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1
Morini, Massimiliano. "Translation, stylistics and To the Lighthouse." Target. International Journal of Translation Studies 26, no. 1 (March 7, 2014): 128–45. http://dx.doi.org/10.1075/target.26.1.05mor.
Повний текст джерелаАнотація:
Scholars in Descriptive Translation Studies and other areas of translation theory have often employed ‘style’ as a term, but have rarely expanded their stylistic reflections beyond the level of impressionistic description. In the last decade, however, a small number of articles and monographs have advocated or attempted a fusion of stylistics and translation studies, into something that Kirsten Malmkjær (2004) has aptly termed “translational stylistics.” Building on this handful of contributions, the author proposes a bi-textual analysis of deictic shifts in Virginia Woolf’s To the Lighthouse (1927) and Giulia Celenza’s early Italian translation Gita al faro (1934).
2
Polskaya, S. S., and E. M. Kirsanova. "Cross-Linguistic Stylistic Fusion: How English Political Discourse Shapes Russian Political Science Professionals." Professional Discourse & Communication 6, no. 1 (March 18, 2024): 109–28. http://dx.doi.org/10.24833/2687-0126-2024-6-1-109-128.
Повний текст джерелаАнотація:
The pervasive impact of the English language on global linguistic landscapes is undeniable, with Russian being no exception to this trend. This study explores the extent to which English has influenced Russian-language political discourse, particularly focusing on the stylistic elements that have percolated into the vernacular of Russian student political scientists. Through a meticulously designed experiment, the authors investigated whether the continuous exposure to authentic English political texts – both oral and written – within a structured academic setting has led to the stylistic emulation in the students’ own Russian-language political speeches. Utilizing a complex analytical approach that combines linguistic-stylistic, functional-linguistic, structural-semantic, and statistical methods, the research revealed a notable incorporation of imagery and humor akin to that found in Anglophone political discourse. The findings of the study indicate that a majority of participants have adopted and actively employed stylistic devices such as humor, irony, self-irony, and expressive language tools in their speeches. These devices stand in stark contrast to the traditional tenets of Russian political oratory, suggesting a discursive-stylistic convergence with English norms. The implications of this study are twofold. Academically, it contributes to an understanding of cross-linguistic stylistic influences in an era of increasing globalization. Practically, the insights gleaned from this research have the potential to enhance the teaching methodologies for foreign language acquisition in the field of political science, ensuring that future professionals are equipped with a nuanced command of language that reflects contemporary communicative practices.
3
Hromnyuk, Adriana. "STYLISTIC ANALYSIS OF ARCHITECTURE OF MODERN INTERIORS OF FOOD FACILITIES." Current problems of architecture and urban planning, no. 61 (October 29, 2021): 42–56. http://dx.doi.org/10.32347/2077-3455.2021.61.42-56.
Повний текст джерелаАнотація:
The research analyzes a large number of food facilities in Kyiv, Lviv, and Odesa. They are famous for special colorit, attractiveness, and innovation in stylistic and thematic solutions of their spaces. The stylistic analysis of the architecture of their interiors showed that there is mostly no trace of a single stylistic solution but a fusion of several styles or trends.
The main stylistic tendencies in the organization of food enterprises' object and spatial environment are defined: eclectic, fusion, a single modern style/direction, and auteur design without reference to any particular style. At the same time, within eclecticism, we distinguish the following vectors of its stylistic solution: displaying the atmosphere of different eras, the relevant historical styles of specific countries and places, and reproducing the interiors of food establishments from different periods and countries. Within the framework of fusion trends, we distinguish the following vectors: a combination of components of modern styles/trends with retro/vintage/antique interior items, with an authentic restored architectural, artistic details; use of contemporary style in combination with elements of historical styles: Art Deco, Classicism, Secession, etc.; the use of several modern styles/stylistic trends, a special mixture of components of many heterogeneous styles of the past and the present, has grotesque character and sometimes bordering on kitsch, also take place. Using a single dominant modern style or trend is the third tendency of style solutions for food enterprises' object and spatial environment. The fourth tendency is interiors, which do not have a clear manifestation of a particular style.
The main styles and trends used today in the architecture of the interiors of catering facilities are identified, their definitions are clarified, and the scientific basis is developed. Modern stylistic trends, such as fusion, loft, industrial or industrial, shabby-chic, futuristic, steampunk, Provence, modern classics, and the Mediterranean, are reflected in the object-space environment of restaurants, bars and cafes. Eclecticism, minimalism, and high-tech are the most common styles in these spaces.
Performed analysis allowed to determine the main approaches to interior architecture design of food establishments in the context of their conceptual and stylistic solution: conceptualism, eclecticism, environmental friendliness, symbolism, innovation, culturology and traditionalism, cohesion, harmonization, expressiveness, interactivity. Themes of artistic and figurative solution of the subject-spatial environment of food establishments were established.
4
Amarandei, Teodor. "Piano Concerto and Jazz Music in the Second Half of the 20th Century. New Approaches to the Stylistic Fusion Concept." Artes. Journal of Musicology 26, no. 1 (April 1, 2022): 222–34. http://dx.doi.org/10.2478/ajm-2022-0014.
Повний текст джерелаАнотація:
Abstract In the early years of the twentieth century, jazz and academic music each followed a distinct path, each exhibiting its own stylistic evolution. Most jazz musicians did not have any formal musical education and those in the academic milieu were, in their turn, neither jazz performers nor jazz composers. With the evolution of the jazz genre and its penetration in the field of the concerto, jazz becomes a credible music and starts enjoying a well-defined and generally accepted value rank in its own right, to the point where classic music performers and composers become open to experimenting fusion with jazz. Piano concertos were initially timid in approaching such fusion and consisted of taking over and stylising some jazz-specific components and integrating them into their own piano concerto language. In the second half of the twentieth century, piano concertos capitalising on this stylistic mix grow more and more natural and elaborate, turning into a field for expression of the most diverse jazz / academic music fusion. The fundamental driver that prompted the growth in value of the piano concertos that were approaching the jazz-classic music fusion proved to be the gradual familiarisation of classical music composers with the two stylistic directions through their experience as performers or through their academic music education. This article provides a brief overview of the pluralistic approach of the piano concerto genre at the intersection between jazz and academic music creation in the second half of the twentieth century and in the early twenty-first century.
5
Niu, Tong, and Mohit Bansal. "Polite Dialogue Generation Without Parallel Data." Transactions of the Association for Computational Linguistics 6 (December 2018): 373–89. http://dx.doi.org/10.1162/tacl_a_00027.
Повний текст джерелаАнотація:
Stylistic dialogue response generation, with valuable applications in personality-based conversational agents, is a challenging task because the response needs to be fluent, contextually-relevant, as well as paralinguistically accurate. Moreover, parallel datasets for regular-to-stylistic pairs are usually unavailable. We present three weakly-supervised models that can generate diverse, polite (or rude) dialogue responses without parallel data. Our late fusion model (Fusion) merges the decoder of an encoder-attention-decoder dialogue model with a language model trained on stand-alone polite utterances. Our label-finetuning (LFT) model prepends to each source sequence a politeness-score scaled label (predicted by our state-of-the-art politeness classifier) during training, and at test time is able to generate polite, neutral, and rude responses by simply scaling the label embedding by the corresponding score. Our reinforcement learning model (Polite-RL) encourages politeness generation by assigning rewards proportional to the politeness classifier score of the sampled response. We also present two retrievalbased, polite dialogue model baselines. Human evaluation validates that while the Fusion and the retrieval-based models achieve politeness with poorer context-relevance, the LFT and Polite-RL models can produce significantly more polite responses without sacrificing dialogue quality.
6
Pătraş, Andra Daniela. "Expression of the Romanian Folk Style in Béla Bartók’s String Quartet No. 1." Studia Universitatis Babeş-Bolyai Musica 67, no. 1 (June 30, 2022): 305–19. http://dx.doi.org/10.24193/subbmusica.2022.1.19.
Повний текст джерелаАнотація:
"Bartók’s string quartets play an important role in his overall output, as they represent a stylistic universe encompassing almost his entire oeuvre. In his String Quartet No. 1, Bartók aimed at reworking and expanding the folk elements as well as at developing his own personal expression. Despite being deeply rooted in folklore, this is not a folkloric work, but an expression that goes beyond folklore, which the composer placed in a new relationship to art-music. The aim of this research paper is to explore the aspects of language, the content conforming to the preoccupations of the modern era and the types of writing used, with a focus on the use of the melodic and rhythmic elements of folk music. The musical stylistics of this work is based precisely on the intertwinement and fusion of the two great creative principles: folk and art. Keywords: Béla Bartók, string quartet, folk elements. "
7
Krasniqi, Lurjana, and Lindita Tahiri. "A A Narrative of Different Voices: Stylistic Analysis of Multiple Points of View in Zadie Smith’s “NW”." Respectus Philologicus, no. 41(46) (April 15, 2022): 132–44. http://dx.doi.org/10.15388/respectus.2022.41.46.114.
Повний текст джерелаАнотація:
While the post-colonial approach (Fernández Carbajal, 2016; López-Ropero, 2016) has dominated research on Zadie Smith’s postmodern work, NW (2013), there has been little to no stylistic analysis of the novel. The article aims to fill in this theoretical gap by examining the different modes of point of view, indicating how they are linguistically encoded. Using Leech and Short’s model of narratological aspects of viewpoint (2007), the stylistic features of the third-person narrator and the reflectors are revealed. The analysis seeks to demonstrate that the narrative style varies with each shift of perspective and that the voice of the narrator and the characters’ points of view are linguistically intertwined. The research points out the stylistic metamorphosis of the narrator who moves from mimetic storytelling to metafiction, alternating between the covert narrator who foregrounds the characters’ point of view and the overt one who constantly pinpoints the linguistic identity of the novel. The fusion of form and content becomes the storyline of this novel, where the differences between viewpoints of the narrating voices reflect the differences between their lives.
8
Ginzburg, G. N. "New stylistic discoveries “Fluid Fusion” and “Flowinggraphics” in the works of the duet of artists Alexei and Irina Polyakov." Voprosy kul'turologii (Issues of Cultural Studies), no. 8 (July 25, 2021): 671 (756)—676 (760). http://dx.doi.org/10.33920/nik-01-2108-01.
Повний текст джерелаАнотація:
In the world history of art, various graphic techniques for making and printing works of art have had their own names: etching, woodcut, linocut, lithography, etc. The new definitions of the 21st century sound quite reasonable: “Flowinggraphics” and “Fluid Fusion”, based on technological and chemical discoveries work with acrylic paints. The purpose of my article is to acquaint the art community with new techniques and terms. English version of the article on pp. 756-760 is available at URL: https://panor.ru/articles/fluid-fusion-and-flowing-graphics-new-stylistic-descoveries-in-the-works-of-the-duet-of-artists-alexey-and-irina-polyakov/70067.html
9
Teranishi, Masayuki. "A stylistic analysis of Saul Bellow’s Herzog: a mode of ‘postmodern polyphony’." Language and Literature: International Journal of Stylistics 16, no. 1 (February 2007): 20–36. http://dx.doi.org/10.1177/0963947007068655.
