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Copyright of Journal of Comparative Literature is the property of Shahid Bahonar University of Kerman, Department of Persian Language & Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Selcuk Communication / Selcuk Iletisim is the property of Journal of Selcuk Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergy (1841-7191) is the property of Editura ASE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergy (1841-7191) is the property of Editura ASE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergy (1841-7191) is the property of Editura ASE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergy (1841-7191) is the property of Editura ASE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Synergy (1841-7191) is the property of Editura ASE and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Comparative & International Education is the property of Canadian & International Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study offered a detailed cross-disciplinary analysis of master thesis titles (MTTs) in the fields of Linguistics and Literature, focusing on the variations in title length, syntactic structure, and lexical features. Utilizing a corpus-based approach, the research analyzed 1,000 MTTs from 25 top universities in China, employing both quantitative and qualitative methods to explore how titles reflect disciplinary conventions. The quantitative analysis revealed that Linguistics titles were typically longer and utilized complex nominal structures with a higher lexical density of substantive words, emphasizing precision and detailed content communication. In contrast, Literature titles demonstrated greater syntactic diversity and lexical variety, reflecting a broader thematic scope and adaptability in narrative and thematic expressions. Qualitatively, the study highlighted how these features aligned with the distinct cultural and academic settings of each field. The findings suggested that while Linguistics titles focused on analytical depth, Literature titles incorporated more creative and interpretative elements. This research provided valuable insights into the construction of thesis titles and suggested practical applications for enhancing academic communication across disciplines. [ABSTRACT FROM AUTHOR]

This study analyzes the types of reporting verbs employed in the literature review chapters of Master of Philosophy theses from the Agriculture, English and Mathematics departments at the Kwame Nkrumah University of Science and Technology (KNUST), Ghana. The mixed method technique was employed for data collection. Using both purposive and simple random sampling, forty-five (45) Master of Philosophy (MPhil) theses constituted the study’s dataset. Employing a descriptive, content, and inductive analysis, the study found that discourse act verbs, research act verbs, and cognitive acts verbs were all used in the literature review chapters of MPhil theses in Mathematics, English and Agriculture. Overall, it was observed that the verbs were employed in varying degrees and that reporting verb usage is a discourse-defined attribute, influenced by the idiosyncrasies of the discipline in question. The contribution of this study lies in the light it throws on the usefulness of reporting verbs in research works and how reporting verbs ought to be selected carefully. The study also contributes to the body of knowledge on academic discourse in general, and particularly on citation and reporting verbs in Africa. Finally, the study also has pedagogic implications since it highlights the need for more emphasis on the nuances of reporting verbs in teaching Research Methods to (post-graduate) students.

Online dating has become a popular stage to find a romantic partner. In such context, interlocutors must employ language carefully to reveal their intentions, attract attention and as well sustain intimacy with their potential partners. While previous studies have explored aspects such as self-disclosure and linguistic strategies in impression formation, there remains a gap in understanding the structured interactions that occur between potential partners on dating sites. This study, therefore, investigated the linguistic elements and interactional structures characterizing online dating discourse, focusing on two popular platforms, Tinder and Tagged. Adopting Halliday and Hasan’s Generic Structure Potential framework, the study examined conversations of thirty participants (potential partners) whose relationship ranges between two weeks to three months. Findings revealed seven key stages: Discourse Initiation (DI), Introduction (INTR), Question and Response (QAR), Request (RQ), Admiration (AD), Declaration of Dating Intention (DDI), and Topic Formation for Conversation (TF). Each stage is marked by specific linguistic features and serves unique functions within the communication process. DI involves friendly greetings and endearments to initiate conversation and signal interest. INTR often includes declarative statements that provide personal information, establishing familiarity and a good first impression. QAR facilitates information exchange through questions and responses. RQ, predominantly by males, involves polite modal verb constructions to move the conversation to more personal platforms or obtain further information. AD includes compliments and positive affirmations to express appreciation and create a positive interaction tone. DDI features direct and indirect questions about relationship status to clarify the intent behind the interaction and define the nature of the potential relationship. Finally, TF sustains conversation with statements and questions about daily activities and interests. This study contributes to the broader understanding of professional discourse by analyzing the structured linguistic strategies and interactional patterns employed in online dating, demonstrating how individuals strategically use language to manage impressions, negotiate intentions, and build relationships – skills also crucial in professional communication.

The article examines the development of such a genre variety as the photoeкphrastic detective, embracing the period of the 1950s to the 1980s of the 20th century. The paper reveals the genre-forming potential of photographic eкphrasis, presented in the texts in the form of photograph descriptions found in classical detective literature (analyzed on the bases of A. Christie’s novel Mrs McGinty’s Dead, 1952) and its postmodernist version – in T. Findlay’s novel The Telling of Lies: A Mystery, 1986. Photography in the novels by A. Christie and T. Findlay helps the detectives (H. Poirot and Vanessa Van Horn, respectively) in the process of investigating a crime, but the degree of its being solved remains different. This is explained by the writer’s understanding of photography as an artifact, primarily determined by the general cultural situation. In the fi rst instance, a photograph acts as a document characterized by the unambiguous force of evidence, it allows to fi nd and punish the perpetrator; in the second one, the photograph acts as a visual artifact that challenges the photo-detective: its interpretation being ambiguous and directly connected with the narrative of the Other. The investigation in the novel The Telling of Lies is accompanied by Vanessa’s traumatic memories of her past during the Second World War, refl ected in her diary, which actualizes the confessional discourse. The interweaving of various kinds of stories in the novel – detective and personal – contributes to the actualization of major social, historical and philosophical issues. Thus, as a result of the conducted research, the author of the article comes to the conclusion that the postmodern photo-ekphrastic detective is engaged in a dialogue with the classical detective tradition and at the same time promptly reacts to the changing social, historical, political conditions, which cannot but infl uence the transformation of its genre structure.

