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The article deals with the thrash talk as a speech genre. The term, which came to modern Russian from English, refers to a speech practice in which offensive statements are formulated against the opponent, designed to disturb the opponent’s psychological equanimity. It can be a form of bragging or insulting in competitive situations. The research was conducted in the context of Russian and foreign works on invective practice in Russian linguoculture, which not only represent a constant, but evolve as well. Such problems as the correlation between national-specific and universal aspects, linguistic and extralinguistic aspects, development of new phenomena on a national basis and borrowings are taken into account. Thrash-talk, if we use this term in a narrow sense, is autochthonous for Russian linguoculture. The methodology of the study is based on the comparison the description of speech practice with the standard. For our purposes we have formulated the standards “accusation”, “humiliation” and “hyperidenticity”, the components of the description of which were linguistic and psychological features. Thus, we can say that our research is carried out within the paradigm of psycholinguistics. This is justified by the fact that thrash talk balances on the edge of language and psyche. As a result of the comparison procedure we can conclude that there is a correspondence or discrepancy between these descriptions. The basis of our research were open Internet sources that contain examples of thrash talk as an element of characters’ speech behavior in texts or videos. As a result of the study it was possible to describe and systematize speech goals – persuasion and demonstration, the use of figurative, stylistically marked, expressively colored language means, psychological manipulative means of inducement and threat. In conclusion the article outlines the prospects for research related to such genres as flaming, flying, sledging, wolf-whistling, cat-calling, street-harassment, etc.

The study of Internet mediated speech communication seems relevant due to the dynamic development of the Internet language, the lack of its codification and legal regulation, duplication of social practices and processes in the virtual environment. The present research is focused on one of the conflicting speech genres (speech acts), which is frequent within Internet communication. Speech actions in the genre of insult in some cases acquire illegal actions and are considered from the standpoint of law enforcement in the practice of forensic linguistics. The novelty of this study lies in the differentiated approach to insults as applied not only to the binary division of its interpretation within the ordinary logic and legal grounds, but also to the study of the distinctive characteristics of this phenomenon in refraction to various legal interpretations (in the criminal, civil, administrative codes). We analyzed written messages of Russian-speaking users of the social network site VKontakte, which were considered through the prism of the provisions of Article 5.61 Insult of the Administrative Code of the Russian Federation. In the course of the study, it was revealed that even within a specialized dataset of messages, perceived by the recipients as insulting messages, the share of messages corresponding to the criterion basis of insult (Article 5.61) is negligible.

A parametric model for describing the “essay” speech genre functioning in the church-religious style, which is called spiritual on the basis of its intentional, thematic-content, illocutionary and other features, is presented. The author suggests using the following parameters in the analysis of an essay with spiritual (religious-Christian) content: addresser, addressee, spiritual and religious intentions of the author, spiritual and religious thematic basis of content, composition, argumentation, used Christian images, tactics and strategies, representative linguistic stylistic means, intertextual content. The implementation of this model is shown on the basis of the text «“The effect of proximity” in history and everyday life» written by Archimandrite Makarii (Veretennikov). A spiritual essay is defined as a genre of a church-religious style: a text-reflection created by a clergyman and addressed to a representative of Christian culture, reflecting the personal experiences and impressions of the author. In the final part of the work, it is stated: the spiritual essay is realized as an independent genre and becomes an element of the structure of another genre, for example, writing, diary, etc., that is, it is embodied as an intragenre. The collection of spiritual essays by Archimandrite Savva (Mazuko) “Love and Emptiness” is used for research. The comparative analysis is designed to accurately and convincingly show the specifics of a spiritual essay.

In thе article states the results of the research project «The Lingvocultural dynamic of pragmatic effect of a phenomenon of play on words and its interpretation in receiving culture (on the basis of the American animation series of the end of XX - the beginnings of the XXI century)» which is devoted to research the lingvocultural dynamic of pragmatic effect of a phenomenon of play on words in the American animation. The article deals with generalization of the methodological bases of defining the genre of animation as a specific text type. Under investigation are also the ways of language representation of the text features determined by the author's intentions as a means of creating pragmatic effect.

Existential discourse in a literary text reflects the characters search for an experience of ontological meanings. Existential communication is characterized by the desire of communicants to define accurately the concepts and associatively represent experiences and emotions. Emotional accuracy in reasoning and defining concepts in the speech of the characters is achieved by the author’s skill in creating artistic images. The structure of existential discourse is characterized by the formulation of the question to which the characters must find the answer, based on their own or someone else’s life experience and knowledge, comparing this life situation with precedent phenomena, texts, events, referring to precedent names, building logical chains, proving or refuting statements. The purpose of this study is to analyze the speech genre of the everyday life confession in the existential discourse presented in A.P. Chekhov’s story “The Lights”. Confession is always an emotional shock, because the confessor experiences again the sense of guilt and shame for the evil he has done. The essence of confession is the reflection which results in selfcondemnation and remorse. The confessional tone of the character’s speech allows the author to create his image and generalize his personal experience, deducing philosophical maxims and aphorisms from it. The powerful emotional message of the confession leaves in the memory of the interlocutor the image of a specific suffering person and evokes sympathy. The everyday life confession here is a tactic of speech influence and at the same time an argument confirming the validity of the confessor’s philosophical maxims, since his very worldview has been suffered.

В данной статье рассматриваются вопросы, которые связаны с речевыми жанрами в Интернете. Активное развитие социальных сетей в настоящее время позволяет использовать их в качестве очень мощного инструмента для самопрезентации и рекламы. Автор выделил и описал основные жанры социальных сетей: ВКонтакте, Одноклассники, Мой мир, Instagram, Facebook и др. В связи с развитием социальных сетей сменились и жанры коммуникации. Социальные сети обладают особыми возможностями как для виртуальной социализации, так и для самопрезентации субъектов коммуникации. Проанализировав популярные социальные сети, были выделены 7 жанров социальных сетей: статус, объявление, анекдот, инструкция, гороскоп, совет и реклама.

