicology, the semantic analysis of samples of the Nanai genre, which was an integral part of the ceremonial culture of ancient Azerbaijanis, is carried out in this article. <strong>Conclusions. </strong>Based on the collected musical and ethnographic material and the analysis, it was concluded that the peculiarities of the Nanai musical language played an important role in the semantic content of various rites, distinguished by their syncretic nature. Notably, signs of syncretism are also manifested in the peculiarities of the musical language of Nanai samples that have survived to this day. For example, some kinetic musical signs testify to the applied function of Nanai samples. This fact eloquently testifies to the fact that the Nanai genre is of considerable interest from the point of view of modern ethnomusicology.
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Antonova, Lubov G., and Alesya I. Makhalova. "Video interview in new media." Socialʹnye i gumanitarnye znania 6, no. 1 (2020): 92. http://dx.doi.org/10.18255/2412-6519-2020-1-92-99.
Full textAbstract:
The article is devoted to the analysis of video interviews in new media in the context of the complex, integrated concept of «hypergenre». The material of video interviews published in YouTube, attempts to characterize genres, a complex combination of which is modern video interviews in new media. Special parameters of the hypergenre should be characterized on the Internet platform, which provides additional tools in genre design, including hyperlinks, video podcasts, special technologies for illustrating and confirming factuality, specific video metaphors and video quotes. The authors believe that, unlike print or television media, this hypergenre on the Internet platform acts simultaneously as an informational, analytical, and as an artistic and journalistic, which provides an opportunity to «consider» the features of related genres included in the integrative genre complex: conversations, chronicle notes, surveys, commentary, investigative journalism and some other media genres. Another feature of modern video interviews, explaining the special role of non-verbal signs, implicitly transmitting semantic signals in the context of video interviews, which include gestures, facial expressions, pro-semitic speaker, his personal image signs and tone of speech. As a result of the study of the new model of video interviews, the authors of the article offer a generalized media toolkit of modern hypergenre education and explain the demand and popularity of such a model in the mass media.
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Щітова, С. А., and Т. О. Швець. "MULTIDIMENSIONALITY OF GENRE SYNTHESIS IN CONTEMPORARY MUSICAL ART." Музикознавча думка Дніпропетровщини, no. 15 (November 4, 2019): 118–26. http://dx.doi.org/10.33287/22199.
Full textAbstract:
The purpose of the article is to reveal the peculiarities of the phenomenon of polygranism (genre synthesis) and its varieties in contemporary musical art. The methods of the study are based on a combination of historical and theoretical approaches of scientific knowledge. The historical method allows us to trace the origin, flourishing, complication and improvement of the phenomenon of genre synthesis in musical art, first of all, during the postmodern day (the last third of the twentieth century – the beginning of the XXI century). Dialectic, comparative, empirical (observation and generalization) methods of research, and contributes for a deep understanding of the various approaches of modern composers to the combination of signs of different genres in one musical also work are used. The scientific novelty of the research consis in generalizing the views of scientists on the problem of genre synthesis and its projection into contemporary works of Ukrainian music, especially, the concert genre as one of the leading composers (among others – Rhapsody Concerto for Viola and Mezzo Soprano Natalia Boyeva). Conclusions. The musical genre as a cultural phenomenon characterizing the classification of musical creativity by genera and species has historical origin and certain conditions of existence; it reveals to the composer the broad style of cultural potential, makes choosing and expanding her spiritual resource, develop and embody new stylistic ways of understanding the musical form. In the genre plane, we can note the constant interaction of traditional and new genres, the emergence of new in accordance to a new imagery, especially at the present stage. The technique of representing musical material and aesthetic demands of the new world stylistics, which gave rise to the emergence thinking both have a permanent impact on the development of the genre palette.
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NIKOLAIEVSKA, YULIIA, IRYNA PALIY, VOLODYMYR CHERNENKO, et al. "INSTRUMENTAL FANTASY IN THE 20TH CENTURY: VARIATIONS ON THE GENRE-STYLE GENOTYPE." AD ALTA: 12/02-XXIX. 12, no. 2 (2022): 193–98. http://dx.doi.org/10.33543/120229193198.
Full textAbstract:
The article is devoted to the problem of the transformation of the genre gene survey of instrumental fantasy in musical creativity of the 20th century. The research methodology is based on cultural and systemic approaches, which allows to present fantasy in several dimensions: ontological (philosophical meaning), pragmatic (genre structure) and interpretive (play with an invariant, original work, etc.), which is proven on individual examples. The scientific novelty of the study consists in presenting fantasy as a system that combines the ontological, communicative and interpretive nature of the genre. It was revealed that the ontological nature is revealed through structural, linguistic and dramaturgical signs of improvisation and freedom; genre (genre composition) through the basic indicator that combines freedom of presentation and development of the main musical material (theme, thematic complex, etc.); the communicative meaning appears to direct the attention of both the performer and the listener to the principle of creative freedom, or a certain “game”, which becomes the main idea in the work. Finally, the interpretive meaning is emphasized due to the presence of the type of “fantasy on themes”, re-intonation, combination of the fantasy genre with other genres, which is often noted by the author himself - sonata-fantasia, waltz-fantasia, quasi fantasia, etc., which is evidence of the work of fantasy as a principle of special “world perception” and “world creation” both by itself and based on established linguistic and dramaturgical norms of another genre.
