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1
Xiao, Liang, et Liming Deng. « Generic Variation & ; Private Intention : A Multi-Dimensional Exploration of Book Reviews and Prefaces ». Chinese Journal of Applied Linguistics 41, no 1 (26 mars 2018) : 47–66. http://dx.doi.org/10.1515/cjal-2018-0003.
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AbstractBased on Bhatia’s multi-dimensional analytical framework for discourse analysis, we explore key issues involved in genres construction such as private intention, manipulation of generic value and interdiscursive strategies. Two prefaces and two book reviews by expert linguists were collected and analyzed at great length from both text-internal and text-external perspectives. Meanwhile, four professionals from relevant disciplines were interviewed for their insights into the issues investigated. Through examining textual features, covert interdiscursivity and narrative accounts of the professional writers, the following findings are generated. 1) Generic variation occurs within and between the two genres due to expert writers’ intentional manipulation of generic value. 2) Interdiscursive strategies like “genre embedding”, “genre bending” and “genre mixing” are exploited by expert writers to achieve their particular private intention. Specifically, preface genre can be presented, to some extent, as a research article mixed with some promotional flavor, and features of research article genre, promotional genre and introductory genre are found mixed in the review genre. 3) Representations of the preface and book review genres such as linguistic feature, move structure and interdiscursivity are ultimately affected by generic value, authors’ private intention, professional practice and disciplinary culture. The findings have important implications for ESP/EAP writing practitioners and learners.
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Farangiz, Chorshanbieva. « TRANSFORMATION OF GENRES IN THE LITERATURE OF THE SILVER AGE ». European International Journal of Multidisciplinary Research and Management Studies 02, no 11 (1 novembre 2022) : 169–73. http://dx.doi.org/10.55640/eijmrms-02-11-39.
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Characteristic features of the genre of novel in literature of late XX – turn of XXI century have been analyzed in the article. Contemporary prose development trends have been revealed on the base of generalization of works covering this problem and analysis of a certain writings. Changes of the genre of novel in writers' works have been revealed and factors that affect development of literary process have been defined. Scientific and technical progress impact on writers' world outlook, authors' concept of being and personality, structure and content of today novels have been revealed. Characteristic features of prose written in late XX – turn of XXI century have been defined. Multilayer, multi-genre nature, polyphony and flexibility of novels have been outlined. Analysis of ideas and topics as well as construction of works of contemporary writers has been paid much attention. Principles and methods of picturing life in prose of late XX – turn of XXI century have been defined. Essence of genre and stylistic originality of contemporary writers have been formulated. Specifics of change of the set of patterns in literature of late XX – turn of XXI century have been revealed. Deepening of psychological insight, authors' attempts to broaden the limits of traditional ideas of the world and reveal hidden sides of characters, pictured phenomena and processes have been stressed.
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Wang, Aiqing. « Male Writers of Dānměi Literature : An Analysis of Fēitiānyèxiáng ». Heritage of Nusantara : International Journal of Religious Literature and Heritage 10, no 1 (31 mai 2021) : 97–136. http://dx.doi.org/10.31291/hn.v10i1.607.
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In this paper, I investigate dānměi as a ground-breaking literary genre by means of scrutinising an illustrious male writer pseudonymed Fēitiānyèxiáng, and I propound that his works are exemplary as online writing. As a growing Chinese Internet literature, the female-oriented dānměi genre, aka Boys Love, has attracted legions of heterosexual fangirl producers and consumers as well as a meagre amount of their male counterparts. Among male dānměi writers, who are in an absolute minority, Fēitiānyèxiáng is celebrated for a wide range of innovative themes and magnificent storylines, and his fiction is replete with profound literary and historical allusions and elaborate and meticulous depictions. Furthermore, notwithstanding a non-reversible bipartite dichotomy between seme (top) and uke (bottom) roles, Fēitiānyèxiáng’s writing is not featured by feminisation of uke, which is clichéd characterisation in not only the dānměi subculture, but also classical and modern Chinese literature. More significantly, Fēitiānyèxiáng’s narratives are reality-oriented, addressing adverse circumstances in a real-world context and hence rendering characters more multi-faceted, and he does not circumvent realistic issues or create over-romanticised representation, analogous to his equivalent pseudonymed Nánkāngbáiqǐ.
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Beaufort, Anne. « Developmental Gains of a History Major : A Case for Building a Theory of Disciplinary Writing Expertise ». Research in the Teaching of English 39, no 2 (1 novembre 2004) : 136–85. http://dx.doi.org/10.58680/rte20044467.
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In literacy and composition studies, efforts to develop data-driven theories of disciplinary writing expertise and of writers’ developmental processes in joining specific discourse communities have so far been limited. This case study, of one writer’s experiences as an undergraduate history major, parses the multiple knowledge domains comprising disciplinary writing expertise and compares his beginning and later work for signs of developmental progress. A conceptual model of five knowledge domains writers must draw upon—discourse-community knowledge, subjectmatter knowledge, genre knowledge, rhetorical knowledge, and writing-process knowledge—is applied to the data both for analysis of the case and for exploring the usefulness of the conceptual model for further empirical and theoretical work. What results is a fuller depiction of the complexities of gaining expertise in any given discourse community, as well as an indication of the importance of educators across all disciplines considering the multi-dimensional and developmental nature of their curricula for building literacy skills.
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Zavadska, Viktoriia. « FEATURES OF MARYNA HRYMYCH’S NOVEL “KLAVKA” ». Слово і Час, no 3 (30 juin 2023) : 66–80. http://dx.doi.org/10.33608/0236-1477.2023.03.66-80.
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The paper examines literary features of Maryna Hrymych’s novel “Klavka” (2019). The variety of methods used in the work is interesting for literary analysis. These are the use of the historical background with a detailed description of the realities of the time; introduction of the writers’ personalities as characters; continuation of the urbanistic “Kyiv” theme using contemporary toponyms; urban folklore; a hero multi-narrator; quoting the poetry of that time in order to create a flavor of the writer’s life, etc.
Hrymych uses the literary form of the novel to show the acts of harassment of writers in the era of Stalinism. The plenum of the Union of Writers of Ukraine, organized in 1947, aimed to criticize prominent Ukrainian writers of that time: Maksym Rylskyi, Yurii Yanovskyi, Ivan Senchenko, and others. This action had a tactical goal but strategically, Ukrainian literature was doomed to complete assimilation and “denationalization” along with the physical destruction of the writers. The documents confirming this process have not been made public yet, so Hrymych presents them in the form of quotes or transcripts made by the main character, the secretary of the Union of Writers.
The novel has the passages of scholarly content, which play an important role. The writer presents an analysis of literary works of the cult of Stalin era. Being unable to accept these works, modern readers tend to completely reject them. Maryna Hrymych provides a way to perceive these writings by acknowledging that the authors wrote them on state orders, but they tried to do it masterfully by using various literary techniques and presenting their individual style.
The genre affiliation of the novel is ambiguous. “Klavka” can be perceived both as a historical novel, as a “novel about a profession” (a parody of similar works of that time), as an urban novel, and a documentary prose. A variety of techniques and methods used in the novel allows talking about “Klavka” as a postmodern work.
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Hamblin, Lynda. « Voices in the Junior High School Classroom : Lost and Found ». English Journal 90, no 1 (1 septembre 2000) : 80–87. http://dx.doi.org/10.58680/ej2000663.
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Discusses aspects of the classroom environment that nurture young writers. Describes strategies and assignments (including cross-curricular poetry, a letter writing activity, multi genre papers, a tribute assignment, and a “read and retail” assignment) which helps students understand and develop voice. Notes that while students’ writing improved, their scores on Idaho’s Direct Writing Assessment did not, since it actually negates students’ voices.
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Indarti, Dwi. « Patterns of rhetorical organization in The Jakarta Post opinion articles ». Studies in English Language and Education 5, no 1 (1 mars 2018) : 69–84. http://dx.doi.org/10.24815/siele.v5i1.8535.
Texte intégralRésumé :
Opinion articles are part of a professional discourse genre that can be found in newspapers. These articles are separated from news pages and written for the public, so they contain a variety of cultural backgrounds. This study looked at 151 opinion articles published in The Jakarta Post of the March 2016 editions. Shi and Kubota’s (2007)four pattern of rhetorical organization was adapted as the theoretical framework for the present study. The results of this study showed that the overall rhetorical pattern of The Jakarta Post opinion articles is a three-part structure of introduction, body and conclusion paragraphs. In term of the placing of the thesis statement, 47% of non-native writers and 38% of native writers put the thesis statement in the introduction part with a single sentence paragraph or two short single-sentence paragraphs, and 38% of non-native writers and 40% of native writers wrote the introduction part with two or more multi-sentence paragraphs, and put the thesis statement at the end of them. Only 8% of non-native writers and 5% of native writers put the thesis statement in the body part, while 7% of non-native writers and 17% of native writers put the thesis statement in the conclusion. Generally, there was a slight difference between native and non-native writers in terms of the placement of thesis statement, where the non-native writers tended to use a single sentence paragraph as the thesis statement as well as to begin the essays, while native writers preferred to use two or more multi sentence paragraphs. This study proves that professional writings such as newspaper opinion articles follow the English rhetorical conventions; deductive, logical, and direct style as represented in the three-part structure.
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Seeley, Sarah. « The JSTOR Daily Project : Building Genre Awareness through Heuristic Learning ». Discourse and Writing/Rédactologie 33 (17 novembre 2023) : 127–38. http://dx.doi.org/10.31468/dwr.1035.
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The article describes a publicly oriented writing assignment that can be adapted across disciplinary contexts. The assignment is linked to the JSTOR Daily publication with its tagline “where news meets its scholarly match.” Emulating the style of writing published in this open-access online context, students produce informative writing that contextualizes contemporary issues by drawing on applicable scholarship. As JSTOR Daily publishes a wide range of topical content, student writers can use the genre to explore a variety of topics and perspectives found across the humanities, social sciences, and sciences. This assignment can either stand-alone as a piece of web-based, potentially multi-modal, public writing, or it can be used as a starting point that supports heuristic learning as students write for this public genre then move on to write on the same topic in a scholarly genre. Teaching materials, including a sample assignment sheet and workshop prompts, are appended.
