Жанры в художественном творчестве

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.

The author of the article understands lyrical discourses/texts as holistic speech acts, generated by inflamed emotions and a wide range of strong emotional affects which are certainly essentially interactive by nature. The notion of an authocommunicative (in a broader sense – lyrical) speech genre crossover embraces literary and colloquial, primary and secondary speech genres in the form of monologues and dialogues. The permanent feature of all of them is their special insightful stylistic expressiveness.

In the article the typological classification of speech genres used in the sphere of institutional (medical) discourse is first presented. In the article the applicability of concept “paradigms” in the medical discourse is substantiated. It is marked that paradigmal units stipulating paradigmatics of medical discourse can be subdivided into two types: 1) basic paradigms functioning in the common model of anamnesis, and 2) highly specialized patterns related to certain aspects of common paradigms.

The fragment is the main genre of  contemporary poetry. The article focuses on the functioning of the genre in the poetry of the Paris Note.  The author suggests to distinguish between the four types of fragments, according to the context of interpretation: biblical, historical, literary and autobiographical. The characteristic features of these  types are highlighted here, including basic mechanisms for interpreting. The connection between the poetics of the fragment with the stylistic  principles of the Paris  notes is shown in the  article.

The article deals with comic short poems of various types. It is found that these miniatures in their genre borders selectively express varieties of comical attitude to reality: authorial texts comprise the all comic types (humour, irony, satire) whereas folklore texts express humour and mockery. Main means of comical effect in poetic miniatures are described including style incongruences between the beginning and end of a poem, language play with sound form coincidences, nonce words and allusions.

This study analyzes the peculiarities and genre organization of the drama discourse The text of drama is viewed as a hyper-genre determining conceptual, aesthetic and communicative space in which all the characters act as language personalities. Speech-genre competence of characters or language personalities performing life-like roles (among them professional ones) determines their inclusion in some new hyper-genre.