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Dementyev, Vadim Viktorovich. "Transformation of scientific genres in the context of scientometric strategies." Communication Studies 7, no. 2 (2020): 272–82. http://dx.doi.org/10.24147/2413-6182.2020.7(2).272-282.
Full textAbstract:
The transformation of scientific genres in the context of the general digitalization of modern culture is considered. It is shown that the speech genre content of
 this process is based on the mechanisms of generation and transformation of the
 text of two types, the interpretation of which can be useful in order to better understand the nature, tasks and tools of scientometry at this stage, and in order to
 better understand the speech genre structure of scientific speech. Firstly, the
 structural requirements for articles and monographs indexed in scientometric
 systems (Scopus, WoS, DOAJ, RSCI, etc.) are approved and streamlined, and
 thereby our knowledge of what an article is from its structure (i.e. knowledge
 about the genre of the article). Secondly, the requirements of indexing systems
 lead to the fact that the texts of articles change, they are “written differently”,
 and sometimes redone after appropriate recommendations from publishers. The
 points highlighted in scientometric systems can be understood as signs that an article must comply with in order to be assigned to the “speech genre of a scientific
 article”. The largest quantitative indicators for these items are indicators of how
 close to the core of the genre this or that text will turn out.
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Krutov, Nikita Yurevich, and Natalya Aleksandrovna Fedorovskaya. "Specific features of the action genre in video games of the late XX – early XXI century." Культура и искусство, no. 12 (December 2022): 55–63. http://dx.doi.org/10.7256/2454-0625.2022.12.37459.
Full textAbstract:
The object of the study was video games related to the so-called action genre. The disparate classifications of video games that currently exist in the scientific and user environment indicate that there is a problem of creating their typology, key characteristics and specific features that allow dividing genres among themselves have not yet been identified. The purpose of the article is to identify specific features of the action genre in modern video games. The main research methods are comparative and structural-functional, which allow to objectively show the essential characteristics of the genre under consideration. The results of the study show that the genre has not yet been considered comprehensively for the search for generalized features, which were partially mentioned in the studies of T. H. Kutlaliev, N. Y. Kazakova, N. A. Moshkova, I. I. Yugai, T. Epperly, etc. Personal contribution is seen in the fact that the authors purposefully search for genre-specific features, which will further contribute to the development of the genre typology of video games. It is established that the key features of the action genre are: activity that requires good coordination of movements from the player; dynamics that involves saturation with actions; conflict, as an obligatory component of the game; character – the presence of a hero, the action is carried out through a specific character. An important result of the study was that specific signs of action can be found in other genre varieties. The concept of "action" in them becomes an additional element that gives any game dynamics, activity, conflict.
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Denisova, Zarina Mukhriddinovna. "Intonation and genre montage in the compositions of Alfred Schnittke." Человек и культура, no. 1 (January 2020): 26–34. http://dx.doi.org/10.25136/2409-8744.2020.1.31469.
Full textAbstract:
The subject of this research is the works of the prominent national composer Alfred Schnittke. The analysis of musical compositions demonstrated that one of the dominant technique of their thematic development consists in the intonation and genre montage, and dramaturgy is structured as a peculiar intertwinement of imagery-thematic lines, each of which is formed as an assemblage of themes referred to the same genre. The main principle for this research served the principle of historicism as one of the fundamental within national musicology, which views an artistic phenomenon in unity of transformation of traditions and modern trends. The scientific novelty consists in determination of the leading principle of musical compositions of A. Schnittke &ndash; the principle of &ldquo;generalization through the genre&rdquo;, presented as an intonation and genre montage. In conclusions formulated in the article, the author summarizes and systematizes the results of study: combining different genres in a single sound space, the composer interprets them as so-called intonation-semantic signs formed in the process of prolonged historical-cultural development, generating valid content, and at the same time, in its intertwinement, creating an individual artistic view of the world.
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Shchipitsina, Larisa Yu. "Genre Characteristics of Virtual Guided Tours." Current Issues in Philology and Pedagogical Linguistics, no. 3 (September 25, 2022): 234–48. http://dx.doi.org/10.29025/2079-6021-2022-3-234-248.
Full textAbstract:
The article aims to study the virtual tour as one of the genres of Internet communication. For this, types of virtual tours are identified and a description of oral virtual tours is given. Oral virtual tours in Russian, English and German are used as the material of the study. They include the synchronous virtual tours proposed on special platforms like https://www.heygo.com and the videos hosted on YouTube and Vkontakte. The analysis of oral virtual tours was carried out according to the Internet genre model with the focus on media, pragmatic, structural and linguistic parameters, as well as in terms of the communicative proximity / communicative distance model by Koch and Österreicher. As a result of the analysis, it was found that a virtual tour should be considered as a digital presentation and oral or written description of excursion objects, accompanied by a multimedia or textual movement from one object to another. In this sense, a virtual tour is a fairly broad concept, including different types – oral and written, synchronous and asynchronous. An oral virtual tour is distinguished by a high degree of interactivity and multimodality, existing in synchronous and asynchronous forms. An oral virtual tour combines signs of communicative proximity (irreversibility, multi-channel transmission of information, the ability to get an immediate response) and communicative distance (prepared speech, publicity, thematic relevance, predominantly monologue communication). It also shows some signs of the specific Internet environment (virtual situationality, overcoming physical disunity with the help of a video signal). The description of the virtual tour from the genre and linguistic point of view presented in the article allows to more competently build communication in the Internet environment and to broaden the theory of the genre.