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Kapkova, S. Yu. « CHARACTONYMS IN MODERN ENGLISH CHILDREN'S LITERATURE ». Modern Linguistic and Methodical-and-Didactic Researches, no 3(38) (31 décembre 2022) : 77–86. http://dx.doi.org/10.36622/mlmdr.2022.68.29.008.
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Statement of the problem. The objectives of this study include determining the role of the use of charactonymsin multi-genre texts for children written by English classical and modern authors. The first task was to identify the charactonyms in the works of fiction of three English children's writers. The second task is the etymological and lexico-semantic analysis of the charactonyms in the children's works of art under study in order to obtain information about whether the character is positive or negative. The third task of the study was to identify the functions of charactonyms in the works analyzed. Results. The article presents the charactonyms of the characters selected by a continuous sampling method from the works written by English children's writers of different time periods. Further, the etymological analysis of the charactonyms and their decoding in the analyzed works written by R. Dahl, J. K. Rowling and F. Simon and the role of the charactonyms in those works are defined. Conclusion. The study revealed 11 functions of charactonyms in the analyzed works of fiction for children of three British authors. Identifying, comic, style-forming, allusive, genre-forming, onomatopoeic functions were identified, as well as functions characterizing appearance, occupations or professions, behavior, speech and describing character.
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Kristina, Diah, Noor Hashima et Hariharan Hariharan. « A GENRE ANALYSIS OF PROMOTIONAL TEXTS IN AN INDONESIAN BATIK INDUSTRY ». Indonesian Journal of Applied Linguistics 7, no 2 (30 septembre 2017) : 187. http://dx.doi.org/10.17509/ijal.v7i2.8351.
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This study explored sales promotion letters (SPLs) and company profiles (CPs) of two prominent batik companies in Solo, Central Java, Indonesia. This essay draws its data from the most important primary source of information on sales promotion letters and company profiles namely words, phrases, and clauses taken from the SPLs and CPs of batik written in Indonesian. Secondary sources were also consulted in this research, among these transcribed data obtained from in-depth interviews with the text writers and buyers. Three SPLs and two batik CPs were analyzed. In addition, two informants (marketing and promotion managers) typifying the text production perspective and two buyers typifying the text consumption perspective were interviewed. This research was guided by theories of genre analysis which focuses on patterns of rhetorical organization and genre-specific language features. This study employed the multi-dimensional and multi perspective model of analysis focusing on textual, socio-cognitive and ethnographic aspects of the texts. This study concludes that the strong Javanese cultural influence has made the underlying intention of gaining profits to be less explicitly stated. Secondly, the textual analysis and the in-depth interviews supported the view that CPs of batik had been ideally used to create a favorable image of the company. Thirdly, the most distinctive feature that differentiated establishing credentials in the Indonesian batik business context had been the utilization of a sense of moral obligation to preserve native culture. Fourthly, the chemistry between writers and readers of SPLs and CPs built a strong foundation for mutual understanding and thus paved the way for making purchases. To conclude, this study has shown how the wider culture and the culture of the discourse community has contributed to the framing and formatting of SPLs and CPs of batik in terms of lexico-grammar, cognitive structuring, intertextuality and interdiscursivity.
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Rautionaho, Paula, et Sandra C. Deshors. « Progressive or not progressive ? » Tense and aspect in Second Language Acquisition and Learner Corpus Research 4, no 2 (27 août 2018) : 225–52. http://dx.doi.org/10.1075/ijlcr.16019.rau.
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Abstract This multifactorial analysis of progressive marking contrasts native English to two Asian Englishes and Dutch English. Specifically, we (i) model writers’ constructional choices (progressive vs. non-progressive) across Englishes based on several linguistic predictors simultaneously, (ii) assess how those factors impact the progressive vs. non-progressive alternation, (iii) how several linguistic factors determine, simultaneously, writers’ constructional choices and (iv) how those choices differ across varieties and genres. Based on 4,661 verb constructions from five comparable multi-genre corpora, we ran a logistic regression analysis to determine which factors cause English-speaking populations to differ in their constructional choices and in which specific contexts. While the model strongly predicts speakers’ choices, within individual genres, tense and modality are found to influence speakers’ choices differently. Overall, our results yield nuanced insights into the (dis)similarities among and within ESL/EFL varieties and contribute to the broader issue of the native-foreign-second language continuum across genres.
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Díaz Vera, Javier E. « When pain is not a place : Pain and its metaphors in late middle English medical texts ». Onomázein Revista de lingüística filología y traducción 26 (2012) : 279–308. http://dx.doi.org/10.7764/onomazein.26.10.
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In this research i will identify and describe the metaphorical expressions for pain recorded in the texts included in the Middle English Medical Texts corpus, a collection of english medical writings from the period 1350- 1500. Furthermore, i will propose a comparison between the resulting list of specialised medical metaphors and a list of metaphorical patterns for pain extracted from a multi-genre, late middle english corpus, the Helsinki Corpus of English Texts (subperiods me iii and me iV), which i will use here as my reference corpus. in doing so, i will try to show that medieval medical authors borrowed or developed new metaphorical extensions in order to describe pain and its treatments. Through the use of these metaphorical patterns, medieval medical writers tried to refer to pain as a process, with a beginning, a treatment and an end. in fact, pain is frequently conceived of as a living entity of adverse nature (e.g. a soldier, an enemy, a wild animal), and it is the doctor’s role to fight it with all the weapons (i.e. treatments) at his disposal. These conceptual choices differ greatly from the conceptualizations of pain found in the multi-genre corpus, where pain is frequently conceived of as a permanent state or as a place.
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Herasymenko, Nina. « MODERN MILITARY PROSE : GENRE AND STYLE TYPOLOGY ». Слово і Час, no 3 (30 juin 2023) : 35–49. http://dx.doi.org/10.33608/0236-1477.2023.03.35-49.
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The paper deals with the typology of modern Ukrainian military prose based on the analysis of relevant novels. According to the structural and functional features of the works, it is reasonable to classify them using division into high/mass/intermediate literature. The first type includes complex and multidimensional texts (with allusions, literary reminiscences, irony, parody, etc.), and their action takes place mainly in a mental sphere. Heroes are characterized by understanding of social processes and war realities (significant is the presence of two identities, “properly Ukrainian” and “Soviet”); they rethink their mistakes and transform in response to new challenges. These texts are mostly focused on the acquisition of individual subjectivity. They require a trained erudite reader who can discern the writer’s narratives behind their multi-layered nature. Mass literature includes works where action dominates, and such elements as shooting, chase, superman hero, excessive emotions, love triangle, etc. are widely used. The adventure genre, military detective, melodrama, and action novel are currently most fully represented. Intermediate prose may combine, on the one hand, topical social issues, character evolution, logical and consistent presentation of events (as a feature of “high literature”) with a simplified plot and images, the lack of attention to the psychology of the characters, and various means of mass literature. Contemporary Ukrainian writers have managed to create a large-scale cultural discourse, offering works that cover the problem of war, its causes and consequences, and the topic of a person at war from different perspectives and contexts.
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Chornokon, Victoriia. « Symbolism as a Means of Creating Uncertainty in Salman Rushdi’s Novel «Midnight’s Children» ». Fìlologìčnì traktati 15, no 2 (2023) : 26–38. http://dx.doi.org/10.21272/ftrk.2023.15(2)-3.
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The article deals with a role of symbolismin creation of the poetics of uncertainty as an important phenomenon of modern literature. It is noted that in a theoretical sense, symbol is a type of artistic image that is effectively used by writers for the purpose of forming a multi-meaningful content. In the proposed paper, the material for studying the specified effect is Salman Rushdi's novel «Midnight's Children», recognized as very representative of the postmodern paradigm. The purpose of the studio is to identify the means and methods of creating symbolic imagery in the novel, to establish itsartistic and aesthetic functions in the general context of the author's genre and poetic-style searches.The direct factor in expansion of complex symbolic imagery in the novel is an unreliable narration of the protagonist Saleem Sinai. His perception and interpretation of the historical reality is complicated by the physical and mental injuries he suffered and actual mental illness. The recent history of India in the novel has a grotesque-symbolic dimension, which is consistent with the multi-genre status of the work, in which signs of neo-mythological, post-colonial, post-modernist discourse are intertwined. The novel's protagonist conducts his story in such a way that the descriptions of historical events lose their one-dimensionality, acquire a symbolic meaning, become instable in their ambiguity and tend towards uncertainty.
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Perry, Robert L., et Melvin T. Peters. « The African-American Intellectual of the 1920s : Some Sociological Implications of the Harlem Renaissance ». Ethnic Studies Review 19, no 2-3 (1 juin 1996) : 155–72. http://dx.doi.org/10.1525/esr.1996.19.2-3.155.
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This paper deals with some of the sociological implications of a major cultural high-water point in the African American experience, the New Negro/Harlem Renaissance. The paper concentrates on the cultural transformations brought about through the intellectual activity of political activists, a multi-genre group of artists, cultural brokers, and businesspersons. The driving-wheel thrust of this era was the reclamation and the invigoration of the traditions of the culture with an emphasis on both the, African and the American aspects, which significantly impacted American and international culture then and throughout the 20th century. This study examines the pre-1920s background, the forms of Black activism during the Renaissance, the modern content of the writers' work, and the enthusiasm of whites for the African American art forms of the era. This essay utilizes research from a multi-disciplinary body of sources, which includes sociology, cultural history, creative literature and literary criticism, autobiography, biography, and journalism.
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Ho, Mei-ching. « A corpus-pragmatics approach to evaluation in professor reviews ». Concentric. Studies in Linguistics 48, no 1 (2 mai 2022) : 114–46. http://dx.doi.org/10.1075/consl.21010.ho.
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Abstract This study takes a corpus pragmatics approach to investigate the use of evaluative language in professor reviews, focusing on how review writers express evaluation through recurrent four-word sequences and the pragmatic functions of these sequences in positive and negative reviews on the website, RateMyProfessors.com. Based on an analysis of a 2.9-million-word corpus of free text comments, the findings indicate that positive reviews used more 4-grams, and more varied types, than negative ones. The 4-word sequences were found to carry out four pragmatic functions: attitudinal evaluation, reader engagement, referential expression, and discourse organization. While a similar distribution of the main functional categories was observed among the top 100 4-grams in both review types, with evaluative clusters being most predominant, distinctive intra-genre variations were found in the ways review writers employed different functional sub-categories. For example, positive reviews relied heavily on hedged suggestion 4-grams to engage readers, whereas negative reviews used directive 4-grams for the same purpose. These findings suggest the important role of multi-word sequences in the understanding of evaluative resources in professor reviews of different valence types.