Повний текст джерелаАнотація:
Saul Bellow’s Herzog has been regarded by some critics as a polyphonic novel in which plural voices coexist. However, it has not been fully discussed how polyphony is embodied in the text. In this article, I analyse the speech and thought presentation involved in the characterization of the protagonist. I pay special attention to the fusion of and competition among ‘different versions’ of Herzog and subjectivities of other characters existent in Herzog’s consciousness. From the analysis of selected passages, it is shown how Bellow creates ‘polyphony’ or ‘poly-subjectivization’ in the text, and the place of Herzog in the context of ‘Postmodernism’ is also clarified.
10
Shkolna, Olga, Olga Sosik, and Alla Buigasheva. "Stylistics of Ukrainian Fine Art, Architecture and Design in the Second Half XIX – Early XXI Centuries’ Period." Demiurge: Ideas, Technologies, Perspectives of Design 4, no. 2 (December 13, 2021): 291–98. http://dx.doi.org/10.31866/2617-7951.4.2.2021.246856.
Повний текст джерелаАнотація:
The aim is to explore the key concepts of stylistics of Ukrainian fine arts, architecture and various types of design of the second half of the XIX – early XXI centuries in the relationship of individual fields of knowledge. Research methods – hermeneutic, axiological, historical-genetic, historical-chronological, comparative, culturological, formal-stylistic, art analysis. The selected tools allow you to compare the stylistic features of different types of design (industrial, graphic, clothing, environment), fine arts and architecture. A novelty is an overview of evolutionary processes in terms of styles in painting, graphics, architecture, various types of design activities (in particular, environmental design, industrial, graphic, clothing). The points of intersection of the conceptual and categorical sphere of the indicated branches of creativity are outlined, both common and different tendencies concerning the identification of stylistic features are observed. Conclusions. The differences of separate branches of knowledge of artistic creativity and common features of some types of design-designing, -construction, -modeling, art technologies bordering on graphic art and painting (graphic design, partly industrial design), architecture (environmental design and partly industrial design) are traced.
Since the era of modernism, art deco, avant-garde, constructivism, functionalism, Stalin’s empire, which affected all forms of artistic activity, in the late twentieth – early twenty-first century established the classic, minimalism, high-tech, fusion, low-tech, shabby chic, provence, glamour, some oriental stylizations in the interior associated with architecture. Instead, clothing design, in addition to the classics, over the past few decades has creatively adapted the sports-classic style, manga, country, western, boho, military, glamour and etc. over the past few decades.
If the shapes of the silhouettes of the cut look at the general tendencies of industrial design, the drawings of fabrics partially appeal to the visions of graphic design, which are related to the tendencies of fine arts – tendencies of modernism, avant-garde, postmodernism. Namely, they tend to functionalism, constructivism, boychukism, art deco, socialist realism, Stalinist empire, Ukrainian soviet empire, neo-functionalism, neo-primitivism, neo-folk style, polystylism, glamour.
11
Stebletsova, A. O. "Emails in workplace discourse: current communication tendencies." Communication studies 9, no. 3 (2022): 614–24. http://dx.doi.org/10.24147/2413-6182.2022.9(3).614-624.
Повний текст джерелаАнотація:
The paper analyses current tendencies of work-related emails produced in the course of workplace communication. Having summarized recent workplace communication studies, the author puts forward a hypothesis of genre and stylistichybridization of work-related emails. The objective of the research was to identify and analyze linguistic characteristics which would represent genre and stylistic hybridization of work-related emails. The research corpora were selected from local and intercultural communication of Russian and British universities in 2017-2022. The research methods were based on the author's model of descriptive and comparative analysis. The main findings of the Russian corpus analysis demonstrate apparent features of genre hybridization, such as unconventional fusion of different workplace communication genres in email format. Other findings relate to stylistic hybridization features, such as unconventional use of informal communication markers of structural, lexical, syntactical and graphical nature in formal workplace discourse. The British corpus has revealed similar tendencies, although their manifestation is limited to lexical and grammatical features of informal register. The author has come to the conclusion that the tendency of genre and stylistic hybridization in work-related emails can be described as a universal phenomenon, although its ethnocultural variation needs further investigation.
12
Demina, Elena Anatolyevna. "Author’s techniques of emphasizing temporal characteristics in R. Bradbury’s novel “Frost and Fire”: A cognitive approach." Philology. Theory & Practice 17, no. 10 (October 8, 2024): 3556–61. http://dx.doi.org/10.30853/phil20240502.
Повний текст джерелаАнотація:
The aim of the study is to demonstrate the fact that in the novel “Frost and Fire” by R. Bradbury the author uses techniques that can emphasize temporal characteristics, stylistic convergence being one of them. 18 fragments have been classified into three groups based on cognitive time models they render: “time = plant life”, “time = animal life”, “time = human”. Linguistic means depicting different temporal features have been closely analyzed. The novelty of the study is determined, on the one hand, by detecting two author’s techniques that can emphasize time properties: embedding (use of a lexical unit with temporal semantics as a component of other stylistic device) and fusion (combination of two different stylistic tools in one unit). On the other hand, these tools have been proved to single out the character’s voice. The results of the research indicate that predominant temporal properties in the novel are high speed and cyclicity. It was shown that ellipses, capital letters, exclamatory and interrogative sentences, repetition of the number “8” mark the individuality of the character’s perception of time in his indirect speech. It was possible to establish that the personification of plant life and time itself, the abundance of temporal metaphors emphasizing its rapid flow determine the unique features of Bradbury’s manner of writing.
13
Николаев, Геннадий, та Наталия Николаева. "Русское словосложение: исторический аспект". Studia Rossica Posnaniensia, № 43 (26 листопада 2018): 237–44. http://dx.doi.org/10.14746/strp.2018.43.17.
Повний текст джерелаАнотація:
Compound words are known in the Russian language since the first written texts of different genre and stylistic characteristics. The formation of composites was carried out in two productive ways: by the non-morphological semantic method of fusion and by morphological addition. Within both methods (in literary texts) the calques of Greek composites and the development of East Slavic word formations in their sample are also noted. Both methods were interrelated, and an interaction of derivatives occurred in their sphere.
14
Zymina, Svitlana, and Nataliia Mezhenna. "ADJUSTMENT OF INTERIORS OF BASEMENT ROOMS UNDER SHELTER IN HIGHER EDUCATIONAL INSTITUTIONS." Architectural Bulletin of KNUCA, no. 26-27 (September 24, 2023): 224–37. http://dx.doi.org/10.32347/2519-8661.2023.26-27.224-237.
Повний текст джерелаАнотація:
The article examines the problems of reconstruction of the adaptation of the basement premises of higher educational institutions of creative directions, using the example of the basement premises of the Faculty of Architecture of the KNUBA. A list of the main and additional functional zones is offered, with justification for the use of various stylistic and design solutions in them. An architectural and planning solution for the basement space based on the modular principle is proposed. The issue of psychological comfort of people staying in such a shelter, sometimes for an indefinite period of time, is separately considered. Six zones with a psychological and relieving function are proposed and the peculiarities of their influence on a person are considered. The problem of the presence of engineering communications in basements is proposed to be solved in several principled ways, such as: "fusion", "decision", "underlining", "mirroring", "alarm". Examples of stylistic methods of designing rooms with different functional loads are given, which, based on the peculiarities of perception, add new opportunities to the reconstructed space.
15
Resen, I. Wayan. "The Narrative Technique in Winnie Eads’ Short Story The Grandfather: A Stylistic Approach." Studies in English Language Teaching 5, no. 2 (April 14, 2017): 186. http://dx.doi.org/10.22158/selt.v5n2p186.
Повний текст джерелаАнотація:
<p><em>This study on “The Narrative Technique in Winnie Eads’ Short Story The Grandfather: A Stylistic Approach” takes as its focus the narrative technique which generates the aesthetic effects of the story. The narrative technique designed to be adopted for the narration of the story in the first person and merely by a kid narrator necessarily integrates into itself the language style which is constituted by such specific use of language (English) to suit the aesthetic need of the narration. The aesthetic effect achieved through the fusion of the child first-person narration and the specific language style in the story is one in the form of aesthetics of realism, particularly realism in the characterization of the grandfather as the main character and of Pete as the child narrator, which constitutes the attractiveness of the story. Using a stylistic approach in the analysis of the narration, this article is aimed at revealing how the specific language use in the short story The Grandfather constitutes a quite effective device for aesthetic achievement.</em><em></em></p>
16
Zolotukhina, Natal'ya Anatol'evna. "Artistic and stylistic uniqueness of the Crimean motifs in visual art of the late XIX – early XX centuries." Культура и искусство, no. 11 (November 2020): 1–10. http://dx.doi.org/10.7256/2454-0625.2020.11.34448.
Повний текст джерелаАнотація:
The object of this research is the Russian visual art of the turn of the XIX – XX centuries. The subject of this research is the Crimean theme in visual art of that period. The goal consist in determination of artistic and stylistic uniqueness of the Crimean motifs in paintings and graphics of the late XIX – early XX centuries. Research methodology is comprised of the cultural and historical method, which allow analyzing the evolution of artistic and stylistic systems in the national landscape genre, as well as the development of Crimean theme in art. Based on the synthesis of culturological and art methods, the author reviews cultural and stylistic distinctness of the Crimean motifs of the late XIX – early XX centuries. The novelty of this work lies in the statement that Crimean motifs that enjoyed wide popularity in the artworks of this period are considered one of the style-forming and meaning-forming factors in development of the art and style modes of landscape genre in Crimea. Specificity of the image of nature is defined by the art and style modes that substantiate the authorial concept and system of pictorial means. It is established that the uniqueness of Crimean motifs in painting and graphic art at the turn of the XIX – XX centuries lies in application of vibrating color, fusion with rough strokes of colored shadows, rhythmic principle of creating gradation of colors, soft airy and lighting environment of Crimean landscapes.
17
Shchenikova, Elena. "Modern Word-Formation Processes in the Field of Adverbs and State-of-Being Words (Based on the Material of Internet Forums)." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 1 (March 2022): 17–29. http://dx.doi.org/10.15688/jvolsu2.2022.1.2.
