Жанры в художественном творчестве

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.

The article considers genre aspects of set phrases of different type such as proverbs, sayings and quotations (aphorisms), going back to the Bible. The author singles out two genre aspects of the phenomena under consideration.

The article deals with the key concepts used in the analysis of autobiographical literature. The Russian and foreign science is acknowledged to lack the terminological precision in their application which leads to the notions and literary genres being diffused. The author analyzes the definition of the autobiography genre introduced by a French literary scholar Ph. Lejeune, as well as the polemic debate on his concept in the Western criticism of the 1950s–1970s, which revealed the fact that the real range of autobiographical works is significantly more diverse.

In 2015, “Vremya publishing house” issued “A Flute Solo”, a book by V. Shenderovich, of multigenre and,­ according to the author of the article, intermedia na­ture, since its content peculiarities of a political satire and a tragedy, a farce and a fantasy, on the one hand, and some features of musical pieces, a fugue­ in particular, on the other hand, have merged here. The text was first published in 2012 in the magazine “Polden. XX vek” (“Noon. XX century”), edited by B. Strugatsky, but then it did not receive any sig­nificant reaction.

The article deals with the parable as a genre. The attention to the parable is determined by the fact that the interest in the subject does not wane, and each author, using the traditions of the genre, brings something new, acting as an innovator. The first thing that attracts our attention is the differences of the modern parable as a genre. Today there is no edification and instruction in it. It does not give a ready answer, but forces to reflect on the proposed topic. The parable easily connects with other genres of literature, deepening their meaning.

This article studies structural-semantic and compositional aspects of the poetic anagram, which reflects the cognitive and linguistic picture of the world, as well as the national conceptual sphere. It is noted that the anagram genre originated in Russian poetry in the 1820s on the pages of the magazine “Blagonamerenny”. It published the first theoretical justification of such enigmatic genres as a riddle, a logogriff, a charade and a homonym. Its author was the famous statesman N. F. Ostolopov.

Satirical magazines are a unique form of the XVIII century literature. Standing outside the dominant in the XVIII century normative poetics, they share its didactic intent. They develop a specific genre system consisting of short literary forms. The research aims to create a structural model of this system. It involves multiple factors: the literary forms it includes are defined on several irredundant criteria. Its main genres are the editor’s essay, the reader’s letter, and parodies. The editor as the subject of an essay is a fictional character.