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Васильєва М. В. « ІСТОРИЧНИЙ ФАКТ І ПОДІЯ В УКРАЇНСЬКІЙ ЛІТЕРАТУРІ ДЛЯ ДІТЕЙ ТА ЮНАЦТВА : ВІД ДАВНИНИ ДО СУЧАСНОСТІ ». International Academy Journal Web of Scholar 2, no 9(39) (30 septembre 2019) : 25–32. http://dx.doi.org/10.31435/rsglobal_wos/30092019/6692.
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The article deals with Ukrainian literature for children and youth on a historical topic from the time of Kiev Rus to the present. Historical- adventure and historical-biographical works have been analyzed. An overview of the historical topic in literature for young readers in the works of writers of the Ukrainian diaspora is given. The main genre varieties of contemporary literature for children and youth of historical direction can be seen in the works of A. Bachinskyi, Ye. Bilousov, O. Havrosh, A. Kokotiukha, Zirka Menzatiuk, V. Rutkivskyi (e.g. biographical, adventure, detective, fantasy, fiction works). It is emphasized that works on historical themes often do not have a clear focus, they can be considered for a multi-age reader, both adult and child.
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Rebel, G. M. « OUT OF TIME CHARACTERS IN LITERARY WORKS OF 1859 : “FAMILY HAPPINESS” BY LEV TOLSTOY, “OBLOMOV” BY IVAN GONCHAROV, “A HOUSE OF GENTLEFOLK” BY IVAN TURGENEV ». Bulletin of Udmurt University. Series History and Philology 30, no 5 (27 octobre 2020) : 859–69. http://dx.doi.org/10.35634/2412-9534-2020-30-5-859-869.
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The article is a comparative structural, thematic and genre analysis of the works by Lev Tolstoy, Ivan Turgenev and Ivan Goncharov. The study had the following objectives: to give the genre definitions of “Family Happiness”, “Oblomov” and “A House of Gentlefolk” on the basis of structural, ideological and thematic features of the works; to compare the novels of Turgenev and Goncharov as different genre modifications; to justify the ideological character of the novel “A House of Gentlefolk”; to analyze the ideological controversy of the characters of Turgenev’s novel. As a result, the following conclusions were made. Tolstoy's “Family Happiness:, which is traditionally identified as a novel, in this case should be qualified as a novella: it has the predominant point of view which belongs to the narrator; the subject of the description are the episodes of private life presented outside of the socio-historical context of the era. Goncharov's “Oblomov” and Turgenev's “A House of Gentlefolk” present a multi-faceted, epically voluminous, large-scale picture of reality in two fundamentally different versions of the genre novel modifications. Despite the fact that in both novels the main characters are out of time, both works recreate the pre-reform atmosphere of the late 1850s, but perform it in fundamentally different ways. A mythologically-generalized, elegiac image of the past serfdom of Russia is presented in “Oblomov”. In “A House of Gentlefolk” the socio-historical specificity appears in close connection with real historical events, the lyrical beginning is organically combined with the polemical acuteness of the problem. The plot and the destinies of the characters in Turgenev's novel are determined by the ideological controversy, in which not only the main but also the secondary characters are subjectively or objectively involved, which ultimately determines the ideological character of the work. The proposed genre differentiation of the works of the three leading writers of the era allows us to give a dynamic cross-section of the literary process of the second half of the XIX century in the defining 1859 year of this period.
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Pietrzak, Przemysław. « Genologia wobec rewolucji cyfrowej. Przypadek reportażu ». Tematy i Konteksty 12, no 17 (2022) : 55–72. http://dx.doi.org/10.15584/tik.2022.4.
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I compare the concept of today intermedial reportage to that before the Internet era. Several features of this genre, usually considered as purely contemporary ones, can be found in the works of 20th century Polish writers including interwar period. Multi-, trans- and intermedial reportages, multiplication of their editorial channels and some forms of participation can be discovered before the time of World Wide Web, on condition that we take into consideration newspaper editions, not only those in the books. Digital revolution then looks merely like a change of carrier rather than a huge turn in the history of some literary genres. Moreover, what it offers (internet channels, social media), is of much less durability than traditional paper texts, and readers’ participation here is frequently limited to commentaries or some cues for authors. Many of them vanish shortly afterwards, what makes a ‘participatory culture’ a cultural illusion.
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Wargo, Jon M. « Gendered Genius Hour : Tracing Young Children’s Uptake of Expert across the Nexus of Personal Digital Inquiry ». Research in the Teaching of English 56, no 3 (15 février 2022) : 275–300. http://dx.doi.org/10.58680/rte202231638.
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Drawing on data from a yearlong qualitative study examining how children in a multi-age (6-9 years) classroom utilized technology to write across genres, this article examines the gendered negotiation and discursive uptake of expert in early childhood writing. Zeroing in on genius hour as a “site of engagement,” the author thinks with rhetorical genre studies and mediated discourse analysis to examine how four second-grade writers positioned themselves as “experts” across the nexus of school writing. Findings highlight how expert—both conceptually and in practice—became gendered and was interdiscursively traced through three threads: the relational, the historical, and the distributive. Through analyses of young students writing in situ, this article contributes new understandings to thinking about children’s navigation of genres, not only as rhetorical typifications of academic and disciplinary discourse but as unique social actions of curricular play and gendered uptake.
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Lesnevskaya, Ekaterina. « FIGURATIVE CONSTITUENTS OF THE CONCEPT COLOR IN SPANISH AND UKRAINIAN (BASED ON FICTION TEXTS) ». Odessa Linguistic Journal, no 12 (2018) : 67–74. http://dx.doi.org/10.32837/2312-3192/12/10.
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The article features the results of a contrastive analysis of the figurative characteristics of color terms as elements of the conceptual worldview of Spaniards and Ukrainians. In this regard we consider the following topics: concept COLOR as a cross-object of conceptology, linguistic culture and discourse; color terms as an element of the conceptual worldview of Spaniards and Ukrainians; ethno-specific contrasts of the figurative constituents of the color terms black, white, red, blue, yellow, green in Spanish and Ukrainian in fiction. This study explores the linguocultural concept of COLOR from the cognitive, ethno-cultural and discursive perspectives, and therefore the concept can be considered as the subject matter of such disciplines as anthropology, linguocultural science and discourse theory. The corpus of the study was formed using the continuous sampling method from multi-genre prose written by contemporary Spanish (Carlos Ruiz Zafón, Camilo José Cela, Gabriel García Márquez) and Ukrainian (Yurii Andrukhovych, Lyubko Deresh, Oksana Zabuzhko) writers. A common feature of the color term black in Spanish and Ukrainian fiction is its use in the description of human blood and its altered states. The color terms black and white characterizing such concepts as NIGHT, DEATH, EYES can be observed in the individual authors’ worldview of Spanish-speaking and Ukrainian writers despite the non-contiguous nature of the two languages and cultures. In the Spanish linguistic culture, the color term blue is used as an image of DEATH and LONELINESS, whereas in Ukrainian – as an image of RAGE, TENSION and ILLNESS.
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Rosovetskii, Stanislav. « On the Influence of Shevchenko's Autobiography on Kulish's ». Actual issues of Ukrainian linguistics : theory and practice, no 39 (2019) : 37–57. http://dx.doi.org/10.17721/apultp.2019.39.37-57.
Texte intégralRésumé :
In honor of the 200th anniversary of P. Kulish's birth, the article offers a multi-level comparison of autobiographies of two prominent Ukrainian writers of the 19th century. In the categories and concepts of modern literary criticism, the hypothesis of literary influence of T. Shevchenko on P. Kulish's perception of artistic autobiography genre is checked and confirmed. For this purpose, three texts are compared: an autograph of "Autobiography" by T. Shevchenko, deeply edited by P. Kulish for printing in "People's Reading" journal, a version of T. Shevchenko's "Autobiography" and an autobiography "My Life" by P. Kulish. The comparison is carried out at narratological, compositional, genre and intertextual levels. The historical background of the creation of each of the texts is analyzed. It is proved that the autograph of T. Shevchenko's "Autobiography" and P. Kulish's "My Life" both belong to the genre of artistic autobiography and have a compressed narrative structure. It is confirmed that T. Shevchenko didn't have extra-literary reasons for creating a third-person autobiography, unlike P. Kulish, who, moreover, was very likely to come under the literary influence of the text of T. Shevchenko and developed T. Shevchenko's narrative structure in his artistic autobiography. At the same time, it is assumed that literary influence might not be the main argument in choosing a third-person narration, since there were extra-literary reasons for keeping P. Kulish's incognito. It is noted that the text "My Life" of P. Kulish is more functional in the aspects of orientation to objectivity, emotional pressure and moderation of the author's image in literary life. Its narrative structure is compressed precisely for the sake of objectivity, addressees and consignees are implicit and difficult to isolate on each of the layers of the narrative structure precisely to mimic the non-fiction. The text of a letter to the author integrated into "My Life" is the only exception. It is concluded that hypothesis about literary influence of T. Shevchenko on P. Kulish within the genre of artistic autobiography is reliable and well-reasoned. To the author's mind, further studies should focus on finding evidence of unconscious literary influence of T. Shevchenko on P. Kulish in other genres, chances of discovering which in future are rather high.
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Капкова, С. Ю. « CHARACTONYMS IN MODERN ENGLISH CHILDREN'S LITERATURE ». НАУЧНЫЙ ЖУРНАЛ СОВРЕМЕННЫЕ ЛИНГВИСТИЧЕСКИЕ И МЕТОДИКО-ДИДАКТИЧЕСКИЕ ИССЛЕДОВАНИЯ, no 3(55) (14 octobre 2022) : 99–110. http://dx.doi.org/10.36622/vstu.2022.29.23.009.