In the basis of a special area of genre PRology as a branch of the science of public relations the authors put the criterion of the diversity of PR-information in multi-channel public communication via new media. As a subject of genre PRology, the authors consider convergence of information formats of a PR text in a multi-channel PR. In the genre revision of PR communication in social media, the genre transformations of PR texts are influenced by the following factors: 1) technological, 2) intentional, 3) structural. Technologically, PR texts functioning in the space of social networks are characterized by 1) a polycode structure, which implies the equivalence of verbal and non-verbal levels of meaning; 2) the transgressive nature of the publication, which determines the animation of the message and its transgression (movement) in the digital space. PR texts are multi-intentional in nature. Structurally, PR texts in social networks undergo three types of convergence: 1) structural or presentational, 2) discursive, and 3) genre. Structural, or presentational, convergence of PR texts in social media is associated with the allocation in the post structure of the presentation (the actual text and iconic materials) and the reaction (readers’ comments). Discourse convergence of PR-text is associated with 1) diffusion of institutional and intentional types of discourse, 2) inter-institutional discursive interaction (PR and advertising). Genre convergence of PR-texts is a genre symbiosis of three types – convergence of primary and secondary speech genres, convergence of primary simple genres of PR-text, and intermedial convergence.

This research presents the analysis of a comment as a reactive speech genre. The authors focus on its specific variation – Internet comment on various online materials (news, posts, blogs), widely presented in virtual communication. The purpose of the article is to substantiate the position that the Internet comment is a hybrid speech genre which is characterized, on the one hand, by the features of a traditional comment as a secondary genre and, on the other hand, by special features resulting from the virtual communication environment. The research solves several tasks: 1) to identify typological features of a comment as a reactive genre; 2) to establish the peculiarities of the Internet comment genre. The empirical material of the research consists of the contexts selected by a continuous sampling method from various Internet resources (news portals, blogs, entertainment news sites). The research is based on comparative method and the method of discourse analysis. As a result of a complex, intergrated analysis of various types of comments, a number of features inherent with the genre of the Internet comment have been revealed: polysubjectivity, the realization of centripetal and centrifugal tendencies which determine the development of dialogue between users, reflecting the subjective perception of the source text by the authors of Internet comments and their subjective cognitive and speech reactions, the realization of a special communicative purpose, language design and content, expressed through the predominance of modus over dictum, the peculiarities of the text design related to its technical aspect. In the context of paradigmatic and syntagmatic relations, the genre of the Internet comment is characterized by radial and wave principles of organization. Thus, the authors conclude that the Internet comment is a hybrid genre of virtual communication combining the characteristics of the traditional comment and other Internet genres.

This research focuses on discursive practices employed to construct the expert image within the genre of editorial articles. The expert image aligns with the goals of this textual form. Initially, editorials served as a tool for expressing the publication’s voice and ensuring the status of an independent social institution. While this function has somewhat diminished today, editorials still play a significant role in shaping societal views and values, especially during pivotal political events. Therefore, it is crucial for authors of editorial articles to maintain authority and expert status. Research findings demonstrate that discursive practices such as referencing authoritative sources, highlighting the author’s achievements in discussing the issue at hand, presenting quantitative data, formulating predictions, and recommendations are utilized to shape the expert image in editorial articles. These practices are perceived by readers as elements of expert knowledge, yet they actually belong to distinct realms: expertise and counter-expertise. The author of the article differentiates between expertise, anti-expertise, and counterexpertise.

Le présent article se rapporte aux différences de traitement dû au genre, en matière des avantages octroyés à l’issue de la formation en cours d’emploi organisée dans quelques entreprises de la ville de Kinshasa. L’étude met en relief les entreprises privées et publiques à secteur d’activité égale. Elle concerne quatre entreprises en raison de deux entreprises de télécom et deux entreprises des transports. Un échantillon stratifié de 357 sujets composés des agents et cadres de ces entreprises a répondu à notre questionnaire d’enquête. Les résultats obtenus révèlent l’existence d’une discrimination basée sur le genre. Pour les mêmes modules de formation reçue au sein d’une même structure, les hommes ont plus de chance de bénéficier divers avantages, allant de la promotion aux primes de diverses natures, contrairement à leurs collègues de sexe féminin. Les conclusions de l’étude rappelle qu’il est de l’intérêt des gestionnaires des entreprises de promouvoir l’égalité des chances hommes-femmes en vue de l’atteinte des objectifs de l’organisation.