Повний текст джерелаАнотація:
The article focuses on current word-formation processes in the Russian language and the role of adverbs and state-of-being words involved. The Runet forum discourse presents a favourable medium for such processes. The author analyzes new derivatives in the above-mentioned parts of speech found in different Internet thematic forums and present the structural and semantic characteristics of such units with some elements of pragmatic and stylistic analysis. The ways of word-formation revealed in the available sample are considered successively. The most productive word-formation models, derivative stems, affixes, related stylistic devices, etc., are pointed out. It was found out that the most productive way is suffixation, while pure combination, fusion and the prefix-suffixal mode also display noticeable productivity. The status of the suffix -en'ko is discussed. It demonstrates a particular activity within the sample as it is involved in the realization of several word-formation methods at once. We note the frequent use in derivational processes of the stems and affixes evaluating the size (there are both diminutives and magnifying ones), as well as the abundance of various anomalies associated with the creation of new words: alternate steps; oxymoronic, pleonastic, stylistically contrasting combination of derivational units in the derivative word; abnormal graphical/orphographic representation of new derivatives, etc.
18
Bobkova, Natalia G. "Functions of plot associations from classical literature in B. Akunin’s game projects about Fandorin and Pelagia." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2022): 77–81. http://dx.doi.org/10.20339/phs.6-22.077.
Повний текст джерелаАнотація:
The article is devoted to novels by B. Akunin who uses the quotations, reminiscences and subjects of classical authos for the realization of his detective projects. The scientific novelty of the article lies in the fact that an attempt is made to investigate the role of quotations and reminiscences, plot, figurative and stylistic associations borrowed from Russian and foreign classical literature in B. Akunin’s detective novels about Fandorin and Pelagia. In the intertextual space of the writer’s novels, themes and motives from the novels of F.M. Dostoevsky, N.V. Gogol, M.A. Bulgakov, M.Yu. Lermontov and other writers. The writer skillfully combines foreign classics with detective intrigue. The image of detective Erast Fandorin is a fusion of features of Sherlock Holmes, William of Baskerville, Prince Florizel: the image of the nun Pelagia — Miss Marple and Father Brown. The motives, style, language of the classics of Russian literature determine the stylistic originality of the modern writer. The stylization of the writer’s novels not only makes it possible to strike up a literary game with a reader — a connoisseur of classical literature, at the same time, counting on a detective lover, but also makes it possible to overcome the difference between two cultural fields: elite literature and mass literature.
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Paneque de la Torre, Cristina Victoria. "«Du weißt, dass ich Journalist war»: Gonzo Journalism y autoficción en la literatura pop." Revista de Filología de la Universidad de La Laguna, no. 43 (2021): 191–211. http://dx.doi.org/10.25145/j.refiull.2021.43.10.
Повний текст джерелаАнотація:
The term Gonzo Journalism refers to a journalistic style closely linked to the figure of the author, with the presence of the latter as the basis of his narrative. The genre of autofiction is also the result of the combination of fact and fiction around the figure of its creator. Joachim Lottmann combines gonzo style and autofiction in his work, combining them to achieve the critical portrait of German society in the 21st century that characterises his work. The novels Der Geldkomplex (2009) and Endlich Kokain (2014) show two different ways of applying the stylistic requirements of both to pop literature, to the point of achieving their fusion by «lottmannising» the world around the author without losing the author’s social commitment.
20
ARTEMOVA, Liudmyla. "Syncretism of the image of enigmatic Barcelona (based on the series of Carlos Ruiz Zafon’s novels “The cemetery of forgotten books”)." Linguistic and Conceptual Views of the World, no. 74 (2) (2023): 31–42. http://dx.doi.org/10.17721/2520-6397.2023.2.02.
Повний текст джерелаАнотація:
This article deals with means to form the syncretism in creating the image of enigmatic and sombre Barcelona in the series of novels “The Cemetery of Forgotten Books” written by Carlos Ruiz Zafón. The image appears as the structural novel unit where the language with its expressive metaphoric means is used to suggest the notions of things, actions, feelings, ideas, mood and any living experience where the imagination with its integrity, agility, difference and openness forms the base of syncretism. Our aim was to confirm the original and dynamic of these stylistic means brilliantly combined to delineate the mysterious image of Barcelona with the distinctive and peculiar author’s style of Zafón. We notice the fusion of them while their unique qualities and characteristics are kept untouched. We came to the conclusion that the prevalent to construct the metaphoric context are dark colors (black, grey), reigning darkness against almost defeated light, fog (mist, veil), water (sea and endless rains) and the different materials (like steel, cooper, coal, lead, etc.) It is the originality of artistic methods in Zafón´s work (richness of linguistic means, namely the use of epithets, metaphors, allegories, stylistic resources) not only determines the individual style of the writer, but also emphasizes the multidirectionality of this imagery, ways of its creation and perception by the reader.
21
Huusko, Timo. "Transnationality and stylistic ideology in semi-cubist Finnish art between 1914 and 1923." Quart, no. 2(72) (October 7, 2024): 46–65. http://dx.doi.org/10.19195/2449-9285.72.5.
Повний текст джерелаАнотація:
The article focuses on the changes in Finnish modern art and artistic discourse caused by World War I and Finnish Independence in 1917–1918. World War I changed artistic networks radically, because travel to France was no more possible, and Independence of Finland changed the art world with the ideas of national modernism. These changes centred in Finland around the role of cubism – seen as a logical continuation of Paul Cézanne’s art – and were expressed in both formal language and artistic discourse. Questions of “primitive” in art and its connection to cubism and to what is national in art were also essential in defining Finnish modernism and avant-garde in around 1917–1920. There was small exhibition of French cubism in Helsinki in 1915, but otherwise knowledge of cubism came via second-hand sources, such as lectures, art magazines and Der Sturm Gallery’s exhibitions. Norwegian art historian Jens Thiis had a strong impact on notions of cubism in Finland. It is in my interest to show that there were transnational connections between Scandinavia, Russia and Finland, and also more or less between Finland and oth- er “new states”, which were born after Austro-Hungarian, German and Russian empires collapsed. These connections can be seen in formal elements and iconography of kind of cubo-expressionism, which was a kind of fusion of cubist structuralism and expressionist emotion. This “semi-cubism” seemed to serve as stylistic ideology or ideological tool for those who had thoughts of national modernism in countries like Poland (formists), Latvia (artists like Jēkabs Kazaks), Estonia (artists like Jaan Vahtra and Märt Laarman) and Finland (art of the so called November Group). It is obvious that artists in Finland were not conscious of what happened on the southern side of the Baltic Sea, but there are so many parallels which were born by shared general views of the role of new art, that it is possible to see not only France, Norway or Russia, but also Poland, Latvia and Estonia as artistically close to Finland, when one tries to map the topography of Finnish semi-cubism in late 1910s and early 1920s.
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Malynovskyi, Artur. "Історичні матриці сугестивного письма Олекси Стороженка: між естетикою та ідеологією". Przegląd Wschodnioeuropejski 15, № 1 (10 червня 2024): 275–90. http://dx.doi.org/10.31648/pw.10193.
Повний текст джерелаАнотація:
The article describes the creative productivity of the archaic writing style of O. Storozhenko. His creativity have successfully completed the Gogol era in Ukrainian literature and have become a forerunner of the phenomenon that fully developed in the so-called chimeric prose in the twentieth century. The artistic style of Storozhenko’s writing stood out from the rural prose of that period against the background of practical problems, excessive sociologization and populist pathos of the mid-nineteenth century. Instead, accusations of peasantry, ethnography, local exoticism and trivial biography in the context of modern literary approaches are given to a new reading of this national-aesthetic phenomenon as heterogeneous one, imbued with stylistic innovations, invisible fusion of writing with ideology and aesthetics. Storozhenko moved within the old-fashioned way to an updated artistic word using the chimeric unity of folklore, baroque and romantic traditions.
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He, Zhanlu. "The Traditional Chinese Music Elements in the Soundtracks of the Film Full River Red." Journal of Education, Humanities and Social Sciences 35 (July 4, 2024): 640–46. http://dx.doi.org/10.54097/kabdng45.
Повний текст джерелаАнотація:
The film Full River Red is a new masterpiece of director Yimou Zhang on the theme of "Family and Country Sentiment", which got a great response when it was exhibited in cinemas, and its soundtrack also aroused public discussion. It was nominated for the best music in the 36th networking. This paper focuses on the soundtrack of the film, from the perspectives of Chinese traditional Xiqu, plot characters, the use of musical instruments, and the fusion of multiple musical styles. How the Chinese traditional music is integrated into the soundtracks, and how the resulting cultural symbols are used in the films will be discussed. It is expected that this paper can provide some inspiration for the forms of innovation in the development of Chinese traditional music, as well as the stylistic innovation of Chinese film soundtracks.
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Matveeva, V. N., and N. V. Stepanova. "Pragmastilistic Analysis of Migration Discourse (Based on Speeches by British Politicians)." Discourse 7, no. 5 (November 17, 2021): 143–61. http://dx.doi.org/10.32603/2412-8562-2021-7-5-143-161.
Повний текст джерелаАнотація:
Introduction. The present study examines the pragmastilistic potential of migration discourse based on the speeches of modern British politicians. The relevance of the chosen topic lies in the acute social specifics of migration discourse and its manipulative component. In today’s world, migration processes have become global and their impact on the development of the host culture is becoming increasingly evident. There is still no established strategy for the integration of migrants into the new society, which creates a conflict environment and determines the hostility of the indigenous population towards migrants. Migration discourse as one of the directions of policy discourse becomes an effective tool for managing public opinion. Various persuasive tactics are incorporated in the speech of politicians using linguistic means, the use of which in the British migration discourse is considered in this article.Methodology and sources. The key tasks of the study are to identify specific discursive tactics, by means of which the persuasive strategy is implemented in the British migration discourse, and to analyze the stylistic techniques used to design the discovered tactics. During the study, pragmastilistic analysis was used, the application of which involves referring to the following methods of linguistic research: the method of continuous sampling, quantitative, descriptive and comparative methods, the method of stylistic analysis, discursive analysis. The material of the study was the speeches of modern British politicians from 2004 to 2021. Results and discussion. The analysis of migration discourse based on the texts of speeches by modern British politicians allows to talk about the stylistic saturation of the material and the main means of expressiveness used in the framework of the discourse under consideration. The main tactic of opponents of free migration is the comparison of “good/bad” migrants, which is actualized using antithesis. As for the lexical stylistic means, the use of the epithet should be specified, which is also a way of actualizing opposition tactics. Thus, this tactic is implemented both at the lexical and syntactic level. Similar tactics are also relevant in the framework of pro-migration rhetoric, namely, when comparing the local elite and the visiting population, which performs all the work necessary for the functioning of society. In most cases the main stylistic technique for tactics actualization is antithesis (or the convergence of antithesis and epithet). Proponents of pro-migration policies also use metaphor (tactics for describing the political process) and syntactic parallelism (tactics for describing the benefits of migration). Finally, the most common tactic inherent in both poles of migration discourse is the tactic of generalization. It consists in equating the speaker with his audience, their “fusion”, and is most often actualized using hyperbola.Conclusion. Migration discourse is characterized by an ideological orientation, which is actualized using certain speech techniques, tactics and strategies. Migration discourse, as a multifaceted entity, can also serve to harmonize social life by facilitating the integration of migrants into the host culture. Migration discourse is a powerful ideological weapon that can be used both to contribute to integration and to incite ethnic hatred. Stylistic tools play a key role in the implementation of a persuasive strategy, which is actively used both in migration and in political discourse in general. The main tactics of the migration discourse of modern British politicians are opposition and generalization, used both in pro- and anti-migration rhetoric.