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Shmeleva, Elizaveta V. "CHANGING THE GENRE OF THE DIARY IN V. NABOKOV’S NOVEL “LOLITA”." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2023): 45–51. http://dx.doi.org/10.28995/2686-7249-2023-3-45-51.
Full textAbstract:
The article analyzes how the techniques of the novel genre in the “Lolita” by V. Nabokov change the primary speech genre of the diary. The point of view category is considered as a technique of genre formation. In that case, the intimacy of the text, which the diary genre implies, is violated by the presence of not only the point of view of the notes author but also the reader’s one. The reader, which the hero-narrator assumes, determines the manner of narration. The diary of Humbert Humbert takes on the features of fiction, and even isolated from the text of the novel, it will still have signs of a secondary speech genre.
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Fedorova, Natalia Vladimirovna, Karina Vasilevna Shvedova, Vera Pavlovna Zimina, and Egor Vladimirovich Dudukalov. "Mythological signs in the analysis of the language in the English fantasy texts and their differences from occasionalisms and proper nouns." Филология: научные исследования, no. 8 (August 2023): 21–34. http://dx.doi.org/10.7256/2454-0749.2023.8.43711.
Full textAbstract:
The object of research is the fantasy genre, its artistic world and language. It is noteworthy that, not being satisfied with existing terms such as "occasionalisms", "proper nouns", the authors introduce new concepts. The abovementioned terms are used in the analysis and description of the linguistic features of the fantasy genre, but do not reflect the specifics of fantasy. The subject of the study is mythological sign ("mythoznak") in the fantasy genre. The material for the study is the novel "Neverwhere" by N. Gaiman, from which mythological signs were selected by continuous sampling. They are characterized by the absence of a real denotation and form the denotation space of the pseudo-world in fantasy. The theoretical significance of the work lies in deepening the understanding of the term "mythological sign" (in the context of fantasy). The practical significance of the work consists in the possibility of using the results of the research in the practice of literary translation and for educational purposes. It is revealed that a significant part of the mythological signs are author's nominations, which brings them closer to the occasionalisms. Nevertheless, they are not always created by fantasy authors: conventional language units are also used in the function of mythological signs. In this case, the author changes their structure and semantic content. On the other hand, mythological signs are not always proper names.
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Voicou, O. K., A. P. Zhukov, and B. V. Kovalev. "Genre Originality of Novel by M. Vargas Llosa “Green House”." Nauchnyi dialog, no. 12 (December 28, 2021): 205–20. http://dx.doi.org/10.24224/2227-1295-2021-12-205-220.
Full textAbstract:
The genre nature of the novel “Green House” by the Peruvian writer Mario Vargas Llosa is analyzed in the article. Special attention is paid to three approaches to the definition of the genre: “Green House” as a total novel, as a chivalric novel and as an Indianist novel. Definitions of each genre under consideration are given. The relevance of the study is due to the fact that the prevailing approaches to defining the genre of the “Green House” in contemporary Latin American studies is analyzed in the paper. In the course of the work seven stable characteristics of the total novel are distinguished: a radically realistic author’s intention, a clear structural organization of the text, compositional and semantic unity, the consciousness of the infinity of language, the comprehensiveness of the novel, nonlinearity of narration, and the use of dialogue as a structure-forming device. The question of the presence in the novel “Green House” of signs of a chivalric romance is considered. The results of a comparative analysis of the “Green House” and the Catalan novel “Tyrant White” are presented. A comparison of the structure of the “Green House” and the generalized structure of the Indianist novel is given, the key features of this genre are analyzed. It is concluded that in the case of the “Green House” it is impossible to come to genre definiteness. The authors dwell on the fact that “Green House” is a work of fiction that combines elements of different genres, without any other restrictions in interpretations, except for those directly rejected by the text.
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Гетманець, Михайло Федосійович, та Ірина Олегівна Гетманець. "К ВОПРОСУ О ЖАНРОВОМ СВОЕОБРАЗИИ «ПЕДАГОГИЧЕСКОЙ ПОЭМЫ»". Наукові записки Харківського національного педагогічного університету імені Г.С. Сковороди "Літературознавство" 3, № 82 (2015): 16–24. https://doi.org/10.5281/zenodo.45532.
Full textAbstract:
The article is dedicated to the originality of the genre of “The Pedagogical Poem” – one of the important theoretical problems of literary works of A.S. Makarenko and Russian literature of the twentieth century, according to discussions of the researchers, that have continued up to the present time. The title of the literary work “poem” caused on the one hand, associations with the works of Gogol, and on the other, the opposition to him and the rapprochement with the genre of the novel. Based on the works of M.M. Bakhtin, the majority of Makarenko-researchers refer the literary work to the genre “novel of education”. Considering the “The Pedagogical Poem” in the broad context of Russian literature of the twenties of the previous century, the authors prove that for Makarenko the main factor in determination of genre was dominant at that time, the genre of “poem in prose”. The originality of “The Pedagogical Poem” as a novel is in its tangible signs of the autobiographical novel, memoir, “poem in prose”, essay, pamphlet and some other genres. Dominant novel basis allowed the author to recreate realistic picture of life in Gorky colony, to trace the future of the characters and to express his opinion about upbringing of a person against broad social background. In other words to solve rather difficult task set by the writer.