Texte intégralRésumé :
Постановка задачи. В задачи данного исследования входит определение роли использования говорящих личных имен и фамилий в разножанровых текстах для детей английских классических и современных авторов. Первой задачей стало выявление говорящих личных имен и фамилий в художественных произведениях трех английских детских писателей. Второй задачей обозначен этимологический и лексико-семантический анализ говорящих личных имен и фамилий в исследуемых детских художественных произведениях с целью получения информации о том, является персонаж положительным или отрицательным. В третью задачу исследования входило выявление функций говорящих имен и фамилий в данных произведениях. Четвертой задачей предполагалось определение способа перевода говорящих имен и фамилий на русский язык. Результаты. В статье представлены говорящие личные имена и фамилии персонажей, отобранные методом сплошной выборки из разножанровых произведений детских английских писателей разных временных периодов. Далее проведен этимологический анализ говорящих имен и фамилий и их декодирование в анализируемых произведениях Р. Даля, Дж. К. Роулинг и Ф. Саймон и определена роль личных говорящих имен и фамилий. Выводы. В ходе исследования было выявлено 11 функций говорящих личных имен и фамилий в анализируемых художественных произведениях для детей трех британских авторов. Были выделены идентифицирующая, комическая, стилеобразующая, аллюзивная, жанрообразующая, звукоподражательная функции, а также функции, характеризующие внешность, род занятий или профессию, поведение, речь и описывающие характер. Statement of the problem. The objectives of this study include determining the role of the use of charactonyms in multi-genre texts for children written by English classical and modern authors. The first task was to identify the charactonyms in the works of fiction of three English children's writers. The second task is the etymological and lexico-semantic analysis of the charactonyms in the children's works of art under study in order to obtain information about whether the character is positive or negative. The third task of the study was to identify the functions of charactonyms in the works analyzed. Results. The article presents the charactonyms of the characters selected by a continuous sampling method from the works written by English children's writers of different time periods. Further, the etymological analysis of the charactonyms and their decoding in the analyzed works written by R. Dahl, J. K. Rowling and F. Simon and the role of the charactonyms in those works are defined. Conclusion. The study revealed 11 functions of charactonyms in the analyzed works of fiction for children of three British authors. Identifying, comic, style-forming, allusive, genre-forming, onomatopoeic functions were identified, as well as functions characterizing appearance, occupations or professions, behavior, speech and describing character.
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Omelchuk, Olesia. « Overseas Ukrainians in the Soviet Life of Valerian Polishchuk ». Pitannâ lìteraturoznavstva, no 105 (28 octobre 2022) : 147–71. http://dx.doi.org/10.31861/pytlit2022.105.147.
Texte intégralRésumé :
The vision of Ukraine as a national and cultural unity within ethnic Ukrainian lands not only did not disappear from the Polishchuk’s works in the Soviet period but was purposefully advanced in his multi-genre cultural practices. Establishing creative contacts with émigré writers as well as Polishchuk’s concept of a literary radio magazine became one of the most important directions of this activity. The article examines the connections of V. Polishchuk with émigré artists Volodymyr Vynnychenko, Mykyta Shapoval, Oleksandr Oles, and Pavlo Kovzhun. Analyzing their contacts, the author finds the permanent need for writers on different sides of the Soviet border to maintain a creative dialogue. The beginning for the dialogue was laid in the pre-Soviet period, that is, in the times of the UNR/Hetmanate/Directorate. In order to delegitimize the activities of Ukrainian political emigration, the idea of “two Ukraines”, Soviet and émigré, appeared in the Soviet discourse of the first half of the 1920s. Despite the use of rhetoric about the existence of “two Ukraines”, the main strategy of V. Polishchuk was not separation, but the combination of the proletarian image of Ukraine with national feelings and literary traditions. In a number of his publications, Polishchuk paid particular attention to the centers of Ukrainian cultural life outside the jurisdiction of the Soviet government (Lviv, Prague) investigating the life of foreign societies and artists. His texts about foreign countries were full of genuine interest. But with all frankness, part of Polishchuk’s biography remained outside the official pro-Soviet discourse, existing in understatements, hints, subtexts. However, we can consider the pre-Soviet period of Polishchuk’s biography as the main factor that influenced his views on the nationally determined Ukrainian cultural identity within the united Ukrainian territories.
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Tsvetova, N. S. « The Topos of Memory in A. V. Vampilov’s Dramaturgy ». Orthodoxia, no 3 (9 janvier 2024) : 124–39. http://dx.doi.org/10.53822/2712-9276-2023-3-124-139.
Texte intégralRésumé :
The relevance of the topic of the article is largely determined by stereotypical judgments about the philosophic nature of the Russian literary tradition, the inclusion of the issues raised in the problems of constantly renewed disputes about the loss of this quality in the era of socialist realism, discussions about the historical and literary status of the “Bronze Age”, when the leaders of the literary process, contrary to the already established ideas about the “thaw era”, the traditionalist writers have become the same. The author focuses on the plays of the outstanding Russian playwright Alexander Vampilov. The analytical approach is based on the topical analysis of the literary text. Topos is considered as a “structural and semantic model” (P. E. Bukharkin, I. V. Annenkova, etc.), which in the case of Vampilov has several levels of textual embodiment: the “genetic roof” of the character’s name, during the creation of which the artist restored the ancient Russian Orthodox tradition of naming; the memory motif, fixinga multi‑stage process of loss and restoration of memories; foreign genre inclusions, in particular, in the text of the play “Last Summer in Chulimsk”, the playwright used the genre of legend as a form of existence of national memory. The main conclusion: the most complex literary topos of memory, the variability of which does not prevent us from presenting the national mentality as a kind of integrity formed under the influence of the Orthodox tradition, is presented in the creative heritage of A. V. Vampilov as a special type of moral imperative, the semantic structure of which is determined by the national (historical, cultural) and personal memory, which illuminated the life of a Russian person at all times, even in the Soviet era, which is considered to be indiscriminately atheistic.
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Deore, Manisha. « The Interplay of Magic Realism and Historical Realism : Amitav Ghosh's Novels ». Shodh Sari-An International Multidisciplinary Journal 03, no 03 (1 juillet 2024) : 238–46. http://dx.doi.org/10.59231/sari7731.
Texte intégralRésumé :
This abstract delves into the captivating blend of magic realism and historical realism in the works of renowned Indian author Amitav Ghosh. Ghosh, celebrated for his historical and socio-political narratives, occasionally infuses elements of magic realism into his storytelling. Notable novels such as “The Shadow Lines,” “The Calcutta Chromosome,” and “Sea of Poppies” serve as examples where Ghosh adeptly blurs the boundaries between the magical and the real. This research paper emphasizes the diverse ways in which Ghosh explores the interplay between reality and fantasy, encouraging the readers to engage with his narratives on multiple levels and promoting discussions about the thin boundaries of literary genres. Magic realism, which is generally characterized by the inclusion of supernatural or magical elements within a realistic backdrop, challenges the distinction between the extraordinary and the ordinary. Though it is associated with Latin American literature, this genre has been embraced and adapted by writers from a variety of cultural backgrounds. However, the complexities of Ghosh’s narratives and the depth of his characterizations leave room for diverse interpretations, possibly aligning with the principles of magic realism. This paper aims to illuminate the dynamic relationship between representing facts and stimulating the imagination, it also highlights the multi-faceted nature of literary genres and the subjective lens through which readers perceive and interpret literary works.
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Solovei, D. O. « Linguopragmatic adaptation of the synodal translation of biblical texts in various genres of graphic novels ». MESSENGER of Kyiv National Linguistic University. Series Philology 26, no 1 (31 août 2023) : 127–38. http://dx.doi.org/10.32589/2311-0821.1.2023.286208.
Texte intégralRésumé :
The article highlights the main trends in the development of painted narratives known as illuminated manuscripts from the perspective of their transformation into religious-adventure comics and presents the analysis of the brief history of its emergence and transformation. Special attention is paid to the evolution of illuminated manuscripts from ancient cave paintings and manuscript illustrations to contemporary comics. In particular, the study reveals that illuminated manuscripts or painted narratives originated in ancient times as a means of conveying information and stories. They were depicted on rocks, temple walls, and later in manuscripts. As illuminated manuscripts evolved, they became more complex and multifaceted, combining images with text to narrate stories. However, to overcome the barriers of linguistic diversity, it was necessary to find a method of adapting illuminated manuscripts for different cultures and languages. Thus, comics, using a sequence of images with short texts to tell a story, emerged in the late 19th century and gained popularity worldwide. They helped artists and writers combine visuals and dialogue to create engaging and captivating narratives. Later on, comics found their application in religious themes as well. The history of the development of religious-adventure comics attests to their popularity and influence on culture. Religious-adventure comics became a means of popularizing religious stories, moral and spiritual values among many readers, especially the young ones. In addition to religious themes, comics cover a wide range of genres, including adventures, fantasy, mysticism, and social issues. They can come in various formats, from comic strips to graphic novels. The research results provide the analysis of comics, focusing on the most popular works and genres in this field. At the same time, the linguo-pragmatic adaptation of the synodal translation of biblical texts in multi-genre graphic prose has prospects for investigating linguistic means, stylistic devices, translation solutions, and their impact on the perception of the text. It can show how graphic images, composition, and text placement influence the conveyance of its content and identify which genres of biblical texts are the most amenable to adaptation in graphic prose and what aspects of the genre change in such adaptation.
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Aarseth, Espen. « Game or Supernovel ? Playing and Reading Massive Game Novels ». European Review 31, S1 (octobre 2023) : S66—S76. http://dx.doi.org/10.1017/s1062798723000443.
Texte intégralRésumé :
For half a century, digital machines have lent their computational power to mediate text-based, diegetic worlds, in the shape of software that we call games, video games, or sometimes interactive fiction. Perhaps the first such was Gregory Yob’s simple labyrinth-monster game Hunt the Wumpus (1973), but ever since then the games (if that is what they should be called) have become larger and far more complex, and, in recent decades, a single such work can contain more text than, say, Shakespeare’s collected plays. Given this massive textual content, as well as the often experimental and innovative nature of these works, they can also be considered a new form of novel; a kind of text that has much more in common with literature than with other digital games such as Candy Crush Saga, Age of Empires or Counterstrike. In these ‘games’, we find complex characters, difficult ethical choices (left to the player), imaginative landscapes and mythologies, and thousands if not millions of lines of carefully crafted prose. Teams of writers work collectively to stich these textual universes together, under production conditions that might remind us of multi-season TV series, but which are structured and consumed very differently – in fact, more like literature than TV. The claim made in this article is that the perspective of the novel (or supernovel) is a productive one for understanding the nature of these artistic works of ludic software. Should they be considered Literature? Through a discussion of the notions of literature, novel, and fiction and through a close ludic reading of Fallout: New Vegas (2010) I will argue that these textual games are in fact Literature, a new kind of novelistic genre, and discuss the wider cultural implications of this assessment.
