Жанры в художественном творчестве

The article is devoted to a formation of a complex speech genre in the culture as a result of borrowing and transformation by changing the basic strategy of the speech genre. The author considers that the processes of assimilation of foreign-language model and the processes of perception and production of the speech are based on the similar principles.

The article deals with the problems of Pisemsky’s prose in early period. It is composed of the four genres: novelette, story, short stories, novel. The stories and novelettes are two parts. They represented «Russian Europeans». Superfluous person represented in story. Byronic hero represented in novelette. Novelette are «point» in final, radical changes Position and opinion of hero. It need to start unpicking the poetical hero. A short story are three parts.

In this work the attention on a variety of genres of the prosaic works published in one of “thick” magazines of centenary prescription – “eserovsky” orientation “Precepts” is fixed. From the genre party the art and fictional structure of this periodical only beginning to enter in sight of literary critics wasn’t considered yet. Thus, the relevance of the announced subject is obvious.

The article considers a special place of the self-presentation genre in the poetry of the Russian futurism. this place was predetermined by the overall style of the epoch and the counterintuitive communicative strategy of the new poetic school, the connection between the self-presentation and advertisement genres is traced.

The measures of professionalism of a critic is determined by the ability to assess the object of his observation, based on its internal properties and the vital demands of society. In particular, media criticism is an biased interpretation of the concrete results of the work of the mass media in terms of emerging ideas about the proper quality of journalistic work. According to the rules of the genre, a dramatic script is laid down in a media-critical utterance.

The article is devoted to the study of speech genres, connected with the communication between the doctor and the patient in Pasternak’s novel. In “Doctor Zhivago” as “genre polyform” the dialogue between the doctor and the patient becomes actual as an integral part of the content of the novel, represented by the characteristic paradigms of the doctor and the patient.

The article deals with short stories of the modern Russian science fiction writer Vadim Sharapov. It is emphasized that nowadays a genre of short stories is becoming highly demanded, as they correspond to the reader’s needs in the perception of short messages. The article focuses on the description of the content and problem-thematic aspects of the stories of Vadim Sharapov (the collection of “The Share of Angels”), as well as the characteristics of the hero – a simple Russian man. The author resorted to descriptive and receptional methods of text analysis.

The article lays down the foundations of the theory of the discourse formation of the world which are then applied to the analysis of the discourse formation of possible worlds in ecological advertisements. The authors offer the definition of the discourse formation of the world and explain its difference from the alternative notion of the cognitive formation of the world. The discussion centers on several key aspects, including cognition, knowledge transfer and multimodal semiotic representations, as they function as part of the discourse world formation process.

In the 1950s in the USSR, there was a handicraft production of photo cards. These cards reveal such topics as “love”, “memory”, “greeting, congratulation”, “future life”. The pictures show the portraits of actresses and actors, old West-European greeting cards, and staged (artificially created) photos. It was a continuation of the traditions of Russian ‘lubok’ prints, notes (recordings) in albums, moralistic poetry.

The author forms up an evolutionary semiotic succession of the hymn and concludes that the national hymn is a hybrid literary genre which is embodied in various discourse species and that it possesses identifying, unifying, axiological, “optimistic”, ideological, laudatory, expressive, magical and performative functions. The article analyzes national hymns of ex-republics of the Soviet Union and proves that despite being simultaneously acknowledged as official state symbols these hymns differ in their genre origin, themes and semantic features.