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Mammadova, A. "Methods of Drawing Portrait Genre in Fine Arts." Bulletin of Science and Practice, no. 4 (April 15, 2023): 473–76. http://dx.doi.org/10.33619/2414-2948/89/58.
Full textAbstract:
Art is one of the forms of social expression, and it was created as a result of visualizing the images created in human thinking, emotions and abstract thought by means of images. The images created as a result of the impact of the external world surrounding a person, the processes and events occurring in it on feelings and thinking are the basis of image creation. Portrait painting, which reflects a person’s inner world, feelings and emotions through facial expressions, lines, likeness and mimicry, eyes and gaze, which are considered as a mirror of mood, is considered a very complex genre of fine art and painting. The portrait genre, which is one of the main genres of painting and graphics, has taken a very wide place in fine arts. As in other genres, portrait works take their content from public life and reflect public existence through specific artistic images and influence public life. Therefore, the portrait artist is not satisfied with giving only external signs of a person in his works, such as external resemblance, pose, movement and facial expressions. At the same time, the tries to show the spiritual world, psychological characteristics and what kind of character the person he paints.
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Kolmogorova, Anastasia V., and Polina A. Kolmogorova. "“My canary died. Come to us for Christmas”: The dynamics of the genre canon of a message in a postcard in diachrony and in ontogenesis (based on postcards written by children from the corpus “I am writing to you”)." International Journal “Speech Genres” 19, no. 2 (42) (2024): 195–205. http://dx.doi.org/10.18500/2311-0740-2024-19-2-42-195-205.
Full textAbstract:
The article features the speech genre “a message in a postcard” in Russian communicative practice of two periods: the period before 1917 Revolution and the Soviet period. The research is based on a subcorpus of 253 postcards written by children from the collection of postcards digital corpus “I am writing to you”. By observing the mastery of the genre canon by non-adult native speakers, we consider both the specifics of the speech genre and the dynamics of its changes that occurred at the turning point of two periods. The analysis showed that the speech genre “a message in a postcard” is sensitive to a large number of factors of different nature: its material substrate; achievements of scientific and technological progress; changes in the worldview and value picture of the world that occur in the linguistic and cultural community; the influence of dominant practices of using the visual component in communication. The changes brought by 1917 Revolution led to serious differences in the genre canon of the pre-revolutionary and the Soviet periods, which were reflected in children’s genre experiences. If in prerevolutionary children’s messages in postcards we observe vivid signs of natural written speech and even oral speech – ease, weak spelling control, phonetic principle of spelling, dialogical structuring, in postcards of Soviet children we see the use of speech templates, frequency of the collective addressee, strong spelling control, isomorphic intention of the text and visual design. Interpreting these differences, we conclude that before 1917, a message in a postcard was considered a kind of everyday family and friendly communication, close to its oral form, whereas in Soviet times the genre acquired a pronounced rhetorical public character. The sub-genre structure of analyzed speech genre also differs: in the pre-revolutionary collection, we find a variety of subgenres genres (“message”, “news”, “for memory”, “story about an event”, “from a trip”, etc.), and in Soviet times the genre repertoire narrowed to congratulations. Thus, a postcard written by children shows the genesis of the genre canon better, since the process of mastering the system of existing genre forms by an immature native speaker vividly profiles the specifics of these forms.
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Kurbonova, Nilufar T. "THE CONCEPT OF HORROR IN ARTISTIC LITERATURE." Current Research Journal of Philological Sciences 5, no. 2 (2024): 33–41. http://dx.doi.org/10.37547/philological-crjps-05-02-07.
Full textAbstract:
The current article observes theoretical viewpoints of the concept of horror and devoted to the study of the concept and genre signs of horror in fiction. Throughover the work the notion of horror was investigated with the examples of wellknown writers, critics and scientists. It raises the question of the terminological status of the horror in modern literature, considers the points of view on the status of horror as a genre, and discusses the parameters that differentiate fantasy and horror. It is summarised that there are several subgenres and categories of the horror genre.
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Amelina, Anna V. "Theoretical Aspect of Studying the Literary Utopias and Dystopias of the First Decades of the 20th Century (on the Genre Identification Problem)." Izvestia of the Ural federal university. Series 2. Humanities and Arts 25, no. 4 (2023): 77–91. http://dx.doi.org/10.15826/izv2.2023.25.4.061.
Full textAbstract:
This article examines the theoretical problems of studying literary utopias and dystopias. Since utopia and dystopia exist far beyond fiction, it is proposed to approach the analysis of a literary work as a particular case of the manifestation of a universal model of utopian/dystopian consciousness. First, in the texts under consideration, their elements should be identified with the support of research in social philosophy — the structure of utopian consciousness is outlined in the article, and the structure of dystopian consciousness is derived by the author of the article by analogy. If a work shows signs of utopian or dystopian consciousness, the next step in working with the text is to compare its genre features with the established genre invariant developed by literary critics. The article also presents the corresponding conditionally universal genre models of utopia and dystopia. This approach allows, firstly, to reasonably attribute the work to utopias and dystopias in the presence of signs of utopian or dystopian consciousness, secondly, to expand the body of texts that can be considered utopias or dystopias, and, finally, to fix individual genre features and correlate them with the corresponding invariant. During the formation of the genre of literary dystopia, i.e. in the first decades of the twentieth century, when the diversity of genre features in national literatures was extensive, this algorithm helps to fully trace the formation of the national invariant of the genre and establish its national specifics. At the same time, destroyed by the twentieth century, the genre of “classical utopia” is reborn and significantly modified under the influence of the novel form, so the identification of literary utopia becomes difficult — in this situation, the combination of philosophical and literary methods considered in the article also seems productive.