The paper proves that speech genres as forms of text production and interpretation claim to be one of the main objects of formal linguistic analysis in comprehensive papers on cognitive modeling – an intensively developing trend of artificial intelligence. Understanding a speech genre as a form of spiritual socio-cultural activity (artistic, scientific, political, ideological, etc.) at the level of its objectification through a system of speech actions in the text as a communication unit allows to describe the systems of speech genres in various spheres of communication. The authors analyze speech genres which objectify the main stages of an academic theoretical research. By means of artificial intelligence, the research solves the problem of recognition of the speaker’s intentions while performing cognitive-speech actions forming the genre form of a text. It contributes to the development of the fundamental problem of “understanding” the meaning of an utterance by a machine. The research is based on the interdisciplinary complex method of text analysis. In terms of software implementation, the offered approach obtains a small set of high-level linguistic features of the clauses with the templates and then trains classifiers on these features. In order to create templates, the authors carry out linguistic and psychological analysis that deals with identifying markers of cognitive and speech actions as accurately as possible in accordance with the standards of perception. In the course of our study, the authors have obtained high indexes of cognitive and speech action identification, ranging from 0.78 to 0.99.

The article is included in the circle of studies related to the study of genre characteristics of texts. The relevance of the study is determined by the changeable nature of speech genres, each of which contains traditional (archaic) genre-forming features, as well as new, changing ones. The aim of the undertaken research was to consider genre forms and features in the children’s comic magazine “Veselye Kartinki”. Issues of the period from 1985 to 1999 were selected as the research material. From the point of view of genre forms, the analyzed issues of the magazines are divided into two groups. The first group includes issues of the magazine with traditional genre forms (for example, the club of funny people, true stories in pictures, riddles, fairy tales, etc.); the second group includes issues of the magazine with “new” genre forms that appeared in the magazine during the 1990s (for example, biblical legends, a short horoscope, children’s jokes, instructive stories, advertising texts, etc.). The article notes that the so-called “new” genre forms could exist as independent genre forms outside the issues of the magazine “Veselye Kartinki”: in “adult” literature and in literature created for children. During the analysis of the material, essential genre characteristics of the magazine “Veselye Kartinki” were discovered, which include creolization, visualization and polycode.

The general direction of this article is related to the problem of the effectiveness of the practical use of language in the field of mass communication. The focus of modern linguistics on the study of the functional aspect of the text and language allows us to consider communicative-speech processes in speech genres, which determines the relevance of the article. The purpose of the article is to present the speech genre “reader’s response” as a completed verbal creation. The main object of the article is to identify the general communicative aim of the speech genre “reader’s response” and describe the institutional conditions of its functioning, namely the functional style, which ensures the output of the content of the verbal creation in real conditions of communication.

The relevance of the study is due to changes in media culture evoked by new technologies that stimulate the emergence of a new hypertext genre-stylistic reality. The article examines a new media phenomenon – stream.The stream is considered as public communicative flow that takes place in real time and includes text, as well as video and audio content, organized by the streamer (the author) – information and media personality with the active involvement of other media participants of different types; it is implemented in live Internet broadcasting; it creates a variety of opportunities for any participant (from commenting, polling, to participation in action). The stream emerged from the instrumental-service approach to the development and comprehension of various relevant topics in the content presentation. The aim of the participants in this media process is self-expression and self-actualization, the incentive to be active and interact (from personal motives to socially significant ones). As a hypermedia genre it is considered on the material of media discourse “#daiDudya” with the participation of A.A. Venediktov, taking into account his linguistic and extralinguistic characteristics. The study of the stream as a new and insufficiently investigated phenomenon of modern media communication, the development of a methodology for its analysis are of interest for communicative and cognitive linguistics, media linguistics, sociology, psychology, discourse, and cultural linguistics.

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Urgency of the research. In the process of development, the mimetic principle of art began to be conceived in artistic culture in two directions: as an imitation of the forms of reality, and as an explanation and evaluation of phenomena and events of real life. Gradually, the beautiful in art was transformed from expressing the world of eternal ideas through idealized canons of beauty and the creation of symbolic images to the production of realistic images of reality. And from depicting certain characteristic or typical phenomena of social reality to the complete creative arbitrariness of the artist, free of any objective rules or laws, forgetting about the «sense of inner necessity» (V. Kandinskyi), that is, strictly determined by the spiritual as an essential principle of universal existence. It is also necessary to take into account the fact that when defining essential concepts, in one way or another, in addition to the solution of purely instrumental tasks, the main contours of the problem field of the investigated problem are outlined, its connection with other aesthetic problems, other related concepts. Target setting. Clarifying the philosophical and cultural dimensions of the problem of art activity requires the development of adequate and effective logical and conceptual tools. Without this, it is impossible to penetrate into the essence of the problem, and to analyze the most important trends in its development. The need to deal with the basic concepts that reveal the specifics of art activity is also due to the fact that already in the content of these concepts, the strategy of theoretical search, and directions of movement of scientific thought are outlined. The research objective. Current problems of understanding the artistic text and its interpretation in other types of art are considered; the procedural movement of the artistic image and the peculiarities of the ontological paradox of art. The statement of basic materials. The artistic image is a complex multilayered entity. It begins with the artist’s idea, which acts as a kind of sketch for the future image. Technical skills and mastery, the artist’s spiritual powers are aimed at realising this idea, but sometimes the idea and its realisation in the material are very far away. An artistic image is an image of the being of an artistic work, a way of thinking in art. In the aesthetic sense, the artistic image is an integral organism in which there is nothing accidental. Therefore, the artistic image is neither an object nor a thought, but a process, not completely concrete in its immersion in the sensual element. The specificity of the cognitive side of the artistic image lies in the fact that in the process of its perception there is a direct vision of truth which does not rely on evidence, there is a diffusion of the artistic and real world. Conclusions. The complex structure of the artistic image cannot be viewed statically; the artistic image is a process. It is a universal category of artistic creation, a means and form of assimilation of life by art. [ABSTRACT FROM AUTHOR]