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Proskurnin, Boris M. « The Genre Ecleticism of Anthony Trollope’s “The Way We Live Now” : Breaking Genre Boundaries ? » World Literature in the Context of Culture, no 15 (21) (2022) : 49–59. http://dx.doi.org/10.17072/2304-909x-2022-15-49-59.
Texte intégralRésumé :
The article analyzes the novel "The Way We Live Now", according to many literary critics, one of the masterpieces of the writer. The novel is considered from the point of view of its place in Trollope's system of creative work on the whole, the increase of the satirical and invective principle in the writer's novel practice in particular, but mainly – in the aspect of the multiplot structure of this panoramic and satirical novel and, accordingly, the coexistence in the artistic whole of the work of several genre modes: social, everyday life depiction (comedy of manners), psychological, love, satirical. The article proves the correspondence of Trollope's multi-genre thinking to his realistic principle of reproducing life in its integrity, fluidity and characterology.
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Lebedeva, Evgenia, et Tatiana Chernyshova. « Genre Features of G.D. Grebenshchikov Journalism (based on Minutes of Silence correspondence) ». Philology & ; Human, no 1 (1 février 2024) : 38–52. http://dx.doi.org/10.14258/filichel(2024)1-03.
Texte intégralRésumé :
The article is devoted to the identification of genre-forming features of G.D. Grebenshchikov's journalistic creativity on the material of his work Minutes of Silence. The genre analysis of the text based on the description of its themes, composition and style allows one to assume that the genre nature of the writer’s journalistic work can be defined as multi-genre, with a clear inclination to the genres of fiction. Thus, the themes identified in the process of analysis (war, parting and loneliness) are relevant to the historical period of the creation of the work and, in general, to the journalism of the early twentieth century, but the theme of love (devotion, fidelity) as one of the key themes of Russian literature, is traditionally revealed through the genres of the story, novella, novel. In terms of composition, G.D. Grebenshchikov's text is closest to the genres of portrait sketch and reportage, but the author present in the text is interested not so much in the external background of the event, as in the dynamics of internal states and experience of the characters. In non-fiction works of the writer there is a peculiar author's style, which allows one to actualize the author's understanding of the observed event through a variety of stylistic means.
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Riedner, Rachel C., Bill Briscoe, Alexander Van der Horst, Carol Hayes et Gary White. « Collaborating between Writing and STEM : Teaching Disciplinary Genres, Researching Disciplinary Interventions, and Engaging Science Audiences ». Journal of Academic Writing 10, no 1 (18 décembre 2020) : 223. http://dx.doi.org/10.18552/joaw.v10i1.581.
Texte intégralRésumé :
Collaborating between Writing and STEM: Teaching Disciplinary Genres, Researching Disciplinary Interventions, and Engaging Science Audiences
This poster describes a multi-pronged effort to build a writing curriculum in Physics and other STEM fields at the George Washington University, USA. These efforts include curricular collaboration, a research study conducted by the Physicists and Writing Scholars, and external funding initiatives.
This project first began as a curricular collaboration through our Writing in the Disciplines (WID) curriculum, initiated by observations among Physics faculty that undergraduate students lack Physics specific writing skills. Writing faculty responded to this observation by introducing Physics faculty to the idea that writing can and must be taught, that the genres of Physics can be taught by Physics faculty, and that a focus on the writing process can improve student writing. Our curricular goal was to demonstrate to faculty who are unfamiliar with writing studies that writing is a means to learn in Physics (Anderson et al., 2017).
The first phase of our effort was to persuade Physics faculty that writing contributes to learning in Physics; we describe a collaboration between Physics and Writing faculty that developed assignments and made curricular interventions. This collaboration built upon scholarship in writing studies that argues genre instruction develops capacities and skills for student writing (Swales, 1990; Winsor, 1996). While genre is not a new concept in Writing Studies, for many Physics faculty the idea that they can teach – and have students learn – how to write in disciplinary genres is novel. Collaboration around curricular revisions enabled Writing and Physics faculty to teach students that learning how to write in a new genre is a skill that can be practiced (Ericsson, 2006; Kellogg & Whiteford, 2009). We developed a process for students to follow when faced with types of writing common to Physics, but potentially new to them, such as the abstract (written), lab research notebook (written), article summary (oral), letter to colleague (written), cover letter and resumé (written), elevator pitch (oral), proposal (written and oral), presentation on issues of ethics and equity in STEM (oral), research presentation (oral), poster (written), poster presentation (oral), final research report (written), and Symposium presentation (oral). The collaboration thus created pedagogical exchange between faculty as well as scholarly synergy between the disciplines of Physics and Writing Studies.
Physics faculty have observed that the curricular collaboration has had measurable results for students. Physics student participation in the campus research day has increased dramatically. We attribute this rise partly to the increased, explicit attention in classroom settings to how to engage with Physics genres of writing, especially abstracts and research posters.
While the collaboration successfully brought together a small but solid group of Writing and Physics faculty, it also raised questions about how to persuade a broader range of Physics faculty, and other science faculty, that teaching disciplinary genres can improve student writing, and that writing is a means of learning. Given that faculty in STEM disciplines find empirical research persuasive, our next step was to undertake a collaborative research project to measure the impact of the teaching of writing in Physics. The new curricular focus on genre asked students to conceptualize themselves as scientific writers in relation to specific Physics or STEM audiences. The collaborative research therefore investigates if teaching Physics genres improves writing and enables students to conceptualize themselves as emerging scientists engaged in professional communication (Poe et al., 2010; Winsor, 1996). Our longitudinal analysis of student writing in Physics evaluates writing from three sequenced courses, the first before faculty-developed genre assignments, and then after genre assignments. We developed a rubric that evaluates general outcomes – audience, genre, structure, style – and a rubric that evaluates specialized learning outcomes – acknowledgement of past scholarship, working with models, incorporating scholarship, articulation of research questions, working with graphs, and articulation of methods. Preliminary research analysis shows that explicitly teaching Physics genres increases student’s abilities to write successfully in Physics, enabling students to understand how knowledge is communicated persuasively to audiences. Our goal with this research is to show STEM faculty through research by Physicists and Writing Studies scholars that teaching writing socializes students into the discipline of Physics, leading them to identify as professional scientists (Allie et al, 2010; Gere et al., 2019). This increase is exemplified by the large number of students volunteering to present a poster during the University wide research day, giving them experience presenting to an educated audience outside of Physics.
Thus, a combination of strategies – curricular collaboration and intervention, collaborative research from within the discipline of Physics, and successful external funding – are what demonstrate to scientists that teaching genre and teaching writing are central to science education. Based on this experience, our contribution is that shared pedagogical and research collaborations, and funding, are what make the knowledge of Writing Studies persuasive to scientists.
We have seen success with these efforts. At George Washington, other STEM faculty have observed successes in the Physics curriculum, and have joined efforts to bring writing more explicitly into their curriculum. This year, we began a Writing in STEM symposium that has grown to include faculty in Chemistry, Systems Engineering, Mathematics, Geography, Mechanical Engineering, and other fields. We have also seen an uptick in STEM courses in the WID curriculum. The Physics and Writing research collaboration has led to a National Science Foundation (NSF) submission on genre, and an NSF award for a study of writing and engineering judgement, being conducted by Writing faculty and Systems Engineering faculty.
References
Allie, S., Armien, M.N., Burgoyne, N, Case, J.M., Collier-Reed, B.I, Craig, T.S., Deacon, A, Fraser, D.M.,Geyer, Z, Jacobs, C., Jawitz, J., Kloot, B., Kotta, L., Langdon, G., le Roux, K., Marshall, D, Mogashana,D., Shaw,C., Sheridan, G., & Wolmarans, N. (2009). Learning as acquiring a discursive identity through participation in a community: improving student learning in engineering education. European Journal of Engineering Education, 34(4), 359-367. https://doi.org/10.1080/03043790902989457
Anderson, P., Anson, C. M., Fish, T., Gonyea, R. M., Marshall, M., Menefee-Libey, W Charles Paine, C., Palucki Blake, L. & Weaver, S. (2017). How writing contributes to learning: new findings from a national study and their local application. Peer Review, 19(1), 4.
Ericsson, K. A. (2009). The Influence of experience and deliberate practice on the development of superior expert performance. In K. A. Ericsson, R. R. Hoffman, A. Kozbelt & A. M Williams (Eds.), The Cambridge handbook of expertise and expert performance (pp 685–705). Cambridge University Press.
Gere, A. R., Limlamai, N., Wilson, E., Saylor, K., & Pugh, R. (2019). Writing and conceptual learning in science: an analysis of assignments. Written communication, 36(1), 99–135. https://doi.org/10.1177/0741088318804820
Kellogg, R., & Whiteford, A. (2009). Training advanced writing skills: the case for deliberate practice. Educational psychologist, 44(4), 250–266. https://doi.org/10.1080/00461520903213600
Poe, M., Lerner, N., & Craig, J. (2010). Learning to communicate in science and engineering: Case studies from MIT. MIT Press.
Swales, J. (1990). Discourse analysis in professional contexts. Annual review of applied linguistics, 11, 103–114.
Winsor, D. A.(1996) Writing like an engineer: A rhetorical education. Mahwah, NJ: Lawrence Erlbaum Associates.
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Haleta, Olena. « A WRITER OR A CREATOR OF THE TEXTUAL WORLD : ANTHOLOGY AS A MIRROR OF THE POST-WWII UKRAINIAN LITERATURE ». Porównania 23, no 2 (3 avril 2019) : 47–62. http://dx.doi.org/10.14746/p.2018.23.18695.
Texte intégralRésumé :
After the II World War, literary anthology has become one of the most important means of representing Ukrainian literature, and it has changed depending on the definition and redefinition of the writer’s status. In the meantime, in the Soviet literature under the supervision of the Academy of Sciences, there appear multi-volume editions constructing the figure of the writer as a participant in the socialist reorganization of reality, emigration anthologies develop the myth of the writer as the creator of the textual world, becoming a new “common place” for the entire cultural community. Literary anthologies published after the collapse of the USSR (whose number has grown manyfold) reflect all the problems of transforming the identity of the author from the prophet to the player in an uncertain reality, as well as various models of mythologizing creativity from romanticism to postmodernism. In this context, the change in the genre of anthology becomes especially noticeable; it gradually moves from the collection to the project. On the one hand, commercialization of literature in market conditions and the transformation of the writer into a “producer” of textual goods are visible. On the other hand, next to the classic writer who, in a manner recognized by readers, represents aesthetic values, there emerges the figure of a writer as a public intellectual who undertakes the challenge of creating new meanings and new forms of expression on current issues.