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Martynova, V. I. "Concerto for Oboe and Orchestra in the Works by Modern Time Composers: Aspects of Genre Stylistics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 54, no. 54 (December 10, 2019): 71–93. http://dx.doi.org/10.34064/khnum1-54.05.
Повний текст джерелаАнотація:
Introduction. Concerto for oboe and orchestra in the music of modern time (20th – early 21st centuries), on the one hand, is based on the traditions of past eras, on the other hand, it contains a number of new stylistic trends, among which the leading trend is the pluralism of composer’s decisions. Despite this, the works created during this period by the composers of different national schools can be divided into three groups – academic, experimental, and pastoral. The article gives the review of them. Objective. The main objective of the article is to identify the features of genre stylistics in oboe concertos by composers of the 20th – early 21st centuries. Methods. In order to realize this objective, the elements of a number of general scientific and special musicological research methods have been used – historical-and-genetic, deductive, comparative, organological, stylistic, genre and performing analysis. Results and Discussion. The article discusses and systematizes the features of the genre stylistics of modern time oboe concertos. Based on the analysis of the historical-and-stylistic context, the correlation of traditions and innovations in the oboe-concerto genre, as well as the nature of the relationship between concerto and chamber manners as its common features are revealed. The classification of oboe concertos of the specified period by three genre-and-style groups – academic, experimental, and pastoral, is proposed. The main development trends in each of these groups are analyzed, taking into account the genre, national and individual-author’s stylistics (more than 70 pieces are involved). For the first time, the generalizations are proposed regarding the oboe expressiveness and techniques, generally gravitating towards universalism as a style dominant in the concerto genre. It is noted that, in spite of this main trend, the oboe in the concertos by modern time masters retains its fundamental organological semantics – the aesthetics and poetics of pastoral mode. The music of modern time, the count of which starts from the last decade of the 19th century and to present, comes, on the one hand, as a unique encyclopedia of the previous genres and styles, and on the other hand, as a unique multicomponent artistic phenomenon of hypertext meaning. The first is embodied in the concept of the style pluralism which means the priority of the person’s (composer’s and performer’s) component in aesthetics and poetics of a musical work. The second involves an aspect of polystylistics that is understood in two meanings: 1) aesthetic, when different stylistic tendencies are represented in a particular artistic style; 2) purely “technological”, which is understood as the technique of composing, when different intonation patterns in the form of style quotations and allusions (according to Alfred Schnittke) constitute the compositional basis of the same work. It is noted that the oboe concertos of the modern time masters revive the traditions of solo music-making, which were partially lost in the second half of the 19th century. At the new stage of evolution, since the early 20th century (1910s), the concerto oboe combines solo virtuosity with chamber manner, which is realized in a special way by the authors of different styles. Most of them (especially in the period up to the 1970s–1980s of the previous century) adhere to the academic model which is characterized by a three-part composition with a tempo ratio “fast – slow – fast” with typical structures of each of the parts – sonata in the first, complex three-part in the second, rondo-sonata in the third, as well as traditional, previously tried and used means of articulation and stroke set (concertos by W. Alvin, J. Horovitz – Great Britain; E. T. Zwillich, Ch. Rouse – USA; O. Respighi – Italy; Lars-Erik Larrson – Switzerland, etc.). The signs of the oboe concertos of the experimental group are the freedom of structure both in the overall composition and at the level of individual parts or sections, the use of non-traditional methods of playing (J. Widmann, D. Bortz – Germany; C. Frances-Hoad, P. Patterson – England; E. Carter – USA; J. MacMillan – Scotland; O. Navarro – Spain; N. Westlake – Australia). The group of pastoral concertos is based on highlighting the key semantics of oboe sound image. This group includes concertos of two types – non-programmatic (G. Jacob, R. Vaughan Williams, M. Arnold – Great Britain; О. T. Raihala – Finland; M. Berkeley, Е. Carter – USA and other authors); programmatic of two types – with literary names (L’horloge de flore J. Françaix – France; Helios, Two’s Company T. Musgrave; Angel of Mons J. Bingham – Great Britain); based on the themes of the world classics or folklore (two concertos by J. Barbirolli – Great Britain – on the themes of G. Pergolesi and A. Corelli; Concerto by B. Martinu – Czechia – on the themes from Petrushka by I. Stravinsky, etc.). This group of concertos also includes the genre derivatives, such as suite (L’horloge de flore J. Françaix); fantasy (Concerto fantasy for oboe, English horn and orchestra by V. Gorbulskis); virtuoso piece (Pascaglia concertante S. Veress); concertino (Concertino by N. Scalcottas, R. Kram, A. Jacques); genre “hybrids” (Symphony-Concerto by J. Ibert; Symphony-Concerto by T. Smirnova; Chuvash Symphony-Concerto by T. Alekseyeva; Concerto-Romance by Zh. Matallidi; Concerto-Poem for English horn, oboe and orchestra by G. Raman). Conclusions. Thus, the oboe concerto in the works by modern time composers appears as a complex genre-and-intonation fusion of traditions and innovations, in which prevail the individual-author’s approaches to reproducing the specificity of the genre. At the same time, through the general tendency of stylistic pluralism, several lines-trends emerge, defined in this article as academic, experimental, and pastoral, and each of them can be considered in more detail in the framework of individual studies.
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Акопян, Л. О. "Концептуальная эклектика или декадентская неопрятность? Бернд Алоис Циммерман, его «ноу-хау» и его эпигоны". АКТУАЛЬНЫЕ ПРОБЛЕМЫ ВЫСШЕГО МУЗЫКАЛЬНОГО ОБРАЗОВАНИЯ, № 3(74) (30 вересня 2024): 53–72. http://dx.doi.org/10.26086/nk.2024.74.3.008.
Повний текст джерелаАнотація:
Альфред Шнитке (1971) объявил полистилистику перспективным методом «музыкально-драматургического воплощения “вечных” проблем — войны и мира, жизни и смерти». Иными словами, полистилистика, по сравнению со стилистической однородностью, предоставляет больше возможностей для идейно насыщенных, концептуальных высказываний или, перефразируя Владимира Набокова, для музыки «больших идей». Самым значительным предшественником Шнитке на ниве идеологически окрашенной полистилистики был Бернд Алоис Циммерман (1918–1970). В статье разбираются наиболее показательные опусы этого композитора с трагической судьбой. Эклектическое объединение разнородных стилистических идиом ради воплощения «больших идей» — своеобразное «ноу-хау» Циммермана, оплаченное, можно сказать, его жизнью и кровью. Многим другим композиторам оно же служило и продолжает служить удобным средством повышения коммуникабельности музыки и ее концептуальной содержательности за счет таких качеств, как чистота стиля и самодовлеющая, «внеассоциативная» (А. Шнитке) эстетическая привлекательность. Один из выдающихся адептов концептуально обоснованной полистилистики, Ханс Вернер Хенце (1926–2012), обозначил подобную творческую установку термином musica impura («нечистая музыка»). Подъем musica impura, резко активизировавшийся во второй половине шестидесятых, выявил идейный кризис большого авангарда и, с определенной точки зрения, может рассматриваться как симптом декаданса новой музыки. Эта точки зрения обосновывается соображениями из области семиотики According to Alfred Schnittke (1971), ‘polystylistics’ is a promising method of ‘musical dramatization of “eternal” questions – of war and peace, life and death’. In other words, polystylistics, as compared with stylistic homogeneity, provides more opportunities for ideologically meaningful conceptual artistic utterances or, to paraphrase Vladimir Nabokov, for the music ‘of [Big] Ideas’. Schnittke’s most important precursor in the field of ideologically tinted polystylistics was Bernd Alois Zimmermann (1918–1970). The article examines some of the most prominent works of this ill-fated composer. The eclectic fusion of heterogeneous stylistic idioms as a method of conveying ‘Big Ideas’ was Zimmermann’s peculiar ‘know-how’, for which he had paid with his life and blood. To a number of other composers who came after him, it has served as a convenient technique of enhancing the music’s comprehensibility and conceptual weight at the expense of such qualities as stylistic purity and self-sufficient, ‘non-associative’ (A. Schnittke) aesthetic appeal. One of the outstanding champions of conceptually based polystylistics, Hans Werner Henze (1926–2012), termed such a creative attitude ‘musica impura’. The dramatic rise of ‘musica impura’ in the second half of the 1960s revealed the ideological crisis of the Great Avant-Garde and, from a certain point of view, can be regarded as a symptom of the decadence of Western art music. This point of view is substantiated by some semiotic arguments
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Kovmir, Nataliia. "Oleksii Chumakov’s Creative Activity." Bulletin of Kyiv National University of Culture and Arts. Series in Musical Art 4, no. 2 (December 3, 2021): 296–303. http://dx.doi.org/10.31866/2616-7581.4.2.2021.245820.
Повний текст джерелаАнотація:
The article analyzes various aspects of Oleksii Chumakov’s creative activity. Oleksii Chumakov’s activity can be considered as striking in its variety of creative manifestations. His singing career is harmoniously combined with his work as a composer and arranger. The purpose of the article is to identify the specifics of stylistic dimensions of O. Chumakov’s work. The article analyzes various aspects of O. Chumakov’s activity, which impresses with the variety of creative manifestations. The artist harmoniously combines the singer’s career with composing and arranging skills. The research methodology consists oftheoretical methods (analysis, synthesis, generalization, biographical method), as well as empirical ones to observe the multifaceted work of O. Chumakov. The scientific novelty of the research is that the main features of O. Chumakov’s work are revealed, it is found out that the artist’s vocal skill is manifested in the use of soul singing. The style of Chumakov's compositions makes it possible to use the traditions of the gospel. The dominant directions in which his songs were written are funk, fusion, pop. Conclusions. It is noted that singers, who combine performance with composing, arranging, working in a recording studio, can rightly be considered professionals in their field. Having practical vocal skills, the composer takes into account the technical capabilities of singers, trying to emphasize their strengths. Oleksii Chumakov is also a presenter, writer and actor. All these qualities testify his versatility and high professionalism. In the concert performances of the singer, there is no bright effect or extraordinary scenography, because the performer prefers the ‘classical’ type of stage behaviour when the main emphasis is on the musical side of the compositions. Vocal skill, which manifests itself in the use of various vocal manners, intonation accuracy and stylistic sophistication, are the dominant elements of O. Chumakov’s performances.
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Mykula, Erika, and Nataliia Levkovych. "The evolution of the imaginative and plastic concept of creativity by V. Prykhodko in the context of socio-cultural transformations of the second half of the 1980s to the 2000s." Bulletin of Lviv National Academy of Arts, no. 51 (October 10, 2023): 63–73. http://dx.doi.org/10.37131/2524-0943-2023-51-7.