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Hrozna, Olena. "Definition Polemic in the Sphere of Internet Journalism Regarding the Concepts of "Genre" and "Format" in the Modern Information Space." Ukrainian Information Space, no. 2(10) (December 1, 2022): 119–30. https://doi.org/10.31866/2616-7948.10.2022.269834.
Full textAbstract:
This research is devoted to the topic of traditional genres of journalism functioning in the modern communicative media space and analysis of their correlation with internet journalism formats and content submission forms. The purpose of the study is to identify the definitive contradictions of the concepts “genre”, “form” and “format”, to highlight their features and differences, as well as to substantiate the correctness and appropriateness of using these terms in modern journalism and the system of social communications in general. The main task of the article is to analyze the conceptual apparatus and determine the model of its correct use. When considering the problem, it becomes clear that Internet journalism has a classic genre palette. It has only acquired signs of convergence, new forms, and presentation formats. This causes an urgent need for a detailed terminology analysis and further in-depth research. During the research, confusion in the definitional system and understanding of the features of genres, forms, and formats of the content presentation was revealed. The use of the concepts “genres of journalism”, “forms”, and “formats” in the scientific works of journalistic researchers is analyzed. A new approach to the use of the above terms in Internet journalism has been proposed. This research attempted to prove that all modern “new genres” are correlations of traditional ones, and it would be more appropriate to define them as information presentation formats. The result of the study was the definition of “genre”, “form”, and “format”; their relationship is characterized and described, as well as examples of modern formats of information submission such as online reporting and multimedia longread are analyzed. It is concluded that the traditional genre was and remains an established form. Its manifestations with various combinations in the form of new formats of intranet journalism do not affect the essence of the traditional genre. Therefore, in Internet communication, it would be more appropriate to use the term “formats of internet journalism” and “forms of content submission”.
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Yeskermes, Y. A., and A. Zh Zhaparova. "Characteristics and Signs of Féerie (Based on Examples of Literary Works of the Early XX century)." Iasaýı ýnıversıtetіnіń habarshysy 129, no. 3 (2023): 176–86. http://dx.doi.org/10.47526/2023-3/2664-0686.13.
Full textAbstract:
“Féerie” is a term often associated with magic that is found in various forms of artistic expression, including literature, theater and visual arts. The relevance of the article is characterized by the analysis of the “féerie” in the genre and structural aspect in the context of structure and composition in general fiction and on the examples of the works of A. Green “Scarlet Sails”, M. Maeterlinck “Blue Bird, Lesya Ukrainka “Forest Song”. On the basis of examples of works of art taken for analysis, a comprehensive presentation of the nature of the “féerie” in a literary context is carried out. The purpose of this article is to reveal the originality of the “féerie” and its manifestations in the work. Comparative and generalizing methods were used in the analysis of the “feerie” based on the texts of works of art. Special attention was paid to the consideration of characters, situations, quarrels, images that are considered separate components of the “féerie”. The works also reflect the interaction of “féerie” with other genre types (fairy tale, mythology, fantasy) and the integration of their personal qualities. Thus, a comparative analysis of the features of “féerie” in various works allowed us to identify the most important criteria for determining the genre of “feerie”. It was possible to show the genre nature of literary “féeries” written at the beginning of the XX century, to identify their common features and features through textual comparison. As a result of the research, it is concluded that the “féerie” in artistic works partially retains its properties inherent in the theatrical sphere.
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Altynbaeva, Gulnara M. "The genre features of A. I. Solzhenitsyn’s memoirs." International Journal “Speech Genres” 18, no. 3 (39) (2023): 252–59. http://dx.doi.org/10.18500/2311-0740-2023-18-3-39-252-259.
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The article justifies that A. I. Solzhenitsyn expands the potential of the memoir genre by synthesizing techniques of different genres and creating new ways of displaying History. The growing interest in the memoirs of the 20th century, in particular in Solzhenitsyn’s memoirs, in recent decades makes the research topical. Solzhenitsyn considers the truth of history as a priority, and the completeness of the material and polyphony of its presentation as necessary requirements. The research aims at presenting the originality of Solzhenitsyn’s memoirs. The objectives of the research include determining the nature of the memoir genres in Solzhenitsyn’s works, identifying traditional and innovative forms in them, as well as substantiating polygenre as a sign of the writer’s “new oeuvreing”. Simultaneous presence of not only the signs of traditional memoirs, but also documentary features, journalistic, fictional, speech genres, their overlapping and synthesis in the text is the main problem of Solzhenitsyn’s memoirs. In addition, Solzhenitsyn’s heritage can be interpreted as a metamemoir text, based on inextricably linked writer’s biography and Russian history of the 20th century. A separate aspect of Solzhenitsyn’s memoir lies in the analysis of the author’s image and the dialogue with the reader. All genre levels – compositional, problem-thematic, stylistic – are involved in the research. Solzhenitsyn’s memoirs were studied by the methods of comparative, immanent, intratextual analysis. The results of the research can be used to study A. I. Solzhenitsyn’s creative method and the memoirs as non-fiction. The major conclusions point to the consistency of Solzhenitsyn’s position, who does not move away from the word of truth, from the desire for Truth even in memoir genres.