The monograph is devoted to the issues of linguaculturology, linguasemiotics and discourse studies. It consists of four thematic sections: linguaconceptology, narratology, discourse science and the section devoted to the study of the axiological properties of nominations. Comprehension of linguacultural concepts is carried out on the basis of existence forms – peaceful life and competition, natural and artifactual objects – desert, swamp, train station and bazaar, as well as atmospheric and biological phenomena – fog and blood. The narratology issues are studied on the basis of the allegorical interpretation of the plots of Russian, Armenian and Kalmyk fairy tales, fairy tales of the Bantu peoples, the axiology of anime, fairy, the axiology of life and death in a poetic text. The properties of discourse are considered through its symbolic, fascinative, desiderative and optative, destructive and comic characteristics, as well as through the evaluative specificity of pedagogical and educational discourses. The nomination properties are studied in terms of communicative restrictions and taboos, gender asymmetry of pejorative vocabulary, asymmetry of partial quality and characteristics of low-quality artifacts. The monograph is meant for philologists and a wide range of researchers developing the fundamentals of an integral human science.

L'article étudie les problèmes rencontrés par les femmes, qui rendent l'espace public moins accessible pour elles. Nous avons effectué une enquête par questionnaire à partir d'un échantillon de 481 usagères de dix espaces publics, de typologie et de caractéristiques différentes, de la ville de Chlef (Algérie).Il ressort que les femmes, notamment les plus jeunes, avancent les mêmes problèmes d'accès à l'espace public : avant tout les problèmes concernant l'appropriation de l'espace public, puis les contraintes en relation avec leur perception et enfin les obstacles d'accessibilité comme facteurs importants agissants sur l'usage et la fréquentation de cet espace public.

The anthology “State of War” is a fiction and documentary prose about the bloody war unleashed by Russia on Ukrainian lands, a prose in which the authors, through the prism of their own worldview, experience and emotions, offer the general readership the recorded tragedies of “timeless truth”, the facts of grave illegal crimes committed by the Russian occupiers. The article aims to examine the reception of martial law events in the anthology as non-fiction literature in contemporary Ukrainian prose. The object of the study is the texts of the anthology “State of War”, united by the subject of depicting military events in Ukraine in order to document the war in its various manifestations and tell the world about it in the “Ukrainian voice”. The study was conducted using elements of descriptive, structural and semantic, receptive and interpretive, and contextual methods of analysis. The anthology “State of War” is a genre transformation that combines “sophisticated fiction and the accuracy of documentary” (V. Sayenko), and is dominated by essays, narratives, and memoirs that have only recently been classified as fiction and documentary literature. The textual and social conclusions of “State of War” with an appeal to autobiographical memory made it possible to consider texts in the genre of “non-fictional prose” (T. Bovsunivska): they contain autobiography, the authors appeal to personal experience, indicate involvement in the events described, the narrative is in the first person and is based on a reliable fact, as in memoir genres. The core format of the anthology’s textual content is determined by the history of everyday life. The authors of the book (fifty of them), like the characters in the stories, are writers and public figures, journalists and scholars, volunteers and soldiers of the Armed Forces of Ukraine. Combatant writers, i.e., active military personnel – Oleksandr Mykhed, Artem Chapai, Artem Chekh – create stories not based on other people’s impressions but on what they have seen and experienced, proving that the problems of a soldier are not only related to fighting and defending positions, but also to the aesthetics of survival, to the belief in victory over the aggressor for the further development of society. The texts of the anthology “State of War” contain genre “inclusions” (“Siren-Hyena” by L. Taran, “Under the Bridge” by S. Povaliaiev, “After the Occupation” by V. Puzik) that organically fit into the author’s narrative, confirm significant events, and increase the recipient’s responsibility in the reading process. The semantic core of the narrative of “State of War” is determined by the titles: they influence architectonic expressiveness, inform the reader about the objective reflection of events, facts and phenomena, transform into message titles, decode the content (“Being a Teacher Under Occupation” by L. Denysenko, “My First Bomb Shelter” by I. Pomerantsev, “After the Occupation” by V. Puzik, “Roots Up, or Fear of Migration” by T. Gundorova, “Presentation with Stress” by Y. Vynnychuk).

To the French critics who originally labelled certain films noir it seemed that a class of Hollywood products had gone darker during the war years – as though a dark filter had been placed over the lens. Films were not designed or marketed as noir, and retrospectively noir's status as a genre is still unsettled. Yet there is widespread interest today in experiencing diverse films as noir, and even in using a Noir Filter in Instagram and video games. Pursuing the filter clue, the noir experience can be thought of as subjection to a dark filtering of narrative. Image filtering styles can help to resolve not only the puzzle of noir's quasi-genre status but also an issue of general interest in aesthetic experience. The use of image filters makes a distinctively powerful contribution to the experience of a work or genre, or to the cultural dominance of an aesthetic regime, due to the unobtrusive formative role it plays in the economy of experience.