Повний текст джерелаАнотація:
The exploration of Vyacheslav Prykhodko's creative legacy within the context of regional and national artistic processes from the second half of the 20th to the early 21st century prompts the identification of leading artistic tendencies and the analysis of the master's creative issues. This study aims to uncover aspects of the dialogue with tradition that reveal the distinctiveness and representativeness of the artist's oeuvre. In the period of 1980-2000, V. Prykhodko's creative work witnessed the formation of an authorial imaginative and plastic concept characterized by the elevation of ordinary phenomena and processes to symbols and metaphors of life. It involved a departure from naturalistic-mimetic approaches to a transition towards generalized-conditional, imaginative-symbolic perception and reproduction. The construction of artistic imagery was guided by the principles of harmony as an aesthetic category and the foundation of worldview. This concept entailed the fusion of the rationality of the creative method and the structural integrity of pictorial representation with poeticism, color expression, and the dynamics of planes, lines, and shapes. Factors contributing to V. Prykhodko's creative evolution included the vibrant artistic life of Uzhhorod and informal creative communication, as well as his passion for music, theater, world literature, and exposure to information about global artistic trends. The artist's stylistic exploration was significantly influenced by modernist elements in Transcarpathian visual arts synergized with the decorative aspects of folk artistic traditions. Within the realm of Transcarpathian painting, V. Prykhodko's work belongs to the "innovative pole" of Transcarpathian visual arts and its "experimental direction," alongside other representatives such as E. Kremnytska, F. Seman, and P. Bedzir. A distinctive feature of the artist's body of work within this direction is the strong foundation of academic art education and the assertion of his creative independence through the exclusive selection of expressive means and the stylistic approach in his works.
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Pryshchenko, Svitlana. "Prospects for development of advertising graphics in the traditional and digital media." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 29 (December 17, 2020): 54–59. http://dx.doi.org/10.33838/naoma.29.2020.54-59.
Повний текст джерелаАнотація:
The visualization is becoming an increasingly important area of research and has a wide range of applications. The aim of this article is to compare the visual means of advertisements from traditional (print advertising, poster, outdoor) to digital media (internet ads). The trans system and multimodal methodological approaches are applied, which made it possible to using system-structural, socio-cultural, and comparative methods. The style and prospects for the development of Advertising Graphics in the first half of XXI cent. have been determined. Based on the analysis of modern trends, the stylistics of Advertising Graphics are noted: the preservation of distinct styles and monocultures; the dominance of compromise options (fusion, mixing, conscious eclecticism, variability of perception); the simultaneous coexistence of many styles (polystylism); the conceptual search for new styles; and conscious return to the origins of ethno-cultures, further rethinking of folk themes, generalization and decorativeness of Folk Art. We predict in Future the priority of functional, minimalist and polygonal styles, for some categories and services — ethno style (for food, clothing, footwear, accessories, tourism, etc.). Metaphor and other methods of visualization (hyperbole, metonymy, allegory, association) will remain the art-stylistic devices in Advertising. It is obvious that traditional media, in particular posters, will be preserved, but at the same time,there will be a gradual disappearance of print advertising and outdoor transformation towards increasing digitalization. The scientific results obtained will be great importance at the theoretical, practical and educational levels, and in general, will promote the development of Advertising Design in Ukraine. The author emphasizes that the Poster retains the position of the main advertising media, despite the rapid development of computer technologies and virtual space, and considers media design as a qualitatively new stage in the socio-cultural designing of communications and the most promising type of Design.
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Crombie, Winifred. "Critical literacy, genre and the National Curriculum dilemma." Australian Review of Applied Linguistics 18, no. 1 (January 1, 1995): 17–34. http://dx.doi.org/10.1075/aral.18.1.02cro.
Повний текст джерелаАнотація:
Abstract At one time or another most of us have probably been involved in processes we dislike whose outcomes we fear simply to subvert what we assume to be someone else’s agenda. We become involved, for example, in national curriculum planning because we believe we might be able to alter outcomes for the better. We might even believe we can subvert attempts to reinforce cultural norms in the name of ‘standards’ by ensuring that ‘access’ includes access to the ‘genres of power’. If, however, there is no direct relationship between stylistic control and access for marginalised groups to real power, if current approaches to ‘genre literacy’ actually tend to reinforce traditional pedagogical practices and even, in doing so, threaten to reconstitute the cultural deficit model our participation may actually reinforce the agendas we seek to subvert. Is there a possible, positive response to this sort of dilemma? It is argued here that in seeking a healthy fusion of power, applied linguistics is in a position to discover the appropriate response.
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Yang, Menghao. "From Grasslands to Global Beats: A Study of Mongolian Ethnic Music Integration in Chinese Pop." Pacific International Journal 7, no. 2 (April 20, 2024): 109–13. http://dx.doi.org/10.55014/pij.v7i2.583.
Повний текст джерелаАнотація:
This study goes into the integration of Mongolian Ethnic Music into Chinese pop culture, exploring its historical roots, musical characteristics, and contemporary manifestations. Mongolian Ethnic Music, rooted in millennia of tradition and nomadic heritage, reflects the spiritual essence and cultural richness of the Mongolian people. Through an examination of ancient origins, influences of shamanism and Buddhism, and modern developments, the evolution of Mongolian music is traced, showcasing its diverse melodic, rhythmic, and tonal qualities. The classification of Mongolian music genres and styles, including the Hulunbuir, Xilingol, Ordos, and Alxa styles, highlights regional distinctions and stylistic variations. Furthermore, the study examines the integration of Mongolian Ethnic Music into Chinese pop through the works of renowned musicians such as Tengger, Han Lei, and Dege Ma, exemplifying a fusion of traditional melodies with modern sensibilities. Ulan Tuya, Qi Feng, and Yang Weiling represent contemporary artists contributing to the diversification of Chinese pop music with their unique styles. This exploration underscores the cultural significance of Mongolian Ethnic Music as a bridge between traditions, enriching the global music landscape while preserving the heritage of the Mongolian people.
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R A, Lajapathi Durai, Mr Joshua Daniel, and Dr K. Mathan. "Generating Artistic Images Through Neural Style Transfer Using Machine Learning and Image Manipulation Techniques." INTERANTIONAL JOURNAL OF SCIENTIFIC RESEARCH IN ENGINEERING AND MANAGEMENT 08, no. 10 (October 5, 2024): 1–15. http://dx.doi.org/10.55041/ijsrem37820.
Повний текст джерелаАнотація:
Neural Style Transfer (NST) is a computational technique that merges the content of one image with the stylistic characteristics of another, creating visually appealing compositions. Leveraging deep learning and image processing, this method separates andcombines the content and style of input images using convolutional neural networks (CNNs). The content representation of an image is captured by the high-level features extracted from a pre-trained CNN, while its style is characterized by the statistical correlations of features at multiple network layers. It explores the fusion of machine learning and image processing techniques in NST. Initially introduced by Gatys et al., NST has gained popularity due to its ability to generate artistic renditions and novel visualizations. The process involves extracting content and style features from separate images and optimizing a generated image to minimize differences in content and style representations. In this work, explored into the underlying concepts and technical aspectsof NST. This proceedings discussed the utilization of pre-trained CNN models like VGG19 or ResNet for feature extraction and how optimization algorithms, such as gradient descent, iteratively refine the generated image to achieve a fusion of content and style. Additionally, This development has been examined the impact of hyper parameters and layer choices on the quality of stylized outputs.Mainly this technology focuses on reduction of total variation loss, which we incur during the style transfer.These proceedings has carried on work with VGG19, XCEPTION, EfficientnetB7. These findings show how Convolutional Neural Networks can learn deep image representations and show how they may be used for sophisticated image synthesis andmodification.
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Yakhno, Olena. "Vocal stylistics in rock music: dialectics of general and special." Aspects of Historical Musicology 21, no. 21 (March 10, 2020): 279–92. http://dx.doi.org/10.34064/khnum2-21.18.
Повний текст джерелаАнотація:
The article aimed to identify the specific features of vocal style in rock music. This issue is considered in a complex way proceeding from the integral system of vocal intonation in its origins and evolution. It is noted that the vocal component in rock music is a synthesis of diverse origins, among which the primary and comprehensive is the song beginning, presented in all the diversity of its manifestations. Being assimilated into the forms of professional music-making, which include rock music and its historically closest source – jazz, the song component in rock music becomes the basis of meaning expression, takes the stage forms of representation, supplemented with various visual and acoustic effects and comes out to the stadium spaces with audience of many thousands. For the first time, the article proposes a systematization of those dialectical processes that were resulted in vocal rock stylistics and determined its fundamental pluralism – verballinguistic and musical-intonation, combined with social indication characteristic of rock aesthetics The article supports the idea, that vocal stylistics is a two-component concept in which two levels of terminological generalization are combined – general (“stylistics” as a set of techniques and methods, by which a music composition is created) and specific (“vocal”, which is determined by the genus of the music and its performers as a functional basis of genre). Any stylistic phenomenon, despite its concreteness, is characterized by the qualities of a meta-system, which is reflected in such concepts as “historical stylistics”, “genre stylistics”, “national stylistics” (E. Nazaikinsky). The specific stylistics, derived from the “style of any kind of music” (V. Kholopova), has the same qualities. Among them there is the vocal style which is associated with the musical implementation of the speech line, including such different forms of intonation as recitative, declamation, cantilena, also the song itself as a musical genre that incorporates all the features of “musical speech” (B. Asafiev). Therefore, the song, as the primary genre in the system of vocal intonation, was produced in the syncretism of playful forms of musical art, which included music, dance, and ritual (J. Huizinga). Keeping the quality of “conservatism” (O. Sokolov), the song on the way of its historical and evolutionary development acquired wide range of forms, being performed in different stylistic conditions and in different genre interpretations. The most general unification of multiformity of the song culture is the theory of three layers (V. Konen), in each of which it is presented as primary vocal intonation. However, despite its general origins, arising from the formula “a voice is a person” (E. Nazaikinsky), vocal art within each of the three layers – folklore, academic and the “third” – is distinguished by a number of specific features. A certain differentiation is also observed within each stratum, which also applies to the “third”, which is distinguished as something middle between folklore and academic. In the most general terms, “non-academic” vocals are distributed between such types of “third” music (V. Syrov) as jazz, rock and pop music. This article offers a comparative characteristic of the peculiarities of the varietyized forms of vocal style in rock music and jazz. Along with the general aesthetic, communicative and technological aspects, significant differences are observed here. The main one is the dominance of the vocal beginning in rock music and instrumental in jazz. At the same time, having emerged on a semi-folklore basis, as well as under the influence of entertaining forms of dance youth music of the 50s of the last century (rock & roll, youth protest songs, soul, funk, etc.), rock music has developed its own system of vocal intonation, which is distinguished by: 1) the priority of word over the music; 2) a special approach to improvisation, the role of which is less significant in rock compositions than in instrumental jazz (the exception is scat improvisation); 3) the tendency towards the revival of the genre of “poems with music”, which is peculiar to the academic song culture of Europe in the late 19th – early 20th centuries. The article proves that the “whateverism” of rock (V. Zinkevich) is not only in the variety in the “intonemas”, which are used in it (E. Barban), but also in all kinds of “splitting” of the vocal and the instrumental rock compositions into genre and stylistic subspecies. Acceleration of the processes of assimilation and modification of the intonation complexes, due to the system of musical mass culture, allows observation, since the second half of the XX century, the different hybrid varieties (jazz-rock, folk-rock, etc.) and the relatively new forms of vocal and speech music (freestyle, fusion) making with the connection of dance and theatrical components (disco, hip-hop, rap, R&B). On this basis, the vocal rock style is formed, which, however, has its own specifics. It always tends to the synthesis of music and words, and the word is often a priority and defines the ideology of rock as of a system of ideological and artistic communication. Based on the abovementioned, the conclusions are about the presence of processes of dialectical interaction in the vocal style of rock of the general (patterns of vocal sound, forms of the relations between music and word, genre origins of prototypes) and the special (their realization, at the level of aesthetics and poetics, – rock as a “way of thinking” and “lifestyle”, according to V. Zinkevich). It is noted, that the study of these processes supposes referring to specific samples – styles and compositions of rock bands confessing different points of view due to their art and the role of the vocal component in it. As the perspective, the national aspects of vocal rock stylistics need the studying, including such a little researched one as the Ukrainian.