The study of the speech-genre and formal-semantic properties of Russian anecdotes on bribery is based the corpus of anecdotes, which also include jokes of Russian-speaking Ukrainians, differing from Russian ones only in the names of the “protagonists” appearing in them. It is established that the main means of creating a pun in a joke are the lexical and grammatical polysemy and homonymy, playing off the phonetic similarities and spontaneous humor. The comic effect in jokes on bribery can also be created by playing off idioms – their literalization or replacement of components. According to the corpus of anecdotes, the authorities act as an almost “exclusive” subject of bribery – officials of all ranks, police authorities and lawmakers. In the corpus of jokes on corruption, the axiological and praxeological aspects of bribery are traced clearly: the general attitude of society towards a bribe and its assessment. The research claims the ubiquity of bribery in power structures, and with regard to the miraculous disappearance of corruption, one can feel extreme pessimism as it is ineradicable and inescapable. Humor as the ability to notice the ridiculous side of someone or something and present it in a maliciously mocking form in the corpus of jokes on bribery is practically absent due to the domination of sarcasm and irony. In jokes, all the denunciatory pathos is directed at bribe-takers, towards whom there is hatred, impotent rage and hyperbolic cruelty. The “fight against corruption” is purely imitative, but it has several nonfictitious functions: a tool for reprisal against competitors and those who do not fit into corruption schemes. Among socio-cultural functions of the jokes on corruption, in addition to the entertainment function, the article identifies the cathartic-therapeutic function, aimed at relieving a psychological stress caused by the prevalence of bribery, and the aggression function, specified in the outrage by corruption.

The article aims to determine the changes in the model of the speech genre of the Russian academic article in the field of humanities over the past 120 years. Methodologically, the analysis is focused mainly on identifying cognitive (logical-structural), pragmalinguistic (identifying the leading speech strategies) and forma (the form, article sections, text volume) characteristics of articles. The research suggests that during the analyzed time period, divided into four parts (1900–1930, 1930–1960, 1960–1990, 1990–2020), this speech genre has acquired the features of a hypergenre due to the fact that the following mandatory elements were included into the model: an Abstract, Information about the author, and Keywords. According to the analysis, one can see a specific trajectory in the formation of a model of a Russian academic article genre, the strengthening of national ways of information presentation and addressing in contrast to the enhancement of formal indicators. The obtained data is confirmed by the analysis of the frequency of speech strategies implementation (analytical, characterizing, modeling, methodological, classifying, reviewing, problem stating, descriptive, informing) and the analysis of the peripheral speech genres included into the article – affiliation (gratitude, appreciation), evaluation (criticism, approval, reproach), reflexive (justification, reference to authority), and prognostic (forecast, recommendation, suggestion) ones. Fluctuation in their frequency reflects internal trends related to historical causes and changes in scientific paradigms. Thus, the results of the research on the academic article speech genre in the field of humanities indicate that the unification of the Russian and Western European (Scopus) models of this speech genre is not inevitable.

This article focuses on the speech genre “student comments on a professor’s rating” which belongs to the domain of quality assurance in higher education. Both aspects are meaningful for the theory of speech genres and the system of higher education. The article analyses the communicative concept “student feedback on teaching” which is related to the speech genre under research. The article also deals with description and comparative analysis of speech genre features of axiological texts which belong to the domain of the “quality of education” in Russian and American linguistic cultures. Apart from this, the article attempts to classify the speech genre forms of students comments on teaching. On the basis of the comparative analysis of the speech genre “student feedback on teaching” in Russian and American education discourse there have been deduced several common and national specific language features and phenomena. The evaluating communicative concept “student feedback on teaching” comprises not only emotional evaluating attitude of the author but also a structural semiotic paradigm of the teaching evaluation. The American concept demonstrates higher semiotic density. The comparative analysis of verbal implementation of the concept in the Russian and American student feedback comments allows to conclude that the corresponding speech genre in American culture looks like an established speech practice, while into Russian culture this genre has been borrowed and is still being formed.

The article deals with the problem of the relationship between two linguistic theories: a speech genre theory and a speech act theory. The research is based on the genre of a contact excursion. From the point of view of genre studies a contact excursion is a speech genre and it can be described using the “speech genre questionnaire” proposed by T. V. Shmeleva, which includes the communicative goal of the genre, the concept of the author, the concept of the addressee, the dictum content, the image of the communicative past, the image of the communicative future, and the language embodiment. From the point of view of functional and structural classification, a contact excursion is a complex genre or a hypergenre, consisting of a number of simple genres. Within the framework of the actional or the activity approach, which is based on the speech act theory, a contact excursion can be considered as a communicative event and described using speech strategies and tactics which represent one or more speech actions, which traces to the concept of a speech act. The notion of the communicative style serves as the basis to reconcile and combine both theories.

The article describes the model of the genre of “judicial expert opinion” and considers a medical expert opinion as its example. A judicial expert opinion is defined as a written text including the research and conclusions on the issues posed to the expert by the person conducting the criminal proceedings, or by the defense or prosecution. This text functions simultaneously in two branches: in jurisprudence, as a document, and in a certain field of science that is related to the field of expert knowledge, in this case in medicine. To build a genre model of the judicial expert opinion, the author uses the speech genre model proposed by T. V. Shmeleva. This model seems most consistent and allows to cover not only linguistic, but also communicative parameters. According to this model, the article describes the compositional and speech features of the reviewed genre, its differential features (the image of the author, addressee, image of the past and the future, dictum content, and the image of the object of examination as an additional parameter), communicative goals and aspects of its linguistic embodiment. The analysis allows to present a judicial expert opinion as an informative reactive speech genre with a perfect perspective of dictum. The linguistic embodiment of this speech genre is partially clichéd, the linguistic means are selected in accordance with the textual traditions of formalizing official documents and expressing professional knowledge. The main features of the language embodiment of the genre are the following: a combination of official, academic and colloquial speech styles; frequent use of medical terminology, abbreviations; zero subject sentences and passive constructions, elliptical sentences.