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Itskovich, Tatiana Viktorovna. "Modern Orthodox sermon: categorical-textual aspect." Филология: научные исследования, no. 4 (April 2021): 1–8. http://dx.doi.org/10.7256/2454-0749.2021.4.35269.
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Examination of functionality of the genres of religious functional style is a relevant direction of modern linguistic research, which is substantiated by the change of social situation in Russia at the turn of the XX &ndash; XXI centuries, and thus, the growing role of religion as a form of public consciousness and a type of human activity. Sermon is a genre that functions in the Russian language, which makes it understandable and influential. The author applies the categorical-textual method, which gives an objective perspective and determines the characterological features of the genre, perceived as a type of similar texts with a standard way of explicating text categories; it also allows identifying the signs of invariant and outlining the transformative trends in the genre of sermon, substantiated by the new communication channels. The sermons delivered during liturgy belong to the core of the genre and feature predominant reverent tone, thematic duality: mandatory spiritual theme, with explication of situational and sacred themes, and reduced explication of profane theme; classical compositional structure, where the main theme is accompanied by spiritual interpretation, comprising a compositional complex, while the situational theme serves for creation of a circular plot. Sermons delivered outside liturgy are attributed to the mediated distant communication, which employs modern media channels: television or Internet, which substantiated a way of explication of textual categories that differs from the invariant. Non-liturgical sermons are classified as periphery of the genre and characterized by prevalence of the preaching, and at times aggressive tone, implementation of profane theme in the text, and reduced role of sacred and spiritual themes. Compositionally, non-liturgical sermons are noted for optional introduction and conclusion, with situational theme, which is explained by usage of modern communication channels. The categorical-textual method allows observing the transformation of the genre of sermon from the core towards the periphery.
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Girzheva, G. N., and V. I. Zaika. "Hagiographic topoi as elements of the image of a character in Yuri Buida’s story “The Miracle of Buyanikha (The poem)”." Memoirs of NovSU, no. 4 (2023): 328–34. http://dx.doi.org/10.34680/2411-7951.2023.4(49).328-334.
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The title of the story “The Miracle of Buyanikha” indicates the genre definition of the presence in the text of signs of hagiography, the horizon of expectation is determined, it is an expectation guideline, as well as a genre specification — a poem. Topoi — the main elements, ceremonial practices: images, motives, speech formulas, guarantees, etc. — are defined by the canon as genre signs of hagiography. The story contains images of various kinds of miracles, which, by their presence, suggest that Buyanikha belongs to the category of those to whom the hagiographic texts are dedicated. However, in the story, topoi and other vital signs have a dual relationship to the hagiographic canon: some images of Buyanikha are meaningfully quite correlated with hagiographic topoi, and are recognized by the reader as corresponding to the genre, other elements correlate with topoi “negatively”: the mentioned or described fact of Buyanikha’s biography contradicts the common place that characterizes the character as a saint (such a ratio is less recognizable). The most common sign of the use of the topos in the image of Buyanikha is its neutralization: the presence of such details that distort the canonical content of the topos in the description, correct pathos and ground the character. Therefore, in general, the implementation of hagiographic topics in the story is defined as a neglect of ceremoniality. The image of Buyanikha, built by the author using various points of view of the narrator and characters, is multifaceted: long lists of details whimsically combine plausible, factual, implausible and miraculous. Moreover, the miraculous, which, according to the canon, reproduces holiness, is usually neutralized, which is a characteristic feature of the image of the controversial Buyanikha.
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Filatova, Tetiana. "Abel Carlevaro’s guitar works in the context of Uruguayan musical culture." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 137 (October 30, 2023): 121–35. http://dx.doi.org/10.31318/2522-4190.2023.137.294672.
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The relevance of the article is to consider Uruguayan guitar music as an important component of the modern South American repertoire. On the example of the works of famous composer and performer Abel Carlevaro connections with the folklore traditions of the country, Afro-Uruguayan genres and styles have been revealed. Main objective of the study is to reveal the influence of Abel Carlevaro's guitar work on the development of national performing traditions and the repertoire of Uruguayan music. The novelty of the article lies in the introduction of materials about Uruguayan musical culture and guitar work in particular into the domestic musicological circulation. The methodology includes the methods of historical, comparative, phenomenological, structural and functional analysis for the study of factual information; highlighting the elements of folk music of Creole and Afro-Uruguayan origin; genealogy of rhythmic structures of genre sources, fixation of phenomena of guitar imitation of timbres of percussion instruments; a comparison of modern music with the decorative visual roots of an ancient ritual or with a purely European (Spanish, Italian, German) attribution of ancient genres and stylistic trends. Results and conclusions. Abel Carlevaro's work is presented as a part of the Uruguayan cultural heritage. Analogies of the processes of ethnocultural communication and the synthesis of national motifs in architectural structures and musical phenomena of the country are traced. Linguistic and genre characteristics of guitar works were investigated taking into account the positions of modern experts of local folklore, as well as the anthropological experience of Uruguayan scientists studying their musical and ritual tradition. In the process of analyzing «American Preludes» as examples of the most performed musical works by A. Carlevaro, the genre features of tango, milonga, Creole songs, genre-style allusions of baroque giga, passacaglia were determined; the signs of reproducing the timbre resources of the candombe — the titular genre of Afro-Uruguayan origin for the national culture — were revealed. The conformity of its rhythmic core to the genre canons of African music-making embodied in the tradition of Uruguayan carnivals is emphasized. Timbral imitations of percussion sounds are considered in connection with the use of specific methods of sound production on the guitar. The general stylistic and genre priorities of the Carlevaro’s guitar work are correlated with his performing and pedagogical experience, summarized in didactic, methodical, autobiographical publications and presentations in many countries of the world.
