Жанры в художественном творчестве

The article verifies the hypothesis that Leo Tolstoy’s diary has the form of a hidden dialogue of the writer with various subjects: with himself, with third parties, with God. Dialogue is understood as a form of individual development. The article determines that Leo Tolstoy’s diary represents a program of self-improvement, which is achieved through goal-setting and self-assessment. In the traditional perception of the diary genre, entries are interpreted as a form of autocommunication, carried out for the purpose of self-identification of the individual.

The semantic and pragmatic potential of statements of refusal to communicate allows shedding light on the peculiarities of the phenomenon of silence, identifying its varieties, the specifics of manifestation in the Russian linguistic picture of the world and analyzing the functionality as part of a literary text.

The article develops an algorithm of philological evaluation of a poetic idiolect, determines the components of the language competence of its carrier; on this basis presents the speech portrait of O. Mandelstam in the context of modern Russian poetry.

The article focuses on the means of the representation of reminiscences in lyrical songs of different time periods. Here reminiscences are viewed as the state of consciousness, the immersion into which entails particular psychological effects. The author suggests distinguishing between songs-reminiscences and those songs that remind. The characteristic features of these songs as belonging to a particular speaking genre are highlighted here.

This article is devoted to the secondary speech genre “reminder”, which is widely used in contemporary mass literature. This genre reflects the author’s orientation on the limited store of knowledge of a potential reader. In a dialogue with the reader, the authors of mass literature try to create a feeling of intellectual comfort. The status of a cultured person is correlated with the ability, at least superficially, to navigate the world of classic literature.

The article deals with the poetry of Marina Tsvetaeva, in particular with the poem «Lanes», from the standpoint of the theory of speech genres. It is established that the plot is a complex secondary genre that corresponds to most of the characteristics of the speech genres. Earlier, the incantation was considered a genre of folklore. In this article the incantation is a genre of Marina Tsvetaeva?s poetic text.

The historical origins of cento and its correlation with adjacent phenomenonа are examined. The code of rules of production of cento as a compilative genre is arranged. The conditions of its success are analysed. The question of the relationship of cento to verse and prosaic forms of speech is scrutinized.

The article deals with the problem of the genre, which is studied in the theoretical-critical and historicalliterary aspects. The results of the comparative typological analysis of texts containing judgments about the future of literature give ground to talk about the literary forecast as an independent genre and thus update the existing classifications. The genre carriers are the topic, problems, tasks of the critic, as well as the structure of the text, the image of the literature.