Examples of how Spiritism merged with local beliefs have been the subject of research in religious studies, ethnology, and folkloristics. Serbian Spiritism can also be viewed as such, but its history is an under-researched topic. We examine the syncretic product we will call 'folk Spiritism', being different from the 'high Spiritism' of elite and middle-class intellectuals. Folk Spiritism was part of a grassroots movement for Church reform in the first half of the 20th century. The difference between folk and high Spiritism is also confirmed in the emic perspective. Based on a closer reading of its texts, we can discern a better image of the dead and communication with them in the practice of folk Spiritism. We conclude that the difference between the traditional and Spiritist image of the dead is that the former causes fear, while the later brings comfort; folk Spiritism gave preference to communication with heavenly forces (God, Christ, Holy Mother, angels, saints) while retaining the traditional view of the dead. [ABSTRACT FROM AUTHOR]

The article is devoted to the study of genre specificity, means of artistic modeling of the image of the main character, and the problemthematic section of Yu. Shcherbak's "The Time" trilogy as important poetic features of the contemporary antiutopia. The analysis was carried out using general scientific (analysis, synthesis, description) and special literary methods (biographical, genetic, imagological and hermeneutic). The research emphasizes the antiutopian dominant of "The Time" trilogy, which is combined with certain features of a political novel, cautionary novel, fiction (elements of science fiction), adventure novel, detective story, etc. It was found out that in his antiutopias Yu. Shcherbak creates his own model of the character of the future, whose leadership qualities, life experience and orientation to traditional Ukrainian values enabled spiritual renewal, contributed to finding one's place in the world and helped to become a winner in the eternal conflict "man-system". It was determined that the problem-thematic level of the novels is understood through the disclosure of the inner world of the main character with the help of monologues, dialogues, reflections, etc. In the trilogy, the "eternal" philosophical and topical problems of today are actualized. [ABSTRACT FROM AUTHOR]

What has been published and how are the collaboration networks structured that deal with gender issues within Information Science? With the intention of analyzing the theme "gender" and how it has been worked on in the scientific production in the area of Information Science and the most productive authors in this context and their collaborative social relationships, this study brings authorial relationships that occurred during the development of academic productions, published by journals indexed in Brapci. Data collection took place via a simple search by subject, by combining the terms: "gender violence", "violence against women", "violence against women" and gender studies, located from the keywords, selecting as search option, exclusively, articles from journals published between 2012 and 2022, resulting in 58 authors distributed in a total of 31 articles retrieved from the aforementioned descriptors and the analysis of social networks intermediated by the elaboration of graphs from the Gephi software. It is concluded that from these approaches we can infer that every interdisciplinary process starts from collaboration in different approaches and diverse themes, with the objective of aggregating more and more information and generating chain knowledge to propose an even greater contribution in the theoretical-practical field of subjects with informational needs and in scientific fields of knowledge. [ABSTRACT FROM AUTHOR]

This book searches on the drafting (known as Repartimiento) of indigenous people between 1878 and 1886. It invites the reader to rethink the construction of our Nation's historicity through a bottom-up approach, based on a strong consideration of the people in bottom position. From the perspective of microhistory, and with the concept of genre as a central analytical category, Pablo Daniel Arias presents the reconstruction of four biographies that take the reader not only into the particular experiences of certain individuals but also into the imaginaries of a time and a Nation. Here, the protagonists are not the big heroes or villains now in our national pantheon, and their stories are not related to great historic deeds. On the contrary, the book deals with three women's and an indigenous boy's courses from the moment of their forced drafting in the context of the euphemistic Desert Campaign up to their placement in Buenos Aires family homes or their recruitment in the Argentine Army. [ABSTRACT FROM AUTHOR]

Copyright of Spanish Journal of Comparative Education / Revista Española de Educación Comparada is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To the French critics who originally labelled certain films noir it seemed that a class of Hollywood products had gone darker during the war years – as though a dark filter had been placed over the lens. Films were not designed or marketed as noir, and retrospectively noir’s status as a genre is still unsettled. Yet there is widespread interest today in experiencing diverse films as noir, and even in using a Noir Filter in Instagram and video games. Pursuing the filter clue, the noir experience can be thought of as subjection to a dark filtering of narrative. Image filtering styles can help to resolve not only the puzzle of noir’s quasi-genre status but also an issue of general interest in aesthetic experience. The use of image filters makes a distinctively powerful contribution to the experience of a work or genre, or to the cultural dominance of an aesthetic regime, due to the unobtrusive formative role it plays in the economy of experience. [ABSTRACT FROM AUTHOR]

This essay analyzes the fotonovelas produced by the Los Angeles-based group ASCO in the early 1980's, works recently claimed as key productions of later American art history. Judith Butler's definition of the performative is takes as a point of departure for the inquiry, paying special attention to how repetition features in them as a mechanism to reformulate the genre of fotonovela.

This article aims to present a culturally plausible reading of Revelation 2–3. This will be done through the use of a social-scientific model focussing on the core values of honour and shame in the ancient Mediterranean world. Before describing this model, the article will present a cursory discussion on the currently received view of Revelation’s genre and Revelation 2–3. It is argued that while the received view provides valuable historical descriptions of the ancient Mediterranean world, this approach is inadequate to bring to the fore the underlying norms and values found in Revelation 2–3. Using the model of honour and shame as a lens through which to read Revelation 2–3, it becomes apparent that these seven letters are filled with honour claims that are either confirmed, challenged or denied. In addition, honour is also ascribed to specific communities, and in some cases, honour is redefined. Intradisciplinary and/or interdisciplinary implications: Reading Revelation 2–3 through social-scientific models engages critically with the traditional approach to these texts, and provides a culturally sensitive and responsible reading thereof. This reading further promotes a constructive engagement with cross-cultural anthropology.