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Tokarev, Grigoriy V. « Dialogue basis of Leo Tolstoy’s diary ». International Journal “Speech Genres” 17, no 2 (23 mai 2022) : 140–45. http://dx.doi.org/10.18500/2311-0740-2022-17-2-34-140-145.
Texte intégralRésumé :
The article verifies the hypothesis that Leo Tolstoy’s diary has the form of a hidden dialogue of the writer with various subjects: with himself, with third parties, with God. Dialogue is understood as a form of individual development. The article determines that Leo Tolstoy’s diary represents a program of self-improvement, which is achieved through goal-setting and self-assessment. In the traditional perception of the diary genre, entries are interpreted as a form of autocommunication, carried out for the purpose of self-identification of the individual. The paper reveals that the form of the dialogue with oneself in some cases reaches the phase of the nominative multiple personality disorder. The writer defines himself as a third person: Tolstoy, Lev Nikolaevich, etc. The dialogue with oneself consists in evaluating one’s own actions, dispraising, moralizing, and goal-setting, and is one of the forms of self-development. The article establishes that Tolstoy looks upon the diary as a form of communication with third parties – readers of his notes. Diary entries of this type are aimed at modeling the diary readers’ behavior. One more type of communication is a dialogue with God. Tolstoy writes down many prayers, appeals to God, thinks about God, reflects with Him. He moves away from the idiomatic text of the prayer. Communication with God becomes intimate, containing a request for help in moral self-improvement. The semantic dominant of prayer is the good, benefit for others. Tolstoy excludes from prayers specific requests for material goods, i.e. common requests which people turn to God with. Leo Tolstoy’s diary is a heterogeneous genre formation, that is determined by the goals of the entries. The writer extends the functions of the diary. This feature determines the choice of communication tactics, the style of the diary. Tolstoy’s diary is a multi-genre formation that includes such sub-genres as a chronicle, explanation, a prayer, reasoning, reproach, accusation, etc.
34
Ghvinjilia, Gvantsa. « Os ensaios e a produção musical-dramática de Richard Wagner como fonte de inspiração para Thomas Mann. » Dramaturgias, no 24 (30 décembre 2023) : 77–96. http://dx.doi.org/10.26512/dramaturgias24.52123.
Texte intégralRésumé :
The research topic of the article focuses only on the question of Wagner’s influence on Mann. Thomas Mann is considered the writer most obsessed with music. The purpose of the article is to substantiate the reason for the writer’s focus on Wagner’s music, which determined the huge capacity of Mann’s vision of the world and his multi-layered dramaturgy. The subject of the research is to study of the influence of Wagner’s musical thought on Mann’s literature, for which empirical, comparative, and interdisciplinary research methods are used. From a methodological point of view, S. Bolduc, R. Pratt, D. Nagy, and U. Jung’s works are important. The article discusses the following: Mann’s new genre model—the anti-novel— inspired by Wagner’s musical drama; the influence of stylistic and formative elements of Wagner’s music on Mann’s literature; the influence of Wagner’s tendency to merge psychology and mythos on Mann’s oeuvre; the dominance of inner spiritual processes in Wagner’s dramas, as an inspiration for developing the technique of inner dialogue and internalization of the narrative in the writer’s novels; the influence of Wagner’s leitmotif system on the writer’s technique of associative connections. As not only the individual characteristics, but the whole system of artistic thought of Wagner’s music became a source of inspiration for Mann, the relevance of the article is conditioned by the complex study of Wagner’s influence on Mann.
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Collins, Penelope, Tamara P. Tate, Joong won Lee, Jenell A. Krishnan et Mark Warschauer. « A multi-dimensional examination of adolescent writing : considering the writer, genre and task demands ». Reading and Writing 34, no 8 (7 mars 2021) : 2151–73. http://dx.doi.org/10.1007/s11145-021-10140-x.
Texte intégral
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García-Pastor, María Dolores, et Jorge Piqueres Calatayud. « Crafting L2 Multimodal Composing Identities ». CALICO Journal 40, no 3 (2 novembre 2023) : 313–34. http://dx.doi.org/10.1558/cj.24237.
Texte intégralRésumé :
Identity currently features as a prominent theme in digital multimodal composition (DMC), given the significant impact of DMC on identity expression. However, L2 learners’ writer identity development and fluctuation in this type of textual composition needs further exploration in light of the absence of clearly established DMC-specific identity categories and a detailed account of writer identity expansion and restriction processes therein. This study attempts to fill this void by scrutinizing how three 11th graders learning English as a foreign language in Spain crafted their writer identities in English in a 16-week genre-based digital storytelling (DST) intervention that followed the genre-based systemic functional linguistics tradition of L2 writing, and included instruction on attitude (Martin & White, 2005). Qualitative data analysis of multi-source data followed Ivanic’s (1998) writer identity framework, attitude categories, and key notions in multimodality, as well as the DST and identity literature. Results indicate students’ awareness raising of such categories throughout digital story writing, and general preference for appreciation and judgment in writer identity construction, which was contingent upon certain factors. Students’ writer identities and their fluctuation revealed types of specific DMC identity categories, and expansion and restriction processes, which illustrated their multimodal composing identity formation and transformation in digital story creation.
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Geraldo Camacho, Diana Vanessa. « En busca de una definición genérica : los cuentos espiritistas de Octavio Mancera ». Literatura Mexicana 32, no 1 (20 janvier 2021) : 121–41. http://dx.doi.org/10.19130/iifl.litmex.2021.1.26855.
Texte intégralRésumé :
This essay examines the genre of two short stories by the Mexican writer Octavio Mancera: “Caridad” and “Un crimen,” both published in Cuentos diáfanos (1897), his only collection of short narratives. Due to the multi-faceted character of this book, I chose to narrow my study to these texts which the author called fantastic tales. I question this genre placement arguing from their discursive narrative that, although termed fantastic, they belong more fittingly to magic realism because of their peculiar spiritist formulation. I propose the term spiritist realism as a new theoretical terminology for the study of these texts. In search of a definition, this article analyzes these two stories through an interpretative reading of the genre category to which they respond.
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Abdokova, Marina B. « Portrait and landscape in Boris Zaitsev’s publicistic writings : style and ethos ». RUDN Journal of Studies in Literature and Journalism 25, no 1 (15 décembre 2020) : 17–32. http://dx.doi.org/10.22363/2312-9220-2020-25-1-17-32.
Texte intégralRésumé :
The article represents genre-style etymology of Boris Konstantinovich Zaitsev (1881-1972) publicistic legacy (that includes essays, profiles and critical notes). Style-forming expressions of this outstanding representative of 20th century Russian literary abroad are analyzed within the context of his ethical and philosophical principles. Zaitsev’s portrait and landscape sketches are considered for the first time as figurative-poetic and genre-compositional components of the artist's “visual palette”. One of the effective methods of comprehending the style and ethos of the writer is the disclosure of multi-genre subtexts that reflects the creative worldview of B. Zaitsev, in which aesthetics is closely intertwined with metaphysics, and this, in turn, determines the adjacent disciplinary tools for the study of “literary painting”, actualizes parallels with non-verbal art forms (painting, music). The intertextual phenomenology of B. Zaitsev's publicistic texts is not limited to the artful, masterly and technical depiction. The nature of refined subject-figurative “painting”, as follows from the analysis, is based on the spiritual contemplation of the writer and reflects a rare for the art of the 20th century harmony of the artistic and transcendent.
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Bogdanova, O. V., et E. A. Vlasova. « Multi-Genre Strategies of “Walking with Pushkin” by A. Terts (A. Sinyavsky) ». Nauchnyi dialog, no 6 (24 juin 2021) : 173–91. http://dx.doi.org/10.24224/2227-1295-2021-6-173-191.
Texte intégralRésumé :
Based on the material of the book “Walking with Pushkin” by Abram Terts (Andrey Sinyavsky), the goal is to determine the main narrative strategies that the writer implemented. The authors demonstrate that along with the genre definitions of “novel”, “novella”, “essay”, the narrative is mediated by the techniques of “philological prose” and scientific discourse. It is shown that markers of scientific discursively narrative SinyavskyTerts in “Walking with Pushkin” is the number of characteristic features: composite partitioning, the extension of the goals and objectives of the analysis, the coverage of the history of the problem, selection of research methodology, the definition of the novelty of the work, the establishment of perspectives, providing structural integrity, respect of chronology in understanding material, the use of the bibliographic apparatus, etc. According to the authors, the experience of Sinyavsky, a research scientist, who defended the dissertation at MSU, working in world literature of the Academy of Sciences of the USSR, who read lectures at Moscow state University and the Moscow art theatre Studio, influenced the nature of the material in the “Walking.” and served as canon of structural research. It is established that a “free” manner of presentation of scientific observations is expressive means of focusing attention on the most pressing issues of domestic scientists to update the relationship of history and modernity (his understanding of own creativity, manifestation of the principle of “pure art”, the semantics of the principle of freedom within the literature of socialist realism, etc.).
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Milenko, Viktoria D. « “Rostov Text” and Context of A.T. Averchenko’s Creativity between 1918-1919th ». Proceedings of Southern Federal University. Philology 2021, no 2 (30 juin 2021) : 166–79. http://dx.doi.org/10.18522/1995-0640-2021-2-166-179.
