Genre and style, thematic specifics of Oleksa-Нai-Нolovko's prose

The article analyzes the genre and style features of the artistic practice of the Ukrainian diaspora writer Oleksa Hai-Holovko (1910–2006), who lived in Canada. In the process of the analysis it was found that in his literary practice the writer used the main stylistic features of genre and thematic varieties of works following the principles of image, image system, plot and plot construction, composition, construction of space and time. The notion of genre and style is defined, the typological features of traditional prose in the context of the writer 's work are analyzed. It is proved that the genre is classified as a formal unit that expresses a certain meaning, based on specific criteria: issues, themes of prose, the author's position, trend, pathos, conflict of work, ideology, plot-compositional features, narrative form.

Development of a Tele-ICU Postorientation Support Program for Bedside Nurses

The end of the formal unit orientation program is a stressful time of adjustment for nurses hired into critical care without previous critical care experience. Although most units offer reassurance that experienced colleagues will provide the needed guidance, consistent support may not be available for many reasons. Development of a structured postorientation program designed to provide support and ongoing feedback to bedside nurses who have completed orientation is one strategy to assist nurses through this period of adjustment. The experience and expertise of the tele–intensive care unit nurse are excellent resources that can be called on to provide the needed support.

The phonology and grammar of Galo “words”

“Words” may be independently defined and identified in Galo (Tibeto-Burman > Western Tani) in terms of relatively consistent and functionally well-motivated sets of phonological and grammatical criteria. However, these criteria very often fail to converge upon identification of the same formal unit; instead, we frequently find phonological “words” which consist of two grammatical “words”, and grammatical “words” which consist of two phonological “words”, etc. The resulting “mismatch” between “phonological words” and “grammatical words” in Galo is argued to be theoretically non-trivial, in that its existence is capable of explaining a variety of otherwise seemingly disparate facts in the synchronic and diachronic organization of Galo grammar. The facts from Galo thus support a view of language in which “word” is independently defined in phonological and grammatical terms, and in which neither type of “word” necessarily corresponds to (or is projected by) the other. Although there might be said to exist a very generalized functional pressure towards “unification” of “phonological words” and “grammatical words”, such a pressure would not be expressible as a formal constraint on language grammar.

Hysteresis in Unemployment Rates? A Comparison between Germany and the US

SummaryIn this paper we compare the unemployment dynamics of the US and Germany with monthly data up to 2008. With data from 1971 on the evidence is mixed when applying descriptive methods or formal unit root tests. When allowing for fractional integration, however, we find similar results to the literature in that shocks to US data seem to be transitory while having permanent effects on German unemployment. This difference in hysteresis, however, depends on the sample. Using recursive and rolling techniques we observe that shocks in US subsamples until the mid-nineties are clearly more transitory than in more recent subsamples.We conclude that hysteresis has turned into a dominating feature also on US labour market more recently.

On the Nature of Structural Framing

Structural framing is the reference to initial material at the end of a formal unit; this formal unit might be a theme, section, movement or even a multi-movement work. Structural framing is a special kind of thematic restatement that is fundamentally distinct from recapitulation or apotheosis. Whereas a recapitulation associates the beginning of one section with the beginning of another section, a structural frame associates the beginning of one section with its end. Thus a recapitulation is a re-beginning, an apotheosis is a triumphant arrival, and a structural frame is a closing gesture – a parting ‘adieu’ that assists the listener in the conceptual encompassment of a formal unit.

Forming Desire: On the Eponymous In Memoriam Stanza

Since In Memoriam first appeared in 1850, critics have been trying to come to terms with the unusual verse form of the poem and the nature of the desire it seems to encode. This essay roots these two critical preoccupations in the one formal unit-virtually unique in the history of English prosody-so distinctive to the poem that it bears its name: the eponymous In Memoriam stanza. Repeated endlessly, almost relentlessly, seven-hundred-and-twenty-five times, the stanza itself contains hermeneutic potential yet to be unpacked. For while Tennyson claims to have originated the verse form on his own, more than two centuries before him Ben Jonson had used the so-called In Memoriam stanza to similar effect: to express elegiac sentiments on the topic of doomed or "lost desire." To take Tennyson's claim to formal autonomy at face value is to dismiss centuries of poetic syntax built into the verse form that necessarily informs his poem. From the dissident elegiac desire of the Latin poet Propertius, to the elegiac longing of Jonson and Gray, to the yearning "Elegies" (as Tennyson called the individual sections of In Memoriam), to the lyrics of Oscar Wilde, this essay performs a radical genealogy of the stanza, showing how its formal devices work to incorporate (and disguise) its "vague desire" in specific "matter-moulded forms of speech."