Como periodista colombiana, publiqué una investigación sobre la aplicación de pseudociencia en los juzgados de familia en los que permiten el uso del constructo de la “alienación parental” y el “Síndrome de la Alienación Parental” (SAP) que diagnostica a las mujeres víctimas de violencia intrafamiliar como locas y, a los niños que han denunciado sobre todo abuso sexual incestuoso, como mentirosos. Una estrategia claramente defensora de presuntos agresores intrafamiliares que no solo se utiliza en Colombia, sino en otros países de Latinoamérica y el mundo. Estas teorías han sido descartadas por la Organización Mundial de la Salud y la comunidad científica internacional, por no contar con bases probadas o concluyentes en detrimento de los derechos humanos de mujeres y niños, constituyéndose como una herramienta violentadora de género. Estas ideas fueron acuñadas por el médico estadounidense defensor de la pedofilia, Richard Alan Gardner, en 1985. Mi investigación se realizó con base a las denuncias de decenas de mujeres víctimas de violencia intrafamiliar, la mayoría pertenecientes al colectivo “Yo Sí Te Creo” y fue publicada y mencionada en medios internacionales y nacionales. Así como también fue insumo para el informe de la Relatora de Naciones Unidas para las Mujeres y las Niñas, Reem Alsalem en 2023. Además coadyuvó entre otros esfuerzos civiles a que la Corte Constitucional colombiana prohibiera el uso de la pseudo-teoría, pues permite entregar las custodias de menores de edad a presuntos abusadores sexuales y dejar los delitos intrafamiliares en impunidad.

L’article retrace, à partir d’un rejet apparent du roman policier formulé dans la « Noticia preliminar » de ¿Quién mató a Rosendo? (1969), les relations que les textes de Rodolfo Walsh établissent avec le genre policier. La variation, la répétition et le conflit entre les différents textes de Walsh et le genre suggèrent une poétique du récit policier. C’est dans ce sens (comme le suggère notre hypothèse) qu’on doit lire les stratégies et les refus qui organisent ¿Quién mató a Rosendo?

Abstract Why do some songs and musicians become successful while others do not? We show that one of the reasons may be the “first-mover advantage”: artists that stand at the foundation of new music genres tend to be more successful than those who join these genres later on. To test this hypothesis, we have analyzed a massive dataset of over 920,000 songs, including 110 music genres: 10 chosen intentionally and preregistered, and 100 chosen randomly. For this, we collected the data from two music services: Spotify, which provides detailed information about songs’ success (the precise number of times each song was listened to), and Every Noise at Once, which provides detailed genre tags for musicians. 91 genres, out of 110, show the first-mover advantage—clearly suggesting that it is an important mechanism in music success and evolution.

Against the backdrop of Instagram’s transforming platform culture, this contribution proposes a framework for analyzing text posts as form of discursive communication. Text posts on the formerly mainly visual platform are understood as both a new social media genre and an emerging social practice. First, the genre is contextualized and grounded by recent evidence of a modal expansion, as well as through the reconstruction of transforming platform affordances. Secondly, based on long-term online ethnographic involvement and data collection, recurring categories and properties are identified within the emerging genre and differentiated in four discursive dimensions: text types, forms of (re)mediation, stance, and tonality. Variations within the dimensions are further distinguished and illustrated and their relevance scrutinized. These discursive dimensions are designed to be used as heuristics and / or analytical categories in combination with various methodological approaches from in-depth qualitative explorations to large-scale automated analyses. Finally, possible broader sociocultural implications of the emerging genre are discussed.

Background. Latin baroque literature of Ukraine represents inheritance and unique interpretation of classical and medieval plots. Ukrainian poets and Ilarion Yaroshevytskyi, in particular, demonstrate their literary mastership and cultural reception of the time. His poem reflects the baroque worldview of distorted world and struggle of good and evil, spirit and flesh, Christian and pagan views, ascetic and secular life. The goal of the article was to conduct in-depth analysis of linguopoetic peculiarities of the poem in order to present the author's embodiment of the baroque worldview by the language means. Methods. The following methods were employed: method of linguostylistic and linguopoetic analysis, method of cultural interpretation, contextual and interpretative method, classification, systematization and generalization. Results. Analysis of the elegiac poem revealed the following linguopoetic peculiarities: 1) at lexical level – the use of mythological names denoting divinities and their epithets (Mars / Gradivus, Venus / Diona / Cypris / Erycina, Artemis, Lar); mythological characters (the Meduse Gorgon, Daedalus and Icarus, Eryx, Charybdis); 2) at syntactic level – parallel constructions / chiasm; inversion of the three types; 3) at stylistic level – direct speech; irony; repepetitions; comparisons; 4) at conceptual level – the oppositions of war and peace; secular and ascetic life; christian and mythological worldviews; spiritual and corporeal love. Conclusion. Latin elegy, represented in a poetic course "Cedrus Apollinis", contributed to the development of the genre in Ukrainian baroque literature and corresponded to the classical Latin samples. The poem demonstrates the author's awareness of mythological and medieval plots and their bizarre combination in elegiac genre.