Texte intégralRésumé :
The author of the article for the first time refers to a little-known period in the biography of the writer-humorist A.T. Averchenko, who visited the Don in 1918-1919th. Cooperating with the local newspaper “Priazov Region”, Averchenko created a multi-genre “Rostov text”, which now numbers 26 publications and served as the material for the study. The biographical context allows to recreate publications in the magazines “New Satyricon”, “Theatrical Courier”, “The Don Wave”, the writer’s archive, memoirs of his contemporaries, etc. The relevance of the topic of the article is due to both the need for a scientific study of the biography of the emigrant writer and the tasks of literary local history, in particular, the possible perpetuation of Averchenko´s name in Rostov-on-Don (for example, with the memorial plaque on the building of the former editorial office of “Priazov Region”). Having indicated the characteristic feature of Averchenko’s creative path – touring activities – the author of the article sets the dates of his concerts in Rostov-on-Don in 1912, 1914, 1918, names the addresses (Asmolovsky theater, cafe “Empire”, theater “Grotesque”, etc.) and contacts in the civil and military spheres of the city. For the first time Averchenko’s way from Petrograd to the south in 1918 is reconstructed in details, the reasons of his departure from the capital are in many ways illuminated in a new way, littleknown data about his wife, opera singer E.F. Petrenko are introduced into scientific circulation. The reviews of the Averchenko´s Rostov concerts of humor are analyzed. Particular attention is paid to the civic self-determination of the writer, who for the first time found himself in the epicenter of the White Movement on the Don and supported it. Averchenko’s further social activities in Crimea are largely characterized as a logical continuation of the Rostov period, which together explains the reasons of his emigration.
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Selemeneva, O. A. « System of Mythonyms in Poetry of Ivan Bunin ». Nauchnyi dialog, no 6 (24 juin 2021) : 136–50. http://dx.doi.org/10.24224/2227-1295-2021-6-136-150.
Texte intégralRésumé :
The article is devoted to one of the problems of literary onomastics — an inventory of onomastic units of literary texts as an integral part of the vocabulary of the language of a particular writer. The relevance of the chosen topic is due to the poorly studied issue of the mythonymicon of poetry and prose by I. A. Bunin. The novelty of the work is associated with the description of the mythological names of Bunin the poet as an integral system. The classification of mythonyms is based on five principles: the source from which the name was used (there were three such sources: etiological, anthropogonic, heroic, cult and other types of myths; religious and philosophical literature; multi-genre works of Slavic folklore); the nominated image of a fantastic object (eleven semantic groups are recorded: mythoanthroponyms, theonyms, demononyms, mythotonyms, mythohydronyms, mythoornithonyms, etc.); etymology (otonymic, otapellative and special contextual mythological names are marked); structural type (simple or oneword mythonyms, complex, represented by a bilexeme, and compound mythonyms, two-word and three-word ones are fixed); the presence of connotations in semantics (names with negative and positive connotative backgrounds were found). The author comes to the conclusion that mythonyms in I.A.Bunin's poetry become those stable linguistic signs that carry a huge amount of historical and cultural information and have a rich associative potential, accumulating the specifics of the writer's worldview, they contribute to the modeling of the text space.
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Arzhakova, Larisa. « The Image of Power in the Past and Present in the Writings of Jozef Szujski ». Central-European Studies 14, no 5 (2022) : 195–222. http://dx.doi.org/10.31168/2619-0877.2022.5.8.
Texte intégralRésumé :
The focus of this work is an attempt to identify images of power with the help of individual works by the Polish historian, writer, publicist, and social and political figure Józef Szujski (1835–1883), leader of the Krakow Historical School and one of the Stańczycy, a loyalist political grouping that formed in Galicia in the second half of the nineteenth century. The multi-genre creative heritage of Szujski represents fertile material in terms of determining whether it is generally valid to speak about images of power in relation to complex, multi-genre samples: historical works, dramaturgical works, journalism, and even satire. Among other questions which arise in the context of the stated theme are, “How meaningful and emotionally saturated is the image depending on the genre?” and “Can we say that the use of the category of the image guarantees a more adequate picture of the past and present created by the author?”. The conducted study convinces us that, as a rule, our author remains consistent in creating this or that character and this or that picture, whether we are talking about a historical work, a drama, or a satirical opus. In Szujski’s rich creative legacy, a cross-cutting theme is the problem of the perception of the national past and the impact of this past on the present, effectively the presence of the past in the present. Even taking into account the conventionality and arbitrariness of the images of power revealed in Szujski’s works, it should be recognised that the development of this theme has potential.
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Valuyskaya, Olga. « Textual Deepness and Its Representation ». SHS Web of Conferences 50 (2018) : 01193. http://dx.doi.org/10.1051/shsconf/20185001193.
Texte intégralRésumé :
The article deals with the textual interpretability and deepness as an objective existing category typical of all textual genres and potentially enabling to classify texts according to their genre belongings and specificity. The proposed operational model of textual deepness is viewed as a universal scheme for textual analysis and characterizes textual deepness as gradual in its nature which discloses the ambiguity or unambiguity of text contents. The texts of different genres are characterized from the standpoint of the language peculiarities and possible formal elements assisting to undergo the procedure on interpretation. In accordance with the proposed operational model of textual deepness, texts are classified into mono-interpretable and multi-interpretable ones with a number of interpretive steps to be introduced while decoding and restoring the textual sense. The number of interpretive steps is predetermined by a genre with its distinctive features. The textual deepness is correlated with a number of genre specific features such as writer’s personalization or depersonalization, textual imperativeness and metaphoric richness as well as other prototypical features that organise texts of different genres. The restoration of textual sense is either full or probable. The operational model of deepness is an open system for the further levels to be established.
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Farkhutdinova, Fenia F., et Kanga Kedrain Steve Ndouniama. « The World of Color in I.A. Bunin's short story "Henry" : coloratives and sense of Motherland ». Socialʹnye i gumanitarnye znania 10, no 2 (24 juin 2024) : 244. http://dx.doi.org/10.18255/2412-6519-2024-2-244-253.
Texte intégralRésumé :
The composition, semantics and functioning of words with color meanings (coloratives) are of interest to researchers specializing in various fields of scientific knowledge. The relevance of studying this group of words is determined with an important trend: to describe the facts of culture fixed in the units of the language, as well as to highlight culturally significant information in them. This tendency is manifested in the study of the writer's language. The analysis of coloratives, their composition and role in Ivan Bunin's multi-genre works is actively conducted, but it is often carried out without focusing on a specific work of art. The article analyzes the coloratives functioning in the text of the story «Henry» (a collection of short stories «Dark Avenues»), which is called a gloomy, or twilight, story. The analysis showed that the writer uses about 120 coloratives in the text of the story, most of which denote bright («daytime») colors (Rus. лиловый, индиго, янтарно-коричневый, цвета луковой шелухи). The nature of the selection of words naming the main colors of the spectrum and their shades in the text of the story shows the author's likes and dislikes. Semantic, lexicographic and linguocultural analysis of landscape and portrait descriptions is carried out against the background of materials from the National Corpus of the Russian language (the Main and Poetic subcorps). The analysis has shown that the coloratives become for the author not only a means of accurately and figuratively describing the world around them, but also a way of expressing the hero's condition and his attitude towards Russia and Europe.
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Pecherskykh, L. O. « Living canonicity : a possible example of modernity (on the material of the novel "Radio Night" by Yu. Andrukhovych) ». Bulletin of Luhansk Taras Shevchenko National University, no 7 (345) (2021) : 125–34. http://dx.doi.org/10.12958/2227-2844-2021-7(345)-125-134.
Texte intégralRésumé :
The article states that the entire creative path of Yu. Andrukhovych is connected with the process of creating the canon of the postmodern novel in Ukrainian literature. The work systematises updated by the writer in his novels of the 1990s — 2000s components of the genre canon, such as parodying the flaws and contradictions of modern civilization, the multiplicity of choices in every life situation, performativity as a means of communication, openness and no boundaries to depict any aspect life, programmatic violation of stereotypes and taboos, demonstration of linguistic and stylistic virtuosity, polygenre and genre pastisation, buffoonery of the genre, fragmentary and collage of structure, the widest cultural erudition and free play of tradition, scriptness (theatricality or cinematography) of life, multi-layeredness and diversity of narrative deployment. The article clarifies which aspects of postmodern poetics are actualized and developed by Yu. Andrukhovych in the novel „Radio Night”. Traditional and innovative genre-creating strategies are identified, which testify to the transformation and continuation of the modern canon of the postmodern novel, namely: interludes-recordings of radio broadcasts, reportage, musical fragments as a semantic element, cultural codes with hidden meaning, elements of utopia, anti-utopia, the use of intergeneric synthesis. The range of new themes and motives for Yu. Andrukhovych's novels is outlined, among which are the theme of political persecution and physical violence with irreversible consequences, the theme of big unexpected money, the esoteric understanding of existence as a sequence of earthly incarnations, the reception of the Gydnosty Revolution in the West, the theme of prison life, hybrid war as well. It was found that in the novel „Radio Night” by Yu. Andrukhovych, despite allegations of limited poetic features, secondary to himself, a number of new topics were developed, a range of new text-creating and genre-creating tools were used, that proves the consonance of the work with current events in modern life.
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Tkachenko, Tetyana. « THE PROSE GENRE PALETTE OF IVAN NECHUJ-LEVYCZKYJ ». Literary Studies, no 57 (2019) : 173–86. http://dx.doi.org/10.17721/2520-6346.3(57).173-186.
Texte intégralRésumé :
The article studies the specifics of the small prose of Ivan Nechuj-Levyczkyj (1838–1918). The focus is on the study of the genealogy of writing, including the variety of small epic forms presented by the writer’s legacy. The paper analyses the author’s reception, interpretation and reinterpretation of genres and genre varieties are covered, genre diffusion (travel essay, notes, sketching, anecdote, prose fable, satire, story, humorous, legend, fairy tale, phantasmagoria, tragic comedy, tragedy, fantasy). It explores the issues and topics of proscription (glorifying the beauty of nature of Ukraine, reflecting the whole world, depicting the life, customs and way of life of different ethnic groups that make up the Ukrainian people, external details and mentality, violations of local, state and human issues in a multi-level display – image, motive, plot, onomastics and toponymy), art and expressive means (metaphor, metonymy, numerous epithets, comparisons, concurrency, antithesis, gradation, symbol, humor, irony, satire, rhetorical constructions). The investigation elucidates the variability of the figure of the narrator (alter ego of the author, narrator/narrator, witness/participant of events, publicist, observator, historian, ethnographer). It accentuates the features of idiostyle (realism, elements of symbolism and impressionism; combination of deliberation and fiction, figurative polysemantics, auto-allusions, sensitivity, color symbolism, the reader as interlocutor and co-author on emotions, pictures, personification of being, intertextual inclusions).