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Cimaglia, Riccardo. "Relative indirette libere e causali indirette libere nella narrativa italiana ottocentesca." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 48, no. 2 (December 5, 2013): 221–53. http://dx.doi.org/10.1075/rro.48.2.02cim.
Повний текст джерелаАнотація:
In this paper I will analyze two subordinate clauses which can be frequently found within free indirect reported speech (FIRS, in the paper DIL): relative and causal clauses. After a short illustration of FIRS I will examine the two clauses with an analysis of the passages in FIRS from Italian narrative literature of the XIX century (especially Manzoni and Verga). A relative or a causal clause can recur within a FIRS passage, can open it or can constitute on its own a FIRS passage becoming, respectively, free indirect relative clause (FIRC, in the paper RIL) and free indirect causal clause (FICC, in the paper CIL). FIRC and FICC share two peculiarities: a) They have a rhematic function; b) They are cases of “hypotactizated parataxis” (FIRC and FICC, as subordinate clauses, connect a FIRS passage to the diegesis without the break of the normal FIRS, paratactically juxtaposed to the narratum). For this last peculiarity FIRC and FICC represented two important stylistic means for the novelists of the Realism to attain the impersonality of the author in the novel through a close fusion between the voice of the author and the voice of the characters.
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Tahira Ghafoor and Dr. Ghazal yaqoob. "Study of Mirza Hadi Ruswa's writing style." Dareecha-e-Tahqeeq 4, no. 3 (October 30, 2023): 22–27. http://dx.doi.org/10.58760/dareechaetahqeeq.v4i3.132.
Повний текст джерелаАнотація:
Mirza Hadi Ruswa (1857_1931) is one of Mirza Hadi Ruswa's writing style is marked by its unique blend of prose and poetry, resulting in a distinctive and eloquent narrative. His most renowned work, "Umrao Jaan Ada," exemplifies this stylistic fusion, making his writing captivating and melodious.Ruswa's prose is characterized by a rich vocabulary, intricate sentence structures, and a sense of refinement. He weaves poetic elements into his narrative, creating a lyrical quality that engages the reader. Through meticulous attention to detail and vivid descriptions, Ruswa breathes life into his characters and settings, allowing readers to immerse themselves fully in the story. Beyond its aesthetic appeal, Ruswa's style serves as a vehicle for social commentary, exploring themes of love, society, and the human condition with subtlety and insight. His literary finesse endures as a timeless treasure in Urdu literature, ensuring his lasting legacy as a masterful writer. the famous and well-known classic writers of Urdu. Mirza Hadi’s reason for fame is his novel Umrao Jaan Ada.He was a versatile genius and one of the pioneer of the Urdu novel. The present study analysis the writing style of Hadi Ruswa especially in the context of his novels.
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Faizullina, Nargiza Damirovna. "Functional-semantic and expressive potential of the oxymoron in Russian poetry of the XIX century." Филология: научные исследования, no. 8 (August 2022): 47–54. http://dx.doi.org/10.7256/2454-0749.2022.8.37161.
Повний текст джерелаАнотація:
Abstract The present article is devoted to the study of antonyms as a stylistic device based on opposites and contradictions, the identification of means of expressiveness. The object of the study is the stylistic figure “oxymoron", considered on the material of poetry of the XIX century. The purpose of the research is to reveal and comprehend the specific essence and features of the oxymoron as a category of poetics, to identify the relationship with the verbal poetic image as a kind of absurdity and paradox. The acceptance of speech paradoxes is explained by allophrony. Special attention is paid to the structural and semantic possibilities of an antonymic pair in the context of a deliberately used speech error. The work is carried out in line with the descriptive method of linguistics. The results of our linguistic research allow us to draw some conclusions: that the linguistic phenomenon is an oxymoron, is anomalous to words with a direct meaning and is characterized in science as a paradox. The acceptance of speech paradoxes, despite the contradictions, is explained by allophrony. The increased expressiveness of the oxymoron is achieved by contrasting, opposites, a combination of epithets incomprehensible to logic, in which a vivid manifestation of feelings, moods, thoughts is expressed, it is implied as an incorrect, unfair combination of ideas in one whole, that is, as a violation, as something that does not have the right to exist in a work of art due to inconsistency, logically mutually exclusive each other even before direct interaction. The oxymoron as a phenomenon of poetic and empirical reality is used as metaphorical names of any physiological deviations in the description of heroes, anomalies in nature containing a paradox. The minimal structure of the oxymoron is a phrase, it is the result of a fusion of contrasting meanings. An adjective and a noun interact in an oxymoron, less often an adverb and a verb, a verb and a adverb, an adverb and an adjective.
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Zonghui, Zhang. "THE INFLUENCE OF EUROPEAN ART ON CHINESE OPERA CULTURE." Scientific Journal of Polonia University 58, no. 3 (September 1, 2023): 221–27. http://dx.doi.org/10.23856/5831.
Повний текст джерелаАнотація:
The article examines the influence of European culture on the origin and development of Beijing opera, focusing on the penetration and assimilation of European opera's characteristic features into Chinese musical culture. It systematically analyzes these innovations within the historical context, elucidating their role and position in the broader Chinese cultural and historical processes. The study reveals that the primary avenue for introducing European musical canons was through school songs, which, due to their simple composition and ease of performance, served as the basis for incorporating structured European approaches into Chinese music. It notes that the creation of the first officially recognized Chinese opera, “Grey-hair Girl”, followed the emergence of Children's Operas, which exhibited elements of Europeanization while retaining their melodic structure. The conclusions highlight that the development of the European experience within the opera genre unfolded in tandem with the evolution of compositional and dramatic patterns derived from Western opera. However, on a musical and stylistic level, Chinese composers remained rooted in the national tradition, endeavoring to achieve varying degrees of successful fusion between Western form and national content. It was only towards the latter part of the 20th century that a harmonious symbiosis began to emerge, integrating the organizational aspects of opera from the European experience with Chinese identity at different levels.
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Mildawani, Irina, and Djoko Darmawan. "Cultural Character Analysis on Architectural Elements of the Chinese Temples’ Buildings before the 19th Century in Central Java." Humaniora 14, no. 3 (February 21, 2024): 257–64. http://dx.doi.org/10.21512/humaniora.v14i3.8061.
Повний текст джерелаАнотація:
The research provided an in-depth exploration of the architectural nuances of pre-19th century Chinese temples in Central Java, Indonesia, emphasizing their cultural significance and relevance. A detailed examination of a range of temples identified unique architectural features that reflected a sophisticated synthesis of Chinese cultural elements and local Javanese traditions. Applying a qualitative method, the research integrated historical scrutiny with architectural analysis, meticulously examining stylistic attributes, construction methodologies, and decorative patterns typical of these temples. The key discoveries highlight an intricate amalgamation of traditional Chinese architectural principles with native materials and craftsmanship, culminating in a distinctive, hybrid architectural form. This fusion not only symbolizes the cultural convergence and assimilation between Chinese immigrants and the indigenous Javanese during the pre-colonial era but also underscores the role of these temples as pivotal preservers of Chinese cultural heritage in Java. Furthermore, the research contributes to a deeper understanding of the diversity within architectural practices and offers insightful perspectives on the historical and socio-cultural dynamics in Central Java. The novelty of the research is anchored in its focused examination of a historically and geographically specific context, its interdisciplinary and thorough approach, the revelation of a unique hybrid architectural style, and its significant insights into the cultural and sociological dimensions of Central Java’s architectural legacy.
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Топилин, Д. И. "Sergei Rachmaninoff — Harmony of West and East." OPERA MUSICOLOGICA, no. 2021 (September 15, 2021): 74–94. http://dx.doi.org/10.26156/om.2021.13.3.005.
Повний текст джерелаАнотація:
Статья посвящена одной из «вечных тем» отечественного музыкознания. Вновь предпринимается попытка соотнести художественные идеалы Москвы и Санкт-Петербурга в творчестве С. В. Рахманинова на примере крупных симфонических произведений композитора. Исследовательское внимание сфокусировано на четырех элементах музыкального языка Рахманинова, объединенных в индивидуальном творческом косме. Первая симфония предстает в качестве знакового сочинения с предчувствием фатальных событий русской истории. Подчеркивается связь между концепцией Первой симфонии и художественно-стилистическим решением поздних симфонических произведений. Симфонические танцы трактуются как квинтэссенция творчества Рахманинова со всеобъемлющим доминированием трагического начала —условное «повторение» драматургии Первой симфонии. Article is dedicated to one of the “eternal themes” of Russian musicology. An attempt is made again to correlate the artistic ideals of Moscow and St. Petersburg in the works of Sergei Rachmaninoff on the example of major symphonic works. Research is focused on four elements of Rachmaninoff ’s musical language, united in the individual creative cosm14. The First Symphony appears as a landmark work with a presentiment of fatal events in the Russian history and the further evolution of composer’s thinking. The connection between the concept of the First Symphony and the artistic and stylistic solution of the later symphonic works is emphasized. Symphonic dances are interpreted as the quintessence of Rachmaninoff ’s art due to fusion of previously announced elements with the all-encompassing dominance of the tragic beginning — a conditional “repetition” of the drama of the First Symphony.