The article explores the genre dominants of Silver Age screenplays. Theoretical concepts of film dramaturgy are applied to the texts of A. A. Khanzhonkov’s “From the World of Mystery” (1915) and A. S. Voznesensky’s “God” (1918). The scientific novelty of the study lies in the comprehensive analysis of these screenplay texts for the first time. The relevance is justified by contemporary philology’s interest in the intermedial aspect of literature. The screenplays exhibit an orientation towards literary models: a wide range of linguistic devices (metaphors, similes, inversions), complex composition, psychological depth, and more. Cinematic expressiveness is realized through a system of modalities (real time, memories, dreams, imagination, altered consciousness, etc.), description of character movements, and “visual sound.” The study suggests that the genre of screenwriting in silent cinema fundamentally differs from subsequent eras and tends towards the epic rather than the dramatic genre. Discrepancies between directorial and literary scripts occurred early in the genre’s formation. A comprehensive examination of original realized screenplays could be key to understanding the reasons for the unsatisfactory results of writer-filmmaker interactions.

In the past ten years, in the context of higher education Wikipedia has started to be seen as a friend, not a foe. Hence a number of courses involve a variety of Wikipedia-based tasks. The aim of the present article is to assess the suitability of Wikipedia-based authentic writing tasks from the students’ perspective. The qualitative content analysis of students’ learning journals has indicated that the process of writing is well supported by dividing the task into separate stages and providing feedback at every stage. Nevertheless, the teaching process should also involve raising learners’ genre awareness as the knowledge that students get while reading Wikipedia might not be sufficient for writing an article that would meet all the genre requirements. *** "“Vaata, mu esimene Vikipeedia artikkel!“ Üliõpilaste suhtumine autentsesse žanripõhisesse protsessikeskesse kirjutamisülesandesse" Kuna Wikipedia on kasutussageduselt seitsmes veebisait maailmas ja üliõpilased puutuvad sellega tahes-tahtmata kokku, on viimase kümmekonna aasta jooksul jõutud arusaamiseni, et Wikipediasse tuleb suhtuda kui sõpra, mitte kui vaenlasse. Seetõttu on eri õppeainetesse ülikoolides lõimitud mitmesuguseid Wikipedia-põhiseid ülesandeid. Muu hulgas on Wikipedia artikli kirjutamist õpetatud (žanripõhise) protsessikeskse tekstiloome põhimõtetest lähtudes, kuid vähe on uuritud, kuidas üliõpilased sellesse ülesandesse suhtuvad. Üliõpilaste suhtumine on aga oluline, sest see on tihedalt seotud õpikogemuse tähenduslikkusega. Artikli eesmärk on hinnata Wikipedia artiklil põhineva autentse kirjutamisülesande sobivust üliõpilaste kirjaliku väljendusoskuse arendamisel, otsides vastust küsimusele, kuidas tulevad üliõpilased toime žanripõhise protsessikeskse tekstiloome etappidega ja millist õpikogemust žanripõhine kirjutamisülesanne üliõpilastele pakub. Artiklis käsitletakse 2019. aasta sügissemestril Tartu Ülikooli väljendusõpetuse aines kasutatud ülesannet, mille raames pidid õigusteaduse üliõpilased koostama erialase eestikeelse Wikipedia artikli. Ülesanne koosnes seitsmest etapist: eeltööst, mustandist, kaasüliõpilaste tagasisidest, puhtandist, õppejõu/õppeassistendi tagasisidest, lõppvariandist ja selle tagasisidest. Artikli kirjutamise ajal (9 nädala vältel) pidasid üliõpilased vabatahtlikult õpipäevikuid, kuhu tegid vähemalt kümme sissekannet vabalt valitud teemal (kokku 40 õpipäevikut; u 75 lk). Andmed kodeeriti kvalitatiivse sisuanalüüsi põhimõtetest lähtudes nii deduktiivselt kui ka induktiivselt, kasutades tarkvara NVivo. Nii nagu varasemates uurimustes, leidis ka praegusel juhul kinnitust, et Wikipedia artikli kirjutamine sobib kirjaliku eneseväljenduse aine õppeülesandeks. Selle käigus läbitakse samad uurimistöö protsessi etapid nagu näiteks referaadi kirjutamisel, aga kuna Wikipedia kaudu edastatakse teavet avalikkusele, mitte lihtsalt õppejõule, suurendab see vähemasti osa üliõpilaste huvi kirjutamise vastu (eeldusel et on õnnestunud valida huvipakkuv teema). Samas pööravad üli.pilased kirjutamise ajal lugejatele siiski võrdlemisi vähe tähelepanu: vaid need, kes lähtusid kasust laiemale auditooriumile juba teema valimisel, arvestasid lugejaga ülesande eri etappides, ülejäänute puhul ilmnes vajadus arvestada lugejaga peamiselt mustandijärgse tagasiside etapis. Lisaks peavad üli.pilased huvitavaks Wikipedia artiklit kui žanri, sest sellega ei olda kirjutajatena varem kokku puututud. See aga tähendab, et õppetöös ei piisa sellest, kui tutvustada artikli kvaliteedi kriteeriume ja vormistusnõudeid ning näidata häid artikleid. Žanriteadlikkuse suurendamiseks on vaja põhjalikult käsitleda ka artiklite struktuuri ja keelekasutust, et üliõpilastel tekiks selgem arusaam žanritavadest.