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Mesenyashina, Lyudmila, and Ksenya Valeeva. "THE INITIAL STAGE OF MASTERING THE COMMUNICATIVE SYNTAX AND GENRE SYSTEM OF THE NATIVE LANGUAGE." Bulletin of Chelyabinsk State University 475, no. 5 (2023): 88–99. http://dx.doi.org/10.47475/1994-2796-2023-475-5-88-99.
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In this article, using the method of observation, the initial stages of mastering the communicative syntax and the genre system of the native language are analyzed. The material of observation is the speech of the child at the beginning of the third year of life. An analysis of the material made it possible to establish that at the age of two years and two months, the child’s speech competence enables them to form an idea of the presence of a certain number of speech genres opposed to each other by illocution, the past factor, the future factor and the type of discourse. Genres with expressive illocution are represented most diversely among the initiative utterances of the utilitarian-everyday discourse: different types of complaints, joy, sympathy, condemnation and etiquette forms of expressing emotions. Within the framework of a directive illocution, a request, a demand, and a question are distinguished. Genres of rejection and protest appear in the reciprocal remarks of the utilitarian-everyday discourse, and the genre of a joke appears in the cognitive-game discourse. The syntactic side of the utterances is heterogeneous; signs of narrative speech appear in three-word utterances. The prospect of the study is connected with testing the hypothesis that the syntax of asyndetic and compound sentences is formed in a child earlier than the syntax of a simple sentence.
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Lawes, Rachel. "Demystifying Semiotics: Some Key Questions Answered." International Journal of Market Research 44, no. 3 (2002): 1–10. http://dx.doi.org/10.1177/147078530204400302.
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The paper explores the nature, language, methods and applications of semiotics. It is necessary to understand, for example, a piece of advertising in terms of its visual signs, linguistic signs, aural signs, the implied communication situation, structure, genre, etc. Examples are given to illustrate the methodology. Thus gold had traditionally been shorthand for riches and wealth but is currently (2002) becoming somewhat down-market in, for example, the biscuit sector. Upmarket biscuits are being marketed in corrugated cardboard packaging and subdued colours. The paper concludes with a glossary of semiotics terms.
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Maliutina, Nataliia. "Tropika gatunkowa, fabularna, sfery bohaterów w najnowszej prozie postrealistów polskich." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 58, no. 1 (2023): 379–86. http://dx.doi.org/10.36770/bp.792.
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The monograph by Dariusz Piechota analyses some images, motifs, and types of characters that go back to Polish prose of the second half of the 19th century as well as modernism. The book deals with the global problems of civilization that have determined the consciousness of modern society. The author demonstrates that addressing specific topical issues (ecology and climate change, diseases, and destruction of personal identification under the influence of pop culture and the digital age) acquires genre characteristics in post-realist prose. Traditional genres (soap operas, family sagas, melodrama, etc.) have been enriched with features of other genres or methods of seeing the world. The author traced the features (signs) of a fairy tale, dystopia, or anti-utopia, a psychological story in the latest Polish and American stories.
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Karim Lazim, Abdul. "Down Deep in the Dark: A Semiotic Approach to Edgar Allan Poe’s the Black Cat." Advances in Language and Literary Studies 9, no. 1 (2018): 53. http://dx.doi.org/10.7575/aiac.alls.v.9n.1p.53.
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Semiotics is the investigation of the nature, type and function of signs in all walks of life. It is the science of interpreting signs and showing how meaning is generated by and through a shared cultural code. Being a verbal corpus of imaginatively works of art, literature with all its genres, i.e. poetry, drama, fiction, the short story, etc. lends itself to semiotics scrutiny. Verbal works of artifact as such can be analyzed in terms of semiotic theory. This paper purports to explore Edgar Allan Poe’ The Black Cat as a structure of interconnected signs which are organically rooted into the code of horror. If culture, in one sense, is the complex network of beliefs, behaviors and patterns of thinking, these psychopathic cognitive patterns are wittingly structured in the semiotic system of Poe’s narrative work of art. The study proceeds with the hypothesis that Poe’s The Black Cat is a semiotic metaphor or a representation of the actual world of insanity which is resulted from obsession in things. The short story is analyzed in terms of the newly semiotic approach, namely The Semiotic triangle. This tripartite model is a three-dimensional model whose axes are: syntagmaticity, paradigmaticity and signification. The dimensions are supposed to be the foundations of the construction of Poe’s literary text. One result of the study has shown that fear is not an organic human nature in The Black Cat, but a newly born behavior which has led to a serial of crimes committed by the unnamed author. This abnormal behaviorism is encoded in the semiotic veins of Poe’s newly literary genre, i.e. the narratology of horror. The scope of the study is limited to Poe’s The Black Cat as a par excellent narrative work of that creative genre. The paper is rounded up with concluding remarks elicited from the semiotic analysis.