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Нalуch, Оlexander. « Feasures of Fandorin’s Quasi-biography : Postmodern Experiment ». LITERARY PROCESS : methodology, names, trends, no 16 (2020) : 84–89. http://dx.doi.org/10.28925/2412-2475.2020.16.12.
Texte intégralRésumé :
More than two decades ago, the newest Russian writer B. Akunin began a series of multi-genre novels, the main character of which was Erast Petrovich Fandorin, who quickly made a detective career, has become famous not only in Russia, but far beyond its borders. Firstly appeared in the fiction novel «Azazel», Fandorin later quickly began to acquire the features of a real historical personality that affects the course of historical events. Fandorin’s quasi-biography was supplemented by works whose heroes were his ancestors and descendants. One of these novels is «F. M.», the annexes and additions to which testify to the author’s postmodern experiment, which, leaving only the margin of the explanation necessary for understanding the plot, introduced marginal noncanonical texts and genres (short story, essay, fragment), thereby deciding to expand and clarify its meaning. Literary additions, such as the mini-glossary of drug jargon, or the Zen koan, are included to the literary text. Fragments, essays, short stories, different additions and clarifications, visions and dreams, at first glance, destroy the integrity of the novel of the writer, but in fact expand its narrative capabilities, extend the temporal and spatial characteristics, significantly enrich the main storylines, illuminate the motivation of the heroes , show them in an unusual perspective.
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Voronina, N. I. « "THE MAIN NERVE OF THE EPOCH" : I.I. GARIN ABOUT F.M. DOSTOEVSKY ». Izvestiya of the Samara Science Centre of the Russian Academy of Sciences. Social, Humanitarian, Medicobiological Sciences 24, no 82 (2022) : 59–63. http://dx.doi.org/10.37313/2413-9645-2022-24-82-59-63.
Texte intégralRésumé :
Subject of the article: "The main nerve of the era": I.I. Garin about F.M. Dostoevsky. Object of the article: the experience of reading the monograph by I.I. Garin "The Many Faces of Dostoevsky". The goal of the project: to actualize for the scientific and educational world the versatility and multi-vision of Garin of the personality and work of Dostoevsky. Methodology of work: the phenomenon of Dostoevsky, as well as the phenomenon of Garin, are unique, inimitable and significant. This context of the study became possible with the help of cultural-philosophical and comparative-historical approaches, as well as cultural and literary methods of analysis. Results of the work: consideration of Garin's work about Dostoevsky, his ideas, thoughts, approaches and research methods as new, adequate to the content and worldview of the author of the style and genre, the peculiarities of the structure of the text (aphorism and mosaicism of fragments "charged with the power of human emotions"), unique meanings of biographical chronicles of Dostoevsky. This made it possible for Garin to fix the dominant literary and cultural-philosophical characteristics, to reveal the specifics of Dostoevsky's thinking and the ideas dominating in his work, in his own language, unlike the traditional one. Field of application of the results: dialogue, reflecting a new multi-level way of researching the writer's work, which becomes the basis for the formation of a new scientific paradigm that stimulates Garin's interest in comprehending innovative phenomena in the study of Dostoevsky's world and his personality. Conclusion: the scientific novelty of the project represents Garin's unique attempt to combine the seemingly incompatible: intellectual depth with artistry in revealing the image of the great writer. “Individually-special” style today, in the XXI century, manifests itself so multifaceted that it creates its own Garin world, which attracts scientists from different directions by revealing new facets of its own consciousness and the depth of the universal. Therefore, the study of the semantic context of Garin's work about Dostoevsky is important and significant, contributes to the enrichment of scientific and creative thought. The conclusions presented in the scientific review are reasoned and logical.
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Babaeva, Anastasia V., Ludmila V. Guseva et Olga M. Kim. « Semantic and Stylistic Features of Kant’s Observations on the Feeling of the Beautiful and the Sublime : The Art of Seeing and Describing an Object ». Kantian journal 41, no 2 (2022) : 68–95. http://dx.doi.org/10.5922/0207-6918-2022-2-3.
Texte intégralRésumé :
Immanuel Kant’s Observations on the Feeling of the Beautiful and the Sublime is examined in the context of the emergence of the epistemological practice of scientific observation. By focusing on the genre-stylistic and semantic-structural features of the text the authors demonstrate the mechanisms of observation as well as the methods of describing the results characteristic of mid-eighteenth century science. The authors consider Kant’s treatise to be a hybrid text: on the one hand, it attests to the importance of the natural science paradigm and the degree of its influence on the humanities in the modern period; and, on the other hand, it bears witness to the multi-genre character of philosophical treatises, combining as they do the considered and serious wisdom of philosophy, the precision of scientific terminology and the figurativeness of a work of fiction. Kant is perceived not only as a researcher and philosopher capable of bringing out the essence of the particular and changeable captured in observation, but as a writer with a consummate command of the apparatus for keeping the reader’s attention through linguistic devices and practices of image-creating. The authors demonstrate how the categories of the “beautiful” and “sublime” become a general framework for the description of the moral and mental properties of human nature. The authors show that Kant’s use of “aesthetic” wording in the title of his treatise does not announce that his aim is analysis of artistic perception and practices, but mainly refers to the form of his anthropological study and conceptualisation of scientific knowledge. Kant has transferred the technique of visualisation from natural sciences to the objects of philosophical inquiry, thus contributing to the development in the humanities of representative practices, the scientific method of observation as well as the corresponding epistemic and literary genre.
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Mykhailova, Olha. « The figurative world of Florent Schmitt’s piano works (following the diptych “Mirages”) ». Aspects of Historical Musicology 19, no 19 (7 février 2020) : 230–46. http://dx.doi.org/10.34064/khnum2-19.13.
Texte intégralRésumé :
Statement of the problem. An important place in the creative heritage by F. Schmitt (1870–1958) is occupied by music for piano, which in the last decade actively entered to the repertoire of many foreign pianists. At the same time, it remains beyond the focus of Ukrainian performers. From this viewpoint, the relevance of the study is seen in revealing characteristic features of F. Schmitt’s composing style and shaping national musicians’ vision of the creative work of the composer. The purpose of the paper is to fill in the gaps in knowledge about the work of F. Schmitt, to analyze the figurative world of the composer’s piano pieces, to evaluate the influence of cross creative inspirations using the example of the diptych “Mirages”. In this regard, cultural-historical, comparative and structuralfunctional research methods are used. Presentation of the main material. F. Schmitt turned to piano music during all his creative life, leaving more than 30 works, among which cyclic compositions predominate. The range of images is extremely wide: genre scenes, environmental conditions, lyricism, fantasy, etc. Here the influence of impressionism and the art of C. Debussy can be traced. Musicians all over the world were in awe of the talent of this master. Suffice it to recall the unprecedented collaborative work by famous European composers at the turn of the centuries – the multi-genre series of miniatures “Le Tombeau de Claude Debussy”, written in memory of the great creator. F. Schmitt also showed his admiration of the genius of “Claude de France” in the piece “Et Pan, au fond des bles lunaires, s’accouda”. At first, it existed as one of the numbers of “Le Tombeau de Claude Debussy” (1920), and later, together with “La tragique chevauchée”, it made up the diptych “Mirages” (1921). The poem “Philomela” by a French poet Paul Fort was a kind of inspiring impetus for writing the diptych. The appeal for creative inspiration to related art forms was a frequent occurrence in France at the turn of the 19th and 20th centuries. This took place due to a special cultural environment, marked by a fruitful co-working of writers, artists and musicians. Poets were composed verses inspired by the works of visual art they had seen, artists were created illustrations for literary works that had affected them, composers, in turn, were written music pieces, which embodied poetic images. Paul Fort’s poem have several interwoven semantic plans. In the piece “Et Pan, au fond des bles lunaires, s’accouda” F. Schmitt follows the multiplicity of these plans. On the one hand, he preserves the plot narrative, on the other hand, he emphasizes landscape descriptiveness. According to the content of the poem, the music is divided into episodes, and each of which reveals a new facet of the narrative. This is expressed by a change in pace, key signatures and texture. The sound image of the piece, its texture, metro-rhythm, composition, recording techniques were equally determined both by the inspiration that came from the lines by P. Fort, and by the dedication to the memory of C. Debussy. The piece is characterized by all-encompassing register, juxtaposition of colors, chiaroscuro – the features, by which the musical language of C. Debussy is recognized. At the same time, the contrast of texture, registers and metro-rhythmic complexes involves certain redundancy of information that contradicts the signs of Debussy’s manner of expression, who tended to be more compact and monolithic. This suggests that F. Schmitt creates a kind of anthology of C. Debussy’s legacy, organizing the piece on the principle of stringing small, diverse fragments. Parallels with the cycles “Images”, “Estampes”, and “Préludes” can be noticed in the resulting microsuite composition. In the piece “La tragique chevauchée” F. Schmitt clearly recreates the spirit of the dramatic events of the poem by George Byron, following the literary plot in music. Two contrasting thematic spheres prevail. The first sphere, which sets the main tone, is characterized by the rapid pace remarked by the author’s notice “Emporté et violent”, a bouncing dotted rhythm, acute accentuation, toccata texture, sudden dynamic changes, dissonant tremolo harmonies. It reflects the outer side of the action – a crazy gallop of a horse running wild with fear, overcoming an endless series of obstacles on the way, and the physical suffering of an exhausted rider. The other one, which is less amplitudinous, is represented by a melancholic, as if crying, cantilena, symbolizing the inner experiences of the tormented hero. The grotesque expressive means in the foreground are a kind of scenery for the action, while the cantilena element, as if remaining in the background, bears the stamp of the inner drama of G. Byron’s poem. Conclusions. Despite the fact that the diptych “Mirages” is not a program composition, the pieces that make it up give rise to vivid, distinct images. Emotional richness, play of timbres, picturesqueness endowed the work with orchestral potential, which drew the attention of contemporaries. At the initiative of S. Koussevitsky, it was instrumented and found a new life on the symphonic stage. It is noteworthy that the eminent conductor’s interest in the timbre side of F. Schmitt’s music did not end there and was realized in “Symphonie Concertante pour piano & orchestra”, op. 82 (1931), written at the request of S. Koussevitsky. This fact opens up new turn in the perspectives for the study of F. Schmitt’s creative work. The symphonic version of the diptych “Mirages” arouses curiosity in terms of the original idea implementation. The composer’s piano works require study taking into account their orchestral potential.