The article examines the phenomenon of domestic television series and its role in shaping the current broadcasting content of the main Russian channels. A new term, “imperial” TV series, is introduced to characterize a significant segment of such screen products, exhibiting a specific set of creative and organizational features, as well as chronological and plot characteristics. Typically, these series are set in the late nineteenth and early twentieth centuries and have an adventurous detective orientation. An important stylistic feature of this format is the setting: in most of these series, the plot is “anchored” to Saint Petersburg, the capital of the Russian Empire during the indicated time period. This circumstance is not only creative in nature but also allows for shooting most episodes in the plein-air of Saint Petersburg with the “participation” of preserved architectural monuments or in authentic-era interiors required by the plot. Additionally, a distinctive feature of this format is the reliance on both classical literary works (A. Conan Doyle) and works by contemporary authors (A. Chizh and others) who successfully develop this genre and thematic direction. В статье рассматривается феномен отечественного телесериала и его роль в формировании текущего эфирного контента основных российских каналов. Автор предлагает ввести новый термин, характеризующий значительный сегмент подобной экранной продукции — «имперский» телесериал. Под ним подразумевается контент, обладающий определенным набором творческих и организационных признаков, а также хронологическими и сюжетными характеристиками. По времени действия подобные сериалы относятся, как правило, к рубежу конца ХIХ – начала ХХ веков, имеют авантюрно-детективную направленность. Важной стилистической чертой такого формата является место действия: в большинстве таких сериалов фабула «привязана» к Санкт-Петербургу, столице российской империи в обозначенный нами временной период. Подобное обстоятельство носит не только креативный характер, но и напрямую связано с историческими локациями, то есть с возможностями снимать большинство эпизодов либо на петербургском пленэре с «участием» сохранившихся архитектурных памятников, либо в соответствующих аутентичных интерьерах, требуемых по сюжету эпохи. Кроме того, отличительной чертой подобного формата является сюжетная опора как на классические литературные произведения (А. Конан-Дойль), так и на произведения современных авторов (А. Чиж, Л. Юзефович и другие), успешно разрабатывающих данное жанровое и тематическое направление.

The study analyzes the prose of Ch.T. Aitmatov, created in Russian, starting with the stories “Farewell, Gyulsary!”, “The White Steamer”, “The Piebald Dog Running by the Edge of the Sea” and ending with his “epic” novel, reveals the artistic evolution of the writer: from bilingualism to transculture. The ethno-ontological analysis of the stories and novels “And the Day Lasts Longer than a Century”, “The Scaffold”, “Cassandra’s Brand”, “When the Mountains Fall (Eternal Bride)” made it possible to identify the dynamics of the author’s creative development, to characterize this process as the “expanding artistic Universe” of the author: from ethnic picture of the world to the creation of a mythopoetic model of existence in stories, the transition to the genre of the novel as a “universal concept of Being and man” and the beginning of a new creative stage, marked by the cosmism of the writer’s thinking and an appeal to fantasy, interest in different national cultures, the increasing tragedy of the worldview, “synthetism” genre form, new coordinates in constructing a world model (East - West, Earth - Space, archaic time - modernity), the formation of a transcultural polylogue space (inclusion of Biblical and world literary intertext).

Abstract Music is ubiquitous in our everyday lives, and lyrics play an integral role when we listen to music. The complex relationships between lyrical content, its temporal evolution over the last decades, and genre-specific variations, however, are yet to be fully understood. In this work, we investigate the dynamics of English lyrics of Western, popular music over five decades and five genres, using a wide set of lyrics descriptors, including lyrical complexity, structure, emotion, and popularity. We find that pop music lyrics have become simpler and easier to comprehend over time: not only does the lexical complexity of lyrics decrease (for instance, captured by vocabulary richness or readability of lyrics), but we also observe that the structural complexity (for instance, the repetitiveness of lyrics) has decreased. In addition, we confirm previous analyses showing that the emotion described by lyrics has become more negative and that lyrics have become more personal over the last five decades. Finally, a comparison of lyrics view counts and listening counts shows that when it comes to the listeners’ interest in lyrics, for instance, rock fans mostly enjoy lyrics from older songs; country fans are more interested in new songs’ lyrics.

The argumentative talk on radio and TV has become a popular feature of media discourse in Kenya. Question-answer sequences as the talk unfolds through the joint participation of co-participants in the talk have emerged as a means to put argumentative talk into effect. Yet, the nature of questions and their categorization remain little understood. Given the recursive nature of question-answer sequences, this paper investigates question typology that sets apart argumentative talk shows from other types of talk. The data consists of transcripts from two Kenyan TV argumentative talk shows: Checkpoint on KTN and Opinion Court on Citizen TV. A question classification scheme by Schirm [2008] was used to discuss the incidence and usage of questions in argumentative talk shows. Findings revealed that clashing, rhetorical, classic clarifying, and opinion-eliciting questions were the most frequently used types in the data sets. It was also noted that different question types served unique rhetorical purposes leading to the conclusion that argumentative talk shows on TV exhibit recursive interactional resources qualifying it as a genre.