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Rossi, Riikka. "Transgression, Nostalgia, Order: Representation of the Primitive in Émile Zola's La Terre and Knut Hamsun's Markens grøde <\i>." Nordlit 15, no. 2 (March 27, 2012): 257. http://dx.doi.org/10.7557/13.2282.
Повний текст джерелаАнотація:
This article examines the representation of the primitive in two peasant novels, Émile Zola's La Terre (1887, trans. as The Earth) and Knut Hamsun's Markens grøde (1917, trans. as Growth of the Soil). The concept of the primitive crosses a wide range of issues that were central to naturalist and decadent literature at the turn of the twentieth century, from unconscious instincts to the fascination with exotic cultures. It thus offers a fruitful medium for the comparative reading of French and Nordic fiction of the era. I especially focus on analysing the diverse, representative practices of Zola's and Hamsun's works, which betray stylistic differences in their portrayal of the primitive. I suggest that by describing the primitive as a vital, transgressive force that even turns against itself - against nature - Zola's La Terre creates a decadent version of the primitive, which, instead of a "serious", naturalistic portrayal of everyday life, is drawn to the brutal, instinctive primitive and uses the primitive to create vital forces of transgression. Hamsun's neo-naturalist novel, in turn, reconfigures the naturalist themes in a new form and envisions a fusion of the Darwinian, naturalistic primitive and the Romantic cult of innocent primordiality, suggesting the primitive lifestyle as a nostalgic return to a pre-modern lifestyle and a turn away from the degeneration of modernity.
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Strekalova, Ksenia Valerievna. "Systematization of phraseological units of English-language legal discourse." Philology. Issues of Theory and Practice 17, no. 5 (May 21, 2024): 1536–43. http://dx.doi.org/10.30853/phil20240223.
Повний текст джерелаАнотація:
The purpose of the research is to develop a thematic classification of English phraseological units functioning within the framework of legal discourse, taking into account their correlation with the professional world picture of a lawyer. The scientific novelty of the research consists in the fact that the author created a thematic classification of phraseological units according to the principle “from the concept – to the phraseological unit”, which can become the basis in the compilation of an ideographic dictionary of English phraseological units under study. As a result of the research, it was substantiated for the first time that all phraseology of the macro field “Law” can be divided into three phraseological fields: general legal phraseology, phraseology of procedural law and phraseology of substantive law. The analysis undertaken showed that the identified fields of phraseological units include phraseological units of a terminological or non-terminological nature, which can differ in their structure, origin, stylistic marking, semantic fusion, and degree of correlation with the legal sphere. The results obtained indicate that phraseological fields are open and dynamic. In the course of the research, it was also established that the phraseological field of substantive law is the most voluminous in quantitative terms and heterogeneous in relation to the concepts represented, which made it possible to further systematize it with the allocation of phraseological microfields. The study is conducted on the basis of the English language.
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Xu, Wenhe. "A comparative analysis of VGG19 and Magenta models for Neural Style Transfer." Applied and Computational Engineering 49, no. 1 (March 22, 2024): 236–41. http://dx.doi.org/10.54254/2755-2721/49/20241238.
Повний текст джерелаАнотація:
In recent years, artificial intelligence (AI) has witnessed remarkable progress, with deep learning techniques playing a pivotal role in this transformative journey. One prominent facet of this progress is Neural Style Transfer (NST), a domain within computer vision and image processing. NST entails merging the content of one image with the stylistic attributes of another, resulting in a seamless fusion of content and style. This paper presents a comprehensive comparative analysis of two influential style transfer models, VGG19 and Magenta, shedding light on their strengths and limitations. VGG19, a well-established convolutional neural network, excels in feature extraction, dimensionality reduction, and image classification, making it ideal for computer vision tasks. In contrast, Magenta, a creative content generation framework, specializes in producing innovative content, such as music and art, while promoting human-AI collaboration. Evaluation reveals that Magenta's generated images tend to exhibit softer colors but higher clarity, while VGG19 produces vibrant and faithful color reproductions with finer details. The choice between these models should be driven by specific task requirements. VGG19 is suitable for tasks emphasizing color fidelity, while Magenta excels in image clarity. Future research directions may involve enhancing algorithmic capabilities to harness the strengths of both models and improving efficiency in style transfer techniques. This analysis empowers researchers, practitioners, and enthusiasts to make informed decisions when selecting a model aligned with their objectives, contributing to the evolving landscape of AI-assisted creative content generation.
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Krupnova, N. A. "Word Formation and Semantic Features of Composites in Verbal Word-Forming Nests With the Base Word ‘Lyubit’/ ‘Lieben’ in Russian and German." Professional Discourse & Communication 6, no. 2 (June 27, 2024): 82–98. http://dx.doi.org/10.24833/2687-0126-2024-6-2-82-98.
Повний текст джерелаАнотація:
The aim of this study is to identify the word formation, semantic, and stylistic features of words with complex bases within Russian and German verb nests, centered around the base verbs lyubit’ / lieben (‘to love’). This research unveils the word-forming and semantic potential of these base verbs by analyzing their complex derivatives and comparing the composites derived from lyubit’ and lieben. Empirical data were collected through continuous sampling, and the word formation analysis method was employed to describe the formation processes of the units in question. Epidigmatic analysis was utilized to examine their semantic structures, complemented by quantitative assessments of frequency and distribution. The findings indicate that word composition is the predominant method of forming complex words in both languages’ verb nests, with a notable prevalence of composite nouns that exhibit a subordinate relationship between bases and are monosemantic. The study also reveals that while fusion is a method of producing composites in Russian, in German, it is limited to compound words. Reduplication, as seen in Russian composites like lyubish-ne-lyubish (‘love-not-love’), is absent in German. The study concludes, that the analyzed words are integral to the professional lexicon of psychologists, criminologists, biologists, botanists, and others. Beyond their terminological meanings, these complex lexemes encapsulate cultural concepts that mirror the mentalities of Russian and German speakers. Recognizing these concepts is crucial for effective communication across various fields, particularly in professional contexts.
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Petrova, Anastasiya Dmitrievna. "Metaphor and metonymy in translation: transformation of images in Russian versions of Guillaume Apollinaire's works." Litera, no. 1 (January 2024): 182–91. http://dx.doi.org/10.25136/2409-8698.2024.1.69434.
Повний текст джерелаАнотація:
This study is devoted to the nuances of metaphor and metonymy translation, in particular, to the works of Guillaume Apollinaire and their Russian translations. The article begins by defining the theoretical foundations of metaphor and metonymy, drawing on linguistic and cognitive theories to emphasise their importance in literary discourse. It then provides a thorough analysis of Apollinaire's unique stylistic elements, highlighting the fusion of visual and verbal poetics and how these aspects pose a challenge to the translator. The main part of the study is an in-depth analysis of selected Apollinaire works, offering a comparative analysis of the original French texts and their Russian counterparts. This segment highlights the difficulties inherent in translating Apollinaire's rich metaphorical and metonymic language, marked by a characteristic combination of visual imagery and linguistic innovation. The study uses a range of linguistic examples to demonstrate both successful and problematic translation solutions, providing a multifaceted insight into the translation process. The paper then examines the specific difficulties of translating metaphor and metonymy into Russian, given the linguistic and cultural differences between French and Russian. It presents various translation techniques such as substitution, modulation and word-for-word translation and evaluates their effectiveness in bridging the gap between the two languages. The study also critically examines examples where direct translation fails to convey the essence of the original, emphasising the importance of cultural context and idiomatic appropriateness in translation. The conclusion summarises the findings, highlighting the crucial role of cultural and cognitive considerations when translating metaphors and metonymies.
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Sultan Atef Al - Isse, Sultan Atef Al Isse. "The sword is represented in the poetry system of Al-Mutnabi." المجلة العربية للعلوم و نشر الأبحاث 4, no. 4 (December 30, 2018): 93–80. http://dx.doi.org/10.26389/ajsrp.s110818.
Повний текст джерелаАнотація:
Deals with the subject of the sword in the poetry of Al-Mutnabi by studying the poetic presence of this thing in his poetry. The problem of research is how Al-Mutanabi uses the stylistic mechanisms and tools of the sword system and the relationship of this system to its cultural system and its presence in the creative self of Al-Mutanabi. The research deals with the limits of the methodological method, how to use it in the text of poetry of Al-Mutanabi, the sword emerges in the system Mutanabi poetry has a close relationship with the cultural system, the sword is an external component, In a certain stage in his poetry does not exceed in his symbolism and his main function (appeal), and then turn the sword in a second stage to glowing and explosive symbolism, embodying the fusion of Mutanabi poetic in the sword , Al- Mutanabi 's tendency to intensify metaphors, focusing on conflicting dynasties, then moves on to another stage in which the sword tends towards transformation and alienation, where the symbolism of the sword is embodied in the frustrated Mutanabi,The sword moves from the physical symbol to the spiritual, indicating the success of Mutanabi in the use of the sword as a cultural symbol, compatible with the same Arab individual, and its cultural system, Based on this study, there is a need for the monetary arena, for research that shows the bright themes of the Arab heritage through the poetry of poets such as: (The Palm, the tent, the camel, the Kaaba).
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Paternu, Boris. "Pahorjeva Nekropola." Jezik in slovstvo 59, no. 2-3 (January 4, 2024): 29–41. http://dx.doi.org/10.4312/jis.59.2-3.29-41.
Повний текст джерелаАнотація:
The key existential question of Pahor’s novel Necropolis (1967) is that of man surviving terrible violence, surviving in “a world of the ultimate negation”. There are a number of positions of power within powerlessness, from an identification fully adjusted to the given reality, including a conscious exclusion of all other thoughts and emotions and exits from “mere existence”, to the resistant mental reflexes of the primeval social ethos, humanism or political stability. It is a case of the different levels of resisting “moral intelligence” (Georg Steiner). However, the innermost virus of “resilience” in Pahor is located neither in ideology nor in philosophy, but in his unspoilt love of life and in a defiance that was made even more determined by fascism with its genocidal policy towards Slovenes. Pahor’s novel has a style structure that is multifaceted and dynamic. It deviates significantly from labour-camp verism or “suprarealism” (Levi’s concept), displaying a preference for a narrative of metaphors, personal expression and the surreal. This narrative is a fusion of personal testimony realism and strongly imaginative narration; it is, in a sense, a conjunction of a document and poetry. The spiritual and stylistic blueprint of Necropolis becomes even more distinct when positioned next to Primo Levi and Imre Kertész, or even Dostojevsky, as a kind of pioneer of the labour-camp novel. Pahor takes the labour-camp novel on a completely new, specific path, perhaps a Slovenian path. The tradition of symbolism and expressionism has been rather strong in Slovenian literature. Pahor chose a motto by Srečko Kosovel for the novel.
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Stetsiuk, R. A. "Saxophone in jazz: aspects of paradigmatics." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (November 20, 2019): 177–99. http://dx.doi.org/10.34064/khnum1-53.11.