As an unintended consequence of the business model of social mediacompanies, a new actor has entered the process where tradition creates new genres: the algorithm. Platform algorithms live dynamic lives in intimate connection with their human users. They sort and filter, rank, amplify and conceal, and they affect what, how and when we share. They are non-humans who enter into the domain of human creativity. As such, they can be used analytically to understand the processual aspect of genre: Algorithms are alteringmechanisms that create continuity. This article will highlight the role of algorithms as actors in the process of tradition and discuss how this can elucidate genre as process. As example, we use the digitally born genre «Internet memes». We suggest a Bakhtinian framework to elucidate what role algorithms play in making the meme one of the most characteristic genres of connective cultures.

This work analyzes how the journalistic discourse is re-enunciated in a particular experience of production of school newspapers: the project “Fala Escola” (School speaks) of the CSO Comunicação e Cultura, based in the state of Ceará, Brazil. Under the aegis of critical genre analysis (BONINI, 2011; 2013; 2017), the project’s instructional materials for teachers and five editions of newspapers produced in different schools were analyzed. The nuclear hegemonic journalistic discourse – that of objectivity, impartiality, and plurality – is predominant both in the instructional materials and in the school newspapers examined, the latter also inscribed in other dominant discourses of journalism – the investigative and that of entertainment. Both materials also bring incidental features of a counter-hegemonic journalistic discourse – the community journalism. [ABSTRACT FROM AUTHOR]

Titles are regarded as part of the delimitation frame and, therefore, as part of the structural aspect of the genre of Stations of the Cross. The purpose of the paper is to describe changes that took place during the 20th century, which was a period of particularly turbulent changes in the religious discourse. The study is based on material of about 200 texts dealing with this religious service, published between the beginning of the 20th century and the present day. Throughout the last century, the most common title was the simple genological term ‘Stations of the Cross’. At the beginning of the analyzed period, however, also longer titles, extensively informing about the content of the text, were fairly frequent. At the same time, they were also persuasive titles, because of the use of explicitly valuating lexis. Those titles gradually gave way to the use of laconic genological names as titles. After the Second Vatican Council, there were many variants of the service adapted to different audiences and various communication situations, which was reflected in the titles. Recently a new type of titles has appeared, whose purpose is to attract attention of the recipient. They are often based on puzzles, contrast, allusions, etc. Consequently, the receiver gets satisfaction from deciphering a puzzle or finding the source of the given quote or allusion. These phenomena are well-known in studies on language of the press, fiction and advertising, but – at the same time – this overlaps with current trends in the so-called new evangelization. In the entire period studied, the titles played an informative and impressive (or more precisely: persuasive) function. Persuasiveness intensified particularly at the beginning and towards the end of the analyzed period.

he study focuses on speech patterns typically used in litigation documents issued at the stage of criminal proceeding initiation and pre-trial investigation, which belong to the genre of decree. It is stated that Russian Federation Criminal Procedure Code and most of the Comments to it lack any language requirements to the text organization in these litigation documents. The article is aimed at defining characteristics of the decree genre structure; in particular, lexical and grammatical means that are used in decree texts are equated to the language norms. Some most frequent cases of lexical compatibility violation within set expressions and cliché of litigation documents and their combinations are detected. The author adheres to the opinion that language norms violations may have legal consequences in qualifying offenses and their types. The analysis of syntactic structure of sentences reveals that there is no distinction in the linguistic category of event completeness, in the texts they are presented as hypothetical events. Several aspects of modality in decree texts are studied. The author lays down some requirements on composing a narrative part of the decree as a forensic genre, makes an assertion that it is time to formulate some firm linguistic criteria of decree documentation organization and indicate the consent on expediency of linguistic expertize.

The article describes the genre of public apology in the diachronic and synchronic aspects. The data from different types of discourse serve as the material for the analysis: belles­lettres, nonconformist, judicial, political, mass­-media. The method of discourse analysis was the leading one while analyzing the functioning of public apology in various types of interaction. The method of contextual study of communicative situation was also applied. The article defines the communicative aim of the public apology, draws a boundary line between an apology and penitence, and identifies the position of public apology among other genres of judicial discourse. Within the framework of political discourse the author singles out cognitive and discourse peculiarities of public apology and describes the forms of public apology on the national and international levels. The genre of public apology is viewed as representation of values in the discourse of new sensibility. The videos in the format of public apology are analyzed as a separate genre mode.There is a conclusion that the genre approach to the study of the communicative practices in the diachronic and synchronic aspects allows to describe not only the current situation with the genre nomenclature, but also to forecast the development of genre forms.

The results of the study of the Law of the Russian Empire on Jews are presented. It is stated that these documents form a hybrid discursive community of texts, combining the directivity of the law and the persuasiveness of the nationalist text. The relevance of the work is due to the fact that the study of the normative texts of the legislation of the Russian Empire (XVIII, XIX centuries) allows not only to reveal the patterns of development of the language of law, but also to supplement information about the linguistic and pragmatic characteristics of speech genres. The novelty of the study is seen in the fact that examples of the mutual influence of legislative and socio-political discourses are considered. From the layer of legislative acts regulating the legal relations of Jews, the author singles out the nationalist law on Jews, which distinguishes the focus on forcing the addressee to causate the situation of protecting Christianity from the hostile influence of the Jews, on overcoming the situation of non-use (harm), where the agents are Jews. This circumstance ensures the presence of a motivational part in the structural-content scheme, which justifies the usefulness of legislative regulation by the negative nature of the image of Jews as an ethnic and religious community, the expression of contrasting prescriptions that are discriminatory towards Jews and preferential against the opposing Jews to national and religious groups. The author, analyzing the use of the nomination jude , highlights the general non-invective nature of the nationalist law on Jews.