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Babikova, Marina R., and Olga V. Kruzhkova. "Genre specificity of vandal graphic damage to urban spaces." International Journal “Speech Genres” 19, no. 4 (44) (2024): 327–37. https://doi.org/10.18500/2311-0740-2024-19-4-44-327-337.
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The visual space of a modern city and any other populated area is very diverse and rich, both with useful elements: signs, road signs, posters, street names, etc., and with the elements which change the appearance of streets in a negative way, namely the graphic damage to urban space or unauthorized graffiti, which is in the focus of this paper. The relevance of the present study is determined by the significance of studying various types of everyday written and speech activities within the city space. The specificity of graffiti as an object of linguistic research is noteworthy. Being an ambiguous part of urban space, graphic damage is often not fully studied, but nevertheless has significant pragmatic potential that can influence the opinion of citizens. Thus, the purpose of the study is to describe graphic damage, considering the entire range of extralinguistic and linguistic components of the genre. The work is based on a descriptive research method, and the basis for the methodology for describing the genre is the model of a complex communicative-typological description of the natural written Russian speech, proposed by N. B. Lebedeva and adapted to the objectives of this study. Thus, the article presents a description of aspects of the genre under consideration through a number of characteristics: 1) author, 2) purpose, 3) addressee, 4) content, 5) communicative time, 6) linguistic embodiment, 7) social assessment 8) cognitive dominant of the genre.
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Ko, Leong. "Chinese-English Translation of Public Signs for Tourism." Journal of Specialised Translation, no. 13 (January 25, 2010): 111–23. https://doi.org/10.26034/cm.jostrans.2010.610.
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Bilingual public signs are extensively used in Chinese-speaking regions such as Mainland China, Taiwan and Hong Kong. This article concentrates on issues relating to Chinese public signs at tourist attractions and their translation into English. Based on examples collected from these three regions, it finds that Chinese public signs in tourist areas constitute a special genre and tend to use a descriptive and/or figurative language style to convey a simple message, which creates challenges for translation. The data analysis indicates that three translation strategies are employed in translating public signs—i.e. literal translation, semi-literal and semi-adaptive translation, and free adaptation—and that literal translation is the most common strategy. It is found that all three strategies have limitations in conveying the message meaningfully and naturally. The article concludes that the unique nature of public signs in tourist areas suggests a need for further investigation of the language styles used in such signs in both languages and the most appropriate strategies for their translation.
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Varfolomeeva, Yulia N. "Description Genre Varieties: Functioning Features of Verb Predicates." Current Issues in Philology and Pedagogical Linguistics, no. 3 (September 25, 2022): 71–81. http://dx.doi.org/10.29025/2079-6021-2022-3-71-81.
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The paper is devoted to the consideration of the specifics of the descriptive type of speech and the study of the features of the functioning of verb predicates in the context of the genre description paradigm. The empirical basis of the work is fiction, descriptive texts are selected from the works of Russian classics of the 19th-20th centuries. The work uses a functional-semantic approach and the method of contextual analysis. The genre description paradigm is formed by a description-landscape, a description-interior, a description-portrait and a description of a thing (displaying the external properties of an object). In all genre varieties of description, the contours of the spatial arrangement of objects are outlined: through actants and predicates, the referential space is transmitted, in addition to which the receptive space associated with pragmatic meanings and subjective navigation can be explored. The greatest variety of groups of predicates, is observed in the description-landscape. A more limited set of lexical-semantic groups of predicates is presented in the description-interior. The most limited set of groups of predicates is fixed in the description-portrait due to the limited set of elements that make up the external image of a person. Actional semantics predicates can be used in descriptive genres, acquiring the function of characterizing space, while the acting object, perceived as one of the signs of the described picture, is important.
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Gromov, Alexey. "Linguistic Means for Creating Images in the Cyberpunk Novel by S. Lukyanenko “The Labyrinth of Reflections”." Stephanos Peer reviewed multilanguage scientific journal 53, no. 3 (2022): 147–53. http://dx.doi.org/10.24249/2309-9917-2022-53-3-147-153.
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The article deals with the linguistic means of genre formation of the cyberpunk novel “Labyrinth of Reflections”. The process of analysis took place taking into account genre deformation: S. Lukyanenko presented an ideological and artistic innovation, which consists in including in the text of the novel the motif of “the human face”, of course, uncharacteristic for the cyberpunk genre. It was noted that, despite the departure from the canons of the genre, the language of the work has not lost its artistic power, still performing the function of genre formation. We studied such linguistic means as toponymy, which divides the space of the work into a real and virtual plan, occasional formations that actualize the signs of cyberpunk, terminological and borrowed vocabulary, which is the main means of stylizing the work, anthroponymy, which characterizes the plot-forming images, individual author’s metaphors, which perform a whole range of functions to create a virtual space and reflect the author’s intentions. The results of the study showed that the dominant language level of genre formation is lexical and stylistic, which primarily represents the artistic world of the novel as a spatio-temporal phenomenon identical to the world of “dystopia of the future”.
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Yusha, Zh M. "Ritual folklore of the Tuvans of China in a comparative perspective: genre signs." Sibirskiy filologicheskiy zhurnal, no. 60 (September 1, 2017): 19–28. http://dx.doi.org/10.17223/18137083/60/2.
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