The article examines the notion of drama as a genre category in European and ancient Indian theatrical theory. The analysis of ancient texts, foremost the treatise of the Nāṭyaśāstra, which can be considered the most authoritative primary source for the study of classical Indian poetics, forms the basis of the research. This paper identifies Sanskrit analogues of such fundamental concepts of Western literary theory as “drama,” “genre,” “performance,” “scenicism,” “literariness,” etc. The closest analogical to European definitions of drama and genre Sanskrit notions are investigated in depth. They are primarely nāṭya and prayoga — two terms used to define various performative aspects of the play. Another notion studied in the paper is rūpa, which originally stood for “scenario” and, later on, for textual and literary format of the staged play. Due to its universality, the same term functioned as the general definition of ten “exemplary” spectacular forms. Finally, the category of vṛtti is discussed, employed in the Nāṭyaśāstra for the characterization of stylistic features of early mysterial performances and, later on, of classical Sanskrit plays. The scope of the paper does not limit itself to bringing to light and discussing these various notions. The ultimate goal is to highlight the differences between Eastern and Western poetological systems and to point out fundamental issues arising from the non-critical use of European terminology when interpreting and investigating ancient Indian aesthetics.

The relevance of the study of the quantitative dimension of genres, in particular genres of small format and short implementations of genres in general, has increased due to the need to “compress” information of various types in modern communications, insufficient knowledge of the patterns of functioning of short and abbreviated texts/discourses, attention to the quantitative aspects of speech in terms of their value. The problematic situation is defined by the author as a contradiction between the ascertainment of the prototypical nature of texts of small volume, rather complete descriptions of a number of small-format genres, on the one hand, and the lack of clarification of the factors that allow or do not allow the genre to function in a short (short, incomplete, abbreviated) mode. The purpose of the study is to identify and describe the circumstances that determine the external differentiation and internal variability of genres based on the quantitative characteristics of “brief” and “short”. It is a corpus research, the data about genres was formed on the corpus basis, the names of which formed the right contexts of the adjectives “brief” and “short” in the main body of the Russian National Corpus. It has been established that as “brief” are defined the realizations of genres that involve a written form, expansion, a rational strategy of text generation, standard content. “Short” versions are attributed to oral genres in which the subject of speech is free to choose the strategy and semantic content of the text. Brief forms can form institutionally fixed variants of genres, independent genres and represent individual realizations of the genre. The attitude of speech subjects to the choice of a short form depends on many pragmatic factors, it is rather approved than condemned.

The study aims to describe the speech genre of “motivational speech” in English-speaking motivational discourse. The relevance and scientific novelty of the research are determined by the need to construct the definition of motivational discourse, to clarify its discursive intention and strategy, and to study and describe its genre specificity. The article distinguishes between the concepts of motivation and impact and their respective discourses based on the addressee type (particularlyaddressable, targeting a specific communication partner, and generally addressable, oriented towards an abstract addressee), as well as based on the subject types that depend on the individual’s chosen “achievement motivation” strategy – either striving for success or avoiding failure. The analysis of motivational speeches demonstrated their thematic heterogeneity and varying degrees of formalization, ranging from rigid and soft formalization genres to free genres. The study identified eight main types of motivational speeches differentiated according to their basic intention and addressee concept, and determined their compositional structure. Furthermore, the research established characteristic features of this genre, such as the incorporation of storytelling, humor, different types of evidential information, emotive lexis and syntax, as well as the use of the so called “inclusive language”.

The article analyzes linguistic means used for boosting which is considered a crucial metadiscourse strategy regularly employed in the genre of research article abstracts. The study aims at identifying the types of booster and the frequency of occurrence of boosting markers in Russian-language research article abstracts in the field of soft and hard sciences. The study makes an attempt to reveal differences in the use of these metadiscourse patterns and suggest reasons for the uneven distribution of boosters in the two corpora. The study is based on the assumption that disciplinary conventions affect the choice of rhetorical strategies. The study draws on a corpus of 180 research article abstracts published in 12 soft and hard science journals. The theoretical basis of the study is the taxonomy of metadiscourse markers proposed by Hyland. The findings showed that soft science authors used boosting markers much less frequently than their hard science counterparts. Differences were also revealed in terms of the types of boosting. The results of the analysis confirmed the assumption that boosting as a metadiscourse strategy is determined by disciplinary conventions. The results obtained can be used both by teachers of academic writing and academic writing course designers and become an avenue for further research into metadiscourse as an important rhetorical strategy.

AbstractThis article investigates the construction of character in Toni Morrison’s novel Love, arguing that its characters are dialogically constructed in multiple ways and that this relational structure reflects the novel’s thematic focus on interhuman relationships. The primary focus for the discussion is the way that various genres are brought into play in the presentation of two of the novel’s most central characters, Heed and Christine, whose fraught relationship occupies a central place in the novel. The reading of the novel reveals that its dialogic narrative structure refracts the manifold and complex nature of their relationship and shows how the life of one individual is entangled in the lives of other people. Blame cannot be located in one specific place or in one specific character and the novel’s narrative strategy thus defers stable conclusions.