The article considers issues related to speech genres in the new global areas of communication, which, in the first place, includes the Internet. Taking into account the main parameters of structuring the genre space of network discourse (V. I. Karasik, E. I. Go­roshko), the author identifies and describes the genre characteristics of the social network Instagram, which is one of the most popular platforms for communi­cation, self-­presentation, promotion and sales. As the basic features of this type of communication, the fol­lowing ones are highlighted: 1) a hypertextual na­ture (a special form of text organization, mediated by a computer environment, characterized by a process of non­-linear writing and reading); 2) interactivity (a publicly available feed of publications on Insta­gram implies the possibility of approval and comment­ing on materials posted by the author – the number of comments on the post is considered as the main indicator of the “success” of the account/author); 3) imperative character (most of the represented gen­res are imperative, including indirect representations); 4) predominance of polycode messages, including text, visual and video components (the initial predominance of the visual component of the genre as a result of the development of the Instagram communicative space was replaced by the implementation of the genre at the same time at several levels – verbal and visual, with an increase in the volume of the text component). The article also discusses specific aspects of Insta­gram as a social network. It has special opportunities not only for virtual socialization and self­-presentation of the subjects of communication, but also for pro­moting brands, goods and services, that significantly changes the existing speech genre pattern. There is a focus on the possibilities of typologizing genres present in the communicative space of social networks, in particular the Instagram network. It is determined that the genre system of this discourse type is flexible, characterized by blurring of the bound­aries between the genres and their transformation in accordance with the prevalence of utilitarian commu­nication goals.

The article deals with some aspects of a metaphorical understanding of the concept of “family” in Kazakh culture. The study is based on the material of the texts of Kazakh wedding toasts. This variety of the speech genre of the toast is characterized by typi­fication and variability, determined by conventional language norms and norms of speech communication. Words and phraseological combinations, in which the metaphorical model is objectified with the source area “home” and the target area “family” in the texts of Kazakh wedding toasts, reveal the specific nature of the language conceptualization of the concept of fam­ily. The “traces” of pagan mythological views, ancient customs, rituals and beliefs of the Kazakhs were pre­served in linguistic units. The metaphorical model “home” – “family” reflects the idea of creating a new family as building / constructing a new home. In addition to the general idea of the family as a dwelling (aq otaw), elements of the “dwelling / yurt” frame (şañıraq, bosağa, kerege) participate in the im­plementation of this metaphorical model. They belong to the most semiotically loaded elements of the Kazakh yurt and act as symbols of happiness, security, family well­being. The rooted metaphorical model “home” – “family” in the linguistic consciousness of the Kaza­khs is evidenced by the frequency of the names of a newlyweds’ yurt – aq otaw, its components in modern wedding toasts.

The article proves the possibility of researching the written speech genre from the perspective of linguistic variant studies and their description by means of the opposition ‘invariant ∼ variants’. The proposed model of speech genre represents this unit as a set of genre formations (variants), which, when examining the invariant properties of the genre, reveal variant features as a result of the modification of these genre realizations. The author demonstrates the heuristic possibilities of the proposed method of description of speech-genre variability on the basis of speech genres of natural written speech. The research makes it possible to create a variantologic model of the speech genres “personal diary”, “personal letter”, “personal note”, which includes variant implementations of the genre invariant located in different zones of the natural writing genre space. Speech products located in the nuclear zone of the genre field (a handwritten diary, letter, note) are characterized by a tetra-unity of their formal organization (form), functional purpose (function), thematic-stylistic embodiment (meaning) and substrate (material carrier of the sign). Those genre implementations that arise as a result of the modification of certain genre properties lean toward the periphery: the addressee (online diary; letter to the editor; a letter in fiction and nonfiction), reference correlation, and a functional-target parameter (genre variants realized in fiction), substrate (online diary, email letter, SMS). The change in the functional-target and formal-semiotic embodiment of the speech product, determined by the modification of the substrate, leads to the appearance of speech realizations, which, while preserving the genre name of the invariant, reveal signs of other genre formations, which has a centrifugal effect on the genre space, taking speech works beyond the boundaries of the genre.

The review is a response to the publication of the monograph by M. A. Kanturov and T. I. Staksova “Productivity and variability of speech genres”. The authors represent the Russian speech-and -genre space as a complicated non-rigid system, the units of which are interconnected by the relations of derivation and variability. The relevance of the study is justified by the need to develop models that summarize numerous empirical observations on the structure and functioning of individual genres and groups of genres. Spreading the theory of derivation into the relationships inside the genres and between the genres leads the authors to the productive idea of the derivational chain of speech genres (similar to the word-formation derivational chain), differentiation of mutations and modifications of genres and a number of more specific provisions that adapt system-language relations to the object of speech nature. The authors distinguish and describe four types of variability: variability as a result of derivation, invariant realization, different incarnations of genre traits, and variability in terms of interpretation. The study is based on genres belonging to everyday, professional, political spheres and fiction.

The objective of this article is to examine the thematic structure of the president's farewell address. The research material is Dmitry Medvedev's speech at the inauguration of Vladimir Putin on May 7, 2012. The thematic structure analysis of the discourse includes the identification of semantic macro-propositions, the creation of an informational portrait of the text, the definition of the key words, the establishment of the main topics, the study of linguistic means of embodying the ideological views and thematic content and rhetorical ways of influencing the audience. Statistical analysis shows the most informative words of the speech: we, the whole, I, Russia, our, person, citizen, president, state, be, work, country. Dmitry Medvedev's speech includes the following substantive elements: achievements of the country during his term in office, challenges, the image of the country's future, the president. The politician formulates the achievements of the country in four theses. Firstly, the previously initiated economic and political transformations have continued; positive changes have taken place in the public life of the country. Secondly, despite the global economic crisis, the state has fulfilled its social obligations. Thirdly, the modernization of the economy has begun. And fourthly, the dialogue between the government and society has improved. The image of the future contains such political concepts as the state, law, justice, security, freedom and person. The cognitive scheme of the concept "president" consists of the following elements: experience, knowledge, awareness, citizen support of the political course, and work. Medvedev uses multilevel linguistic means and rhetorical techniques to form a positive semantic background for the perception of the results of his presidency. It is concluded that the farewell address plays an important role, since it presents to the citizens the results of the president's activity and the vision of the country's development.