Повний текст джерелаАнотація:
Objectives, methodology and innovation of the study. The research aim is to identify of specifics of the saxophone “image” in light of esthetical and communicative paradigms of jazz. The paradigmatic approach to the objects of musical composition, including the art of jazz, allows reviewing the most general aspects of its development, including varietal instrumental (in particular, saxophone) stylistics. The appearance and strengthening of the position of saxophone in jazz that took place in the first decades of the 20th century heralded the general flourishing of this type of instrumental art, elevating it to the level of the most in-demand ones in the public music practice. This article puts forward and proves the thesis that the course of evolution of saxophone in jazz – traditional (before bebop) and modern (after it) – has synchronized, in terms of esthetical and communicative features, with the general movement and the changes of its paradigms: from realistic and transitional (conventional-autonomous), in terms by Aleksandr Soloviev (1990) to radical-phenomenal. This study outlines, for the first time, the path of movement of jazz saxophone from collective (ensemble and orchestral) forms toward free improvisation in the spirit of esthetics of the newest free jazz, which does not rule out retrospection of former paradigms realized via the styles of outstanding jazz saxophone players: from Coleman Hawkins, Lester Young and Charlie Parker to John Coltrane, Ornette Coleman and Sonny Rollins. The results of the study. It was noted that the sound image of saxophone, distinguishable for a paradoxical combination of certain “sweetness” and extremely expression, turned out to be the most consonant with the stylistics of jazz instrumentalism, where a number of aerophones tested by European academic practice, such as trumpet, clarinet, trombone and other, appeared in a fundamentally new light. The sources of saxophone’s penetration into jazz were entertainment dancing genres that were popular both in Europe and in the United States at the turn of the 20th century. The solo practice of saxophone improvisation, typical for jazz, was not used back then. An ensemble featuring several saxophones was used either in dance orchestras or in jazz bands that appeared later (the first example is the sweet-band founded by Arthur Hickman in San Francisco in 1914). The ensemble practice helped bring saxophone to the leading positions in solo instrumental jazz concerting. The first virtuoso jazz saxophone players were representatives of Chicago school of the 1920s: Lawrence “Bud” Freeman, Sidney Bechet, Benny Carter, Joe Poston, Don Redman, Jimmy Strong and Frankie Trumbauer. Decades later, saxophone improvisations in swing style became an unalienable component of swing choruses, an example of which is the works by such outstanding musicians as Coleman Hawkins and Lester Young who prepared the ground for bebop with its free improvisations of original tunes (an example is the works by Charlie Parker). The article notes that the taking of front stage by an improvising saxophone player in esthetical and communicative aspect was reflected in the formation of a sort of object paradigms (according to A. Soloviev), the first among which were “realistic” ones based on the syncretism (inseparable unity) of musicians and listeners. The “interchangeability” principle applied there, when any participant of communication was poly-functional in terms of the ruling function (the examples include saxophone sweet bands of the 1920s, communicatively related to blues). The conventional-autonomous paradigmatics in saxophone jazz art began developing in the bebop era, which saw the appearance of a clear demarcation line between musicians and the audience. Saxophone improvisations of such musicians as Charlie Parker and his followers heralded formation of the saxophone concert style, which in many aspects is close to academic practice. “Phenomenologization” of saxophone jazz performance became a direct continuation of “autonomization”, walking off via the complete freedom from any stylistic norms (an example is the works and esthetics by Ornette Coleman with his “no any wave” principle). In these conditions, the esthetics of the complete “freedom from…” were joined by the radical demand for “otherness”, i.e. the quality of a unique order when a jazz musician shows something new, something that “never existed” before in almost every improvisation. However, as we know, anything “new” most often means well-forgotten “old”, which is reflected in saxophone jazz stylistics via the combination of the “free” and “fusion” principles. Jazz, including its saxophone version, went quite a long way of development, and along this way, its paradigms were not historical “milestones” per se, but rather logical principles potentially preserved in the memory of jazzmen who think in the language of their art. There is another important point: continuous struggle that took place (and which still takes place) between elite and mass culture, concerning the language of this art in which one can expect the appearance of the most diverse elements, from the improvisation techniques created by the traditional folk cultures towards the academic avant-garde esthetics and writing techniques marked as collage and polystylistics. Such a “splitting” in saxophone jazz stylistics allows to identify a whole complex of means and techniques mirroring esthetical-communicative paradigms of jazz in their separate and interrelated combination: 1) the “free” principle that has appeared within the framework of jazz “realism”; 2) the idea of dramatization typical for “conventions”; 3) the category of “freedom from…” denying previous paradigms but at the same time having direction toward genetic origins. Conclusions. The saxophone in jazz has gone through a rather complicated path of formation, but has retained the status of one of the “title” instruments symbolizing this art. Like jazz in general, its saxophone “branch” developed in line with a kind of aesthetic “splitting”, in which the instrument was thought as belonging to pop culture (pop jazz), then used as part of an elitist style close to academic avant-garde (free jazz). The path of the saxophone in jazz is traced in connection with aesthetically communicative paradigms, in the context of which the attitude to this instrument was formed among the jazzmen themselves and the public. In the early stages (“realistic” paradigms), the “pop” role of the saxophone was cultivated; then there was “autonomy”, the main feature of which was the selection of virtuoso soloists; under the latest phenomenological paradigms, saxophone art is divided into various stylistic movements, from folk and funk trends to complete freedom from any style standards in individual solo improvisations. The prospects for further research of this theme are seen in the study of individual styles and patterns of jazz saxophone improvisation, both “schoolish” (the paradigm of a particular school of saxophone playing) and “personal” (the work of leading jazz saxophonists). The stylistic approach will make it possible to single out and correlate the “general” and “individual” in the sound image of this instrument, which has become one of the personifications of modern music.
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ARHIRE, Mona. "Explicitation, simplification and neutralisation in the translation of reference." Journal of Linguistic and Intercultural Education 13 (December 1, 2020): 29–43. http://dx.doi.org/10.29302/jolie.2020.13.2.
Повний текст джерелаАнотація:
Recurrent features of translation, sometimes labelled as ‘translation universals’, have been intensively investigated within Descriptive Corpus-based Translation Studies. Numerous language pairs have been set under researchers’ lens with a view to observing languages from a contrastive viewpoint, but also individually, in their translational manifestations. This has enabled the identification of characteristic features of the translational facets of languages, which have generated more and more nuanced scholarly theories. This paper examines the occurrence of some of the most frequent features of translation, namely: explicitation, simplification and neutralisation in the translation of reference as a cohesive device. Methodologically speaking, the investigation combines the theoretical and applied areas of Translation Studies, with an interdisciplinary dimension provided by the fusion of methodological input borrowed from Descriptive Translation Studies, Discourse Analysis and Contrastive Studies. The theoretical component of the research refers to issues of contrastiveness between English and Romanian viewed from a translational angle, in terms of equivalence and the occurrence of the three features of translation. The applied area of Translation Studies comprises the empirical approach to the translation of reference, while addressing not only the researchers’ community, but also the practitioners in translation and the translator training environment. The research applies both quantitative and qualitative methods to investigate the data selected from John Fowles’ novel Mantissa (1982) and its translation into Romanian by Angela Jianu (Fowles 1995). The findings provide insights into the nature and functions of referring expressions as formal links, but also as stylistic devices, and shed light into issues related to contrastiveness of reference between English and Romanian, to aspects of equivalence and translatability, as well as to the occurrence of translation universals.
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Gusić, Monika. "Ottoman religious architecture in Croatia." St open 3 (April 28, 2022): 1–33. http://dx.doi.org/10.48188/so.3.3.
Повний текст джерелаАнотація:
Objective: To provide a description and analysis of built, surviving, and lost Ottoman religious monuments in Croatia within the historical and sociopolitical context. Methods: Based on the analysis of relevant published sources, historical maps, online sources, as well as site analysis, we provide a description of Ottoman architectural, religious, and cultural heritage in the contemporary Croatian regions of the Dalmatian hinterland and Slavonia. This includes the art historical interpretation of the remains of the three surviving 16th-century domed mosques in three Croatian towns: Klis (today, the Catholic Church of St. Vitus in the Fortress), Drniš (now incorporated into the Catholic Church of St. Anthony held by the Franciscans), and Đakovo (today, the Catholic Church of All Saints). Results: The period of Ottoman rule saw the construction of a great number of Ottoman religious buildings in what is now the territory of the Republic of Croatia. There were two methods of mosque establishment: from the ground up, or by repurposing an older building, generally of Christian origin. With cessation of Ottoman rule these objects decayed and became less interesting for reutilization for Christian religious purposes. Many such converted objects perished in spite of their new utilization. The site analysis revealed the continuity of these sacred places in spite of religious conversion of the sacral site. Conclusion: The introduction of Ottoman architectural and urbanistic features was the defining feature of urban development in Croatia during the Ottoman era. In the settlements, the Ottomans built both sacral and utilitarian profane buildings, but Ottoman religious buildings were the most prominent. In the territory of present day Croatia, only three such Ottoman places of worship remain in existence as structures, albeit reconverted into Catholic churches. Today, due to the conversion and renovation works, they represent a fusion of several stylistic periods.
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Yemelyanova, Olena, Mariia Titareva, and Tetiana Popova. "THE PECULARITIES OF SEMANTIC COMPRESSION IMPLEMENTATION IN POPULAR ENGLISH TALK SHOWS." Research Bulletin Series Philological Sciences 1, no. 193 (April 2021): 127–33. http://dx.doi.org/10.36550/2522-4077-2021-1-193-127-133.
Повний текст джерелаАнотація:
The article deals with the analysis of semantic compression application in popular English talk shows. The purpose of this paper is to define language compression, to outline the expediency of its use in English media discourse, to name ways of compression implementation in popular talk shows and to consider the level of influence of principle of linguistic efforts economy on achieving communicative goals between interlocutors. Basic information on the concept of linguistic compression and features of its use at different language levels, in particular phonetic, morphological, lexical, semantic and syntactic is presented. Linguistic compression is used in oral and written discourse, in formal and informal texts. The text gives valuable information on the structure and characteristics of media discourse, its grammatical, lexical and phonetic features. The article focuses on a detailed analysis of the main linguistic means that serve to reduce the symbolic structure of language, which leads to the brevity of expression, contains the data on key properties of linguistic compression that help make the text more concise. Special attention is paid to the phonetic methods of linguistic compression in English talk shows: it is manifested through such means as reduction, assimilation, loss, fusion and other processes. Among the syntactic means of compression, such methods used for linguistic efforts economy as contamination, segmentation and parceling, ellipse, univerbation, abbreviation, composite words, inclusion and use of foreign words or components are analyzed. The article points out the importance of adequate transfer of information with preservation of expressive nuances and observance of stylistic language norms. The article is of interest for further researches on the topic of linguistic efforts economy in oral and written speech styles, can be used in researches in linguistics, lexicology, phonetics.