Literary dynamics in The.PowerBook by Jeanette Winterson and Oryx and Crake by Margaret Atwood

Interaction between text and reader is a prominent concern in stylistics. This paper focusses on interactions among stylistic processes and subconscious microcognitive processes that generate changes to narrative and interpretation during reading. Drawing on process philosophy and recent neuroscientific research, I articulate this dynamism through analysis of a brief narrative moment from each of The.PowerBook by Jeanette Winterson and Oryx and Crake by Margaret Atwood. I argue that high densities of stylistic and microcognitive perturbations lead to frequent narrative and interpretive changes in the two moments. The analyses reinforce portrayals of reading as intensely complex, dynamic and changeable. Complexity, dynamism and mutability also characterise the stylistic changes in the two narrative moments. This paper advocates greater attention to the role of volatile stylistic and cognitive microdynamics in shaping the reading of prose fiction.

Ukrainian Icons Theotokos Mother of Mercy (New Iconographic Interpretation of Traditional Plot)

Baroque trends, which have been extended in the Ukrainian religious art of the late 17th – early 18th centuries, contributed to the expansion of its thematic composition, stylistic changes and the emergence of new iconographic plots. The icons Theotokos Mother of Mercy, or the Cossack Intercession, as they are also called, are a clear example of the renewal of themes in Ukrainian religious art during the Baroque period. This iconographic version of the Intercession, apparently, is borrowed from Western European painting; it is correlated with the compositional type of the image of the Intercession of the Theotokos – Madonna della Misericordia – popular in Italian art. It is supposed, that the image of the Blessed Virgin, covering the parish with the mantle, has been inspired by the vision of the Cistercian monk, theologian and writer Caesar of Geisterbach, who describes it in his Dialogus Miraculorum (1221). Formation of the iconography Madonna della Misericordia in Western European art has started in the 13th century. The Virgin usually stands on the early images. The Christians staying under the protection of the Virgin Mary are depicted on their knees and in a much smaller scale. The icons Madonna della Misericordia have been often ordered by specific groups of believers, such as fraternities, professional guilds, monasteries and abbeys. The theme of the Intercession of Theotokos of the iconographic version Theotokos Mother of Mercy has taken a special place in the Ukrainian iconography of the Baroque period. The image of the Patroness, blessing and covering the faithful with her mantle, has attracted Ukrainian masters with the realism and majesty of the compositional plan. The popularity and rapid dissemination of this iconographic variety of the Intercession have been caused also by the fact that it presents individualized images of people from different layers of the that time society with special penetration. Contemplating the icons of the Intercession in the temples, the believers have seen obviously a powerful and merciful patroness in the image of the Mother of God. Ukrainian icons Theotokos Mother of Mercy of the 17th – early 18th centuries are filled with the search for a new artistic expressiveness, reveal the nature of the transition period and the peculiarities of the process of formation of a new stylistic system of sacred painting.

South Slavic culture and its influence on the formation of liturgical collections of the Ukrainian Orthodox Church

The purpose of the article is to analyze the influence of the South Slavic spiritual culture on the formation and development of hymnography in the Ukrainian Orthodox Church in the 16th-17th centuries. The methodology includes a systematic analysis, which made it possible to analyze and study the influence of the South Slavic spiritual culture on the formation of hymnography in the Ukrainian Orthodox Church. To determine the temporal and quantitative characteristics of the analyzed material, statistical and chronological methods were used, which contributed to the identification of spelling and stylistic changes in Ukrainian liturgical collections. The scientific novelty lies in the determination of the characteristic features of the development of Ukrainian church singing under the influence of South Slavic spiritual culture. Establishing the difference in the formation of the two main directions of church singing in the Ukrainian territory, namely in big cities and peripheral spiritual centers. Conclusions. South Slavic influence manifested itself in certain spelling and stylistic changes that took place in Ukrainian liturgical collections. This process contributed to the intensification of the development of Ukrainian musical and hymnographic art. On the model of South Slavic graphics, a new style of writing was formed, which was called the "junior half-stav". Together with the change in spelling and literary language, the "weaving of words" was transferred - a special literary style that arose in Bulgaria during the time of Patriarch Euthymius. In Ukraine-Rus, the variety of translations of instructive and ascetic works of Byzantine and South Slavic writers in the spirit of "hesychasm" has increased. The restrained and austere tone of the previous era of Ukrainian Orthodox worship was filled with major Balkan-Slavic tunes. In the Notolinian Irmologions, polyeleos psalms and glorifications spread mainly in the form of Bulgarian and Serbian tunes, on the basis of which regional variants arose in the spiritual centers of Ukraine.