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Copyright of Linguodidactica is the property of University of Bialystok 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.)

Pauses act as important acoustic cues to prosodic phrase boundaries. However, the distribution and phonetic characteristics of pauses have not yet been fully described either cross-linguistically or in different genres and speech styles within languages. The current study examines the pausal performance of 24 Czech speakers in two genres of read speech: news reading and poetry reciting. The pause rate and pause duration are related to genre differences, overt and covert text organization, and speech tempo. We found a significant effect of several levels of text organization, including a strong effect of punctuation. This was reflected in both measures of pausal performance. A grammatically informed analysis of a subset of pauses within the smallest units revealed a significant contribution for pause rate only. An effect of tempo was found in poetry reciting at a macro level (speaker averages) but not when pauses were observed individually. Genre differences did not manifest consistently and analogically for the two measures. The findings provide evidence that pausing is used systematically by speakers in read speech to convey not only prosodic phrasing but also text structure, among other things.

The article focuses on functional speech genres used on the Internet to assess the level of customer satisfaction after purchasing goods and services on portals with various offers. It attempts to define what genre is used in the texts called commentaries, evaluations, opinions and consumer reviews. Both Internet users and providers of goods and services use these terms interchangeably. The situation may result from the fact that in the ordinary mind, they constitute one genre. The text introduces the research on the statements of internet users expressing their opinion on the transaction, the purchased products, and the service provided. Nowadays, the Internet has such a large social impact that it is important to examine the changes in speech genres existing in the Internet space in relation to their prototypes derived from the literary tradition.

Introduced to the UN by the Prime Minister of Fiji, the Pacific speech genre of talanoa has become a key frame for international discussion of climate change policy. Traditionally associated with kava‐drinking ceremonies, talanoa includes practices that temporarily mitigate differences in hierarchy and rank, which help to facilitate the formation of consensus, a process sometimes referred to as 'The Pacific Way'. This capacity has also motivated its application to a wide range of social interactions and speech events, scaling up from local contexts and national debates to international arenas. This includes talanoa's contribution to the facilitation of the Paris Climate Agreement by promoting cooperation and the exchange of ideas. The Talanoa Dialogue differs from other speech genres at the UN, including the process of reconciliation through which resolutions and declarations are formulated. Fiji used its leadership role at international climate change meetings to counter representations of Pacific Islanders as passive victims of climate change, including the threat from rising sea levels. The introduction of talanoa to these meetings can be understood as an ideological project of encompassment in which a regional speech genre became an international framework for addressing one of the most consequential challenges of our times, global climate change. [ABSTRACT FROM AUTHOR]

The article presents a characteristics of several contemporary communication phenomena transforming religious discourse in its Catholic version. The author understands discourse as the entirety of communication practices specific to a particular community of believers, which in the course of various interactions fixes and agrees relevant to this community content, preserves appropriate scenarios of communication behavior and rules for their completion by utterances and/or non-verbal means. The author emphasizes the peculiarity of the religious discourse that is open to transcendence. She limits the scope of the presented communication phenomena to the catechetical discourse, which now focuses on participation of the catechized people in the process of catechesis. The methods of catechesis should therefore take into account the spiritual needs of the believers. Catechesis formulated in this mode promotes communication experiments, especially the processes of movement, i.e. translocation of speech genres from the secular to sacred realm. According to the author these translocations are accomplished in new genre forms that maintain the memory of their basic genre code, but at the same time are subject to processes of transformation conducive to the creation of new genre patterns. Some of them do not have genre identifiers in the form of special names and are only a beginning of new conventions. Such status is attributed by the author to evangelization visiting card analyzed in the article. Some of them gain names and create a series that preserves the innovative principles of the genre. As an example, the author discusses messages called the heaventels. They are an adaptation of the SMS convention for simulated (stylized) communication of God as the sender to the man. Translocations are favourable to launching of the adaptation processes and formation of genre duplicates that make the input (secular) genre form more capacious and communicatively catchy.

The article is devoted to the study of ways of expressing imperative in the speech genre “command” based on the material of artworks by B. L. Vasiliev and V. N. Voinovich. Particular attention is paid to imperative intention as the leading genre-forming feature of the studied speech genre. The most regular verbal, adverbial (particles, unions) and non-verbal (particles, interjections, nouns and adverbs) means of expressing the semantics of imperativeness are described. Grammatical means expressing the semantics of imperative in the speech genre “command” are divided into four groups: constructions that include the verb imperative; constructions that include other forms of the verb; constructions represented by the unity of verb and non-verb forms; non-verbal means of expressing imperative. The article notes that the most frequent verbal means of expressing imperativeness are verbs in the form of imperative, infinitive and prohibitive. The expressiveness of statements, the imperative semantics of which is expressed by forms of verbs of indicative mood and non-verb morphological means, is emphasized. The main intention of the command in such contexts is supplemented by various shades of motivation: a request, a wish, a demand, a call, an indication of how the action was performed, and others. The analysis and comparison of the means of expressing imperative in the texts of the works of B. L. Vasiliev and V. N. Voinovich is carried out.

Unlike the majority of linguistic researchers, we consider the compliment as a speech genre, and a praise as a speech tactic of a positive assessment of the addressee. This tactic is the main and only speech tactic designed to serve the complimentary purpose, which expresses a positive attitude towards the interlocutor. Specifics of the compliment as a speech genre are defined by it possessing communicative independence and completeness. Unlike other genres of speech etiquette, the compliment is not attached to a certain situation and represents a facultative element of phatic communication. The etiquette essence of a compliment presupposes a certain convention of its contents, therefore theoretically it is supposed that the stated positive assessment shouldn’t be verified by the addressee. However, the importance of the category of sincerity for the Russian language consciousness determines the fact that in modern Russian communicative culture there is a special style of compliment which is caused by an aspiration of the sender to evoke trust of the interlocutor to the contents of a statement made. Markers of this style are various language emotional and estimated means and the structural-syntactic features particular to spontaneous informal conversation.

Collective memory, defined as ‘acollection of imagesof community members about their past which are included in cultural texts,’ (Wójcicka 2015: 68), ‘images about the past activated in the process of social communication in order to meet the cul-tural and political needs of the present’ (Czachur 2018: 11), is unavailable directly. It can be reached only through representation of the past expressed in different kinds of signs. Thus, collective memory has the character of a sign. Based on that assumption, the author presents the style and genre diversity of collective memory. She shows the role of language style in collective memory and puts forward a ques-tion about what function speech genre has in remembering, recalling, reminding and forgetting. She presents complex relations between memory and speech genre, which she treats as a sign of oblivion. In the last part of the article, the author offers a typology of memory genres distinguishing primarily (intentionally) mnemonic and secondarily(functionally) mnemonic genres.

In the proposed article, apology is considered as a speech genre (hereinafter SG), which is a set of lingua-pragmatic meanings typical of the implementation of apology in German. At the heart of such SG lies the pragmatic intention or set of pragmatic reasons inherent in the SG under investigation. For the reason given in the proposed study, we distinguish the following subtypes of SG of apologies: 1) emphatic apology (a) apology in the interests of the speaker; b) an apology in the interests of the listener; c) an apology in the common interests) 2) etiquette apology 3) formal apology The purpose of the article is to analyze and implement a pragmatic description of emphatic apology as one of the subtypes of SG of apology; to distinguish the differences of emphatic apology from other subtypes of the studied SG. The main factors of emphatic apology are considered to be the high degree of seriousness of the harm done to the addressee; the speaker’s awareness of his or her responsibility for the action taken; psychological discomfort experienced by the addressee as a result of a negative act; the desire of the addressee to plead guilty and to restore the balance in their relationship. In such a case, the speaker’s communicative purpose is to express his/her negative attitude/negative evaluation of his or her own action and to take responsibility for the situation that led to his/her behavior. Emphatic apology is divided into apology in the interests of the speaker, the listener, and in the mutual interests of both interactors. The main criterion for distinguishing between these three subtypes of emphatic apology is the direction of interest or the need for apology. An emphatic apology is distinguished from etiquette or official apology by the fact that in a situation of emphatic apology, the speaker expresses his feelings about the event that occurred and caused harm to the addressee. At the center of the emphatic apology there is a speaker who sincerely seeks to have the addressee forgive him and his emotions, namely deep psychological discomfort and recognition of his responsibility for his negative act.

Antiaddictive social advertising is a special speech genre of modern communication with specific features determined by the target setting and the chosen strategy. Advertising can be considered as a special functional style, within which separate genres are distinguished, first of all commercial advertising and social advertising. Social advertising, which refers to ethical categories, has become especially popular because society is faced with such problems, the solution of which depends on mass behavior. Advertising has become an integral part of the daily life of a person. Since advertising is mass-replicated in the media, it can enter the consciousness of the addressee, even against his/her will and desire, no wonder advertising is sometimes defined as the “fifth power” after media, whose power is considered the “fourth power”. Therefore, it is so important for advertising to follow the moral principles of society, it is so important to comply with modern ethical and linguistic norms. If commercial advertising is widespread, the antiaddictive one is little known. Many specialists in advertising argue for the need of the strategy of “shock” advertising, a remarkable feature of which is hyperbolization, used to cause fear. In antiaddictive advertising there is often a morphological imperative in the meaning of categorical motivation. It is justified as such advertizing has to be as much as possible appellate, has to be understood unambiguously. Anti-drug social advertising should show positive, motivation to a healthy lifestyle.

The article is devoted to the genre-forming characteristics of the English-language microblog Twitter, in particular, the communicative goal of media communications is analyzed as informative, fatal, entertaining, self-presentation, evaluative, educational, marketing or economic, political. Participants of communication are considered (addreser / addressee) who, being in an equal communicative position, carry out effective potential speech infuence on each other. The event content of tweets, which by their nature are eventful, emotional, communicative, synthetic messages, is investigated. The author convincingly argues that Twitter, on the one hand, is a virtual space with technical characteristics inherent only to it, but on the other hand, the microblog is a unique communicative genre that defnes certain rules of speech behavior that communicants have to follow. The article attempts to highlight the linguistic genre-forming features of the design of tweets that determine the choice of lexical, stylistic, syntactic, graphic and other means. When creating a model of the speech genre of Twitter, the author correlates it with the above parameters, including in the description information about extra-linguistic factors that affect the language embodiment of this type of communication. It has been suggested that Twitter is a converged Internet genre that emerged from the advent of Web 2.0 technology. Being a hybrid genre, this communicative phenomenon is interesting for linguistic analysis due to a number of characteristic communicative features, namely: focus on the recipient, the ability to instantly respond to media messages, freedom of expression.

The analysis of communication tools of social marketing used for positioning and promotion of products of sports brands such as Puma, Reebok, Adidas Originals is presented. The author proceeds from the fact that sports products are closely connected with sports as a social value system. The author notes that this strategy allows to organically combine commercial goals with socially oriented activities, reducing the criticality of perception of messages of a positioning nature. Within the framework of communicative-pragmatic approach the methods of discourse analysis, linguistic description, intent analysis are used. The author considers the genre specifics of sports brand accounts in Facebook social network. The interaction of advertising and phatic genres of social support, focused on the translation of socially significant priorities and guidelines, is studied. The author states that socially oriented messages occupy almost a third of posts in the text content of sports brand accounts. It is shown that the main trend of positioning activities in social networks is the hybridization of the genres used, involving a combination of genres of advertising and socially oriented nature, which allows to mask the advertising message, veil its manipulative nature. It is emphasized that as a result of this kind of communication policy, users of the social network are transformed into a kind of advertising agents, providing retransmission of information about the company and its products.