Register in Samuel Beckett’s Writings in English and French:

Samuel Beckett, the Irish author and playwright was born in 1906 in County Dublin, Ireland and died in 1989, in Paris, France. From 1929 to 1989, Beckett wrote letters through which his life is depicted. His letters were published in the form of four volumes entitled as follows: volume I: 1929-1940 (published in 2009), volume II: 1941-1956 (published in 2011), volume III: 1957-1965 (published in 2014), and lastly, volume IV: 1966-1989 (published in 2016). These letters were later translated in French by the publishing house of Gallimard between 2014 and 2018. Within a morpho-semantic framework of analysis, one may wonder to what extent there exists stylistic affinities between his letters and his famous tragicomedy entitled Waiting for Godot (published in 1952). In other terms, are there constant, and/or shared stylistic units? To what extent has the register been changed from his letters to his play? How may the vocabulary, punctuation, and grammar differ from the English version of Waiting for Godot to the French version? Do these stylistic changes from English to French affect the notions of 20th-century man in the society in France? By drawing on certain theories of theoreticians in linguistics and translation studies such as Brian T. Fitch, Anthony Uhlmann, and Saeid Rahipour, this research seeks to present a linguistic and translation analysis of Beckett’s register in his four volumes of letters and English, and French versions of his play Waiting for Godot. Hence, this study aims to investigate the extent to which the Irish writer’s register has been differentiated in the corpus under study by the passage of time to suit the stylistic norms of 20th century in France and England.

ASPECTS OF LEXICAL AND STYLISTIC CHANGES IN CRISIS

This study aims at exploring linguistic changes in periods of crisis. We feel that great linguistic changes will appear due to the wide spread of the fatal diseases that affect human beings existence on this earth. To fight the disease people should raise their awareness of the disease through language as a linguistic media that helps them to some extent building defenses against the disease. This linguistic shift will be followed with some modifications on the existing form of language either by coining new lexicons or reformulating new terms with new concepts and values. On the stylistic matters some changes are also expected to let people express themselves either socially or economically. The interest of this study will be directed to changes in lexical usage or changes of stylistic issues of the crisis under investigation, namely in this present study the pandemic of Corona Virus that is commonly known as Covid 19. The study will be a qualitative survey of the changes that this disease has led to. The related theoretical framework and literature will be outlined as guidelines for this study. Its importance, methodology and the procedures will also be stated to show the techniques of data collection in order to obtain the main results and the discussion, then finally a summary of the main findings, recommendations and suggestions for further future studies will bring the paper to its logical end.

STAGES OF FORMATION OF ARCHITECTURE OF CHISINAU ADMINISTRATIVE BUILDINGS

This article reveals the stages of formation of the architecture of administrative buildings in the city of Chisinau on the background of historical and economic transformations, that took place in Moldova from the late 19th to the early 21st century. The article reflects the results of analysis, which made it possible to identify nine periods of evolution of the architecture of administrative buildings from the provincial administration buildings to office and business centers. Based on specific examples, the article demonstrates the transformation of compositional techniques not only of this typological group, but also of public buildings in general, as well as stylistic changes in their architecture from eclecticism and neoclassicism, through modernism and postmodernism, to deconstructivism and high-tech.

The Jazz Age

This chapter traces the rise of Louis Armstrong to stardom during the 1920s, and the emergence of jazz as the defining music of the decade—a period now often called the “Jazz Age.” Armstrong’s historic recordings, the “Hot Fives” and “Hot Sevens,” are assessed, as well as his work with influential pianist Earl Hines. These developments are placed in the context of the growing importance of Chicago in the jazz world of this era, and the stylistic changes brought about by this geographical shift. The chapter also looks at the leading exponents of Chicago jazz, especially cornetist Bix Beiderbecke and saxophonist Frankie Trumbauer, as well as the work of Paul Whiteman, Pee Wee Russell, Sidney Bechet, and Jack Teagarden.