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Copyright of Respectus Philologicus is the property of Vilnius University 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.)

The genre specificity of oral histories about starvation of 1941-1945 is covered. The review of the main works on the history of study of oral history in the national folklore is made. Consideration of the oral history as a speech genre allowed to establish that taking into account the peculiarities of oral speech helps to understand some of its properties in a new way, which, in turn, allows to rethink the traditional folkloristic approach to its analysis. It is shown that certain types of oral histories have a dual genre nature - on the one hand, they are speech genres, and on the other - folklore. The analysis of oral histories about starvation of 1941-1945 in the context of other works of reliable stereotypical prose, including those about fighting on the fronts of the Great Patriotic war, the blockade experience, the stay in captivity, led to the conclusion that a group of oral histories about starvation of 1941-1945 can be identified as a type of speech genre memories. It is shown that at the same time it is possible to define such stories as a folklore phenomenon representing a kind of a genre of the oral story devoted to the narration about a person in an extreme life situation.

The reorientation of linguistics to the study of the regularities of its functioning in stylistics, manifested in the fact that functional style has been regarded as a type of language in any sphere of human activity, regards language in the aspect of differentiation and modification in the basic speech varieties. It is not by chance that text samples from different areas of communication are used in frequency dictionaries. Understanding style as a way to integrate speech performance first put forward the questions of the compositional-semantic organization of the text, the realization of its categories, constructive principles, and techniques. In functional stylistics studies the two main areas – the use of language and the organization of a speech performance – are analyzed as complementary, but cohesion requires understanding the regularities of the functioning of language units in a text with many objectives, updated in texts of the given sphere. To resolve this problem, it is reasonable to rely on the notion of speech genres, each of which is a sequence of standard cognitive-communicative actions – structural elements acting as an object in the text of spiritual socio-cultural activities. The analysis of these actions has revealed and systematized lexical units in communicative composition of language material (Gasparov 2010). This text-centered study of functioning of lexical and other means is of interest not only for the theory of style (and, more broadly, in speech study), but also to practice learning the language in its functional varieties.

The speech genre (SG) “persuasion” is investigated on the material of literary-fictitious dialogues in Russian literature. The relevance of the study is determined by the presence of many unresolved issues in the field of the theory of SG, the existence of transitional and hybrid forms of SG, the need to analyze socio-cultural factors of achieving communicative agreement. The novelty of the study is seen in the fact that there is a difference between SG “persuasion” in the narrow sense of the word (as one of the components in the communicative whole of a higher level) and in the broad sense - as a complex dialogical speech macrogenre of everyday communication, including, along with the actual persuasion, imperative statement, primary refusal (one or more) in the response, and the final statement with the final meaning of refusal or consent. Persuasion modelling depends on the initial mandatory subgenre, explicitness / implicitness of optional elements, repeatable structural components, achieving / not achieving illocutionary aims. Special attention is paid to the analysis of sociocultural factors of success / failure of speech actions: status-role relations of communicants, explicit and / or hidden illocutionary goal, the use of emotional and logical verbal means, the inclusion of elements of the related genre of coercion, a set of communicative strategies and tactics.

In the article the correlation of terms «speech genre» and «discourse» is analyzed, on the example of the speech genre of biography, the interaction of the genre model with the rules of the private discourse in which it is realized is demonstrated, and the conclusion is made that the terms “speech genre” and “discourse” specify intersecting, but not identical, perspectives for the consideration of the utterance.

The article deals with the national communicative behaviour of the Kalmyks in a genre area of everyday communication on the material of the Russian spoken speech. Verbally expressed national component is a steady token of Russian speech of foreign culture informants that takes part in the realization of illocutions of speech genres via chosen tactics and strategies, in many respects having nationally cultural stipulation. Therefore, assessment and verbal representation of typical situations (genre interactions) of everyday communication are to a considerable extent defined by national traditions and culture.

The article deals with cultural and national connotation of collocations “white road” (Tsagan Khaalg). There is concluded that this language sign undoubtedly has ethnic and cultural specific secured in its genre realization. On the basis of analysis of inner form of the phraseological unit which is according to the author is option is the represent of two basic concepts of the Kalmyk linguistic culture — “Road” (way) and “Fate” (life way).

The article is aimed at the research of the interrelation between genre and style, namely the problem of connotation within the speech genre framework. The importance of studying the extra- and intraliguistic components of an utterance is determined by general tendencies in modern textology and colloquial linguistics aimed at pragmatizing the research. The research is based on the statements of language and culture interrelation, speech and mind interaction, the priority of human perception in language production, as well as genre determination in compliance with the extralinguistic reality or the cognitive system of a fictional universe. According to the authors, the notion of a speech genre is one of the most important theoretical frameworks of the modern linguistics. The article reviews the history of speech genre theory development from the modern perspective. The authors emphasize the importance of M. Bakhtin’s speech genres theory for the idea of speech genres subdivision into primary and secondary ones, as well as the triple unity of the aspects of theme, style and composition of an utterance. The intention of an utterance is associated with its theme, thus stressing the role of the connotative component of an utterance as a means of expressive and evaluative influence upon the addressee. The research of interrelation between genre structures and connotation demonstrates a range of linguistic features specific for the styles typical for the particular fields of human interaction. The interaction of the intentional component of the utterance with the connotative components is confirmed by the intentional synonymy existing in the language. Therefore, the emotional and evaluative nature of connotative meaning activates the communicative and axiological aspect of an utterance content.