Vol 19, No 3 (43) (2024)

In Japan, even now, the genre of seasonal greetings is widespread, which has no analogues in Russia or Europe. Such genres may have lexical specificity; often their units belong to non-equivalent vocabulary. Such words cannot be translated into another language with one word or phraseological unit without losing or adding information, and a “descriptive” translation can be extremely inconvenient and wasteful, not stylistically appropriate, and some components of meaning may be lost or, conversely, added. Postcards are written according to a certain template and sent expressing feelings in connection with the beginning of one or another of the 24 seasons of the year. They can be joyful or sympathetic depending on the weather typical for the season. The genre, apparently, correlates with the peculiarities of the Japanese picture of the world. Based on a simple analysis of vocabulary, it is obvious that Japanese speakers are constantly associated with the sea, maritime climate, marine fishing; as for cattle breeding it is not very common there. Particular attention to natural processes from weather to inarticulate sounds is often characteristic of the Japanese language. In addition to expressing feelings in connection with the seasons, onomatopoeia and imagery are of particular importance to it; such vocabulary can appear in a variety of genres. 

The article is devoted to a relatively new genre of speech – self-presentation. The research is based on self-presentations of non-philological students of the geographical, sociological, biological faculties, Faculty of Mechanics and Mathematics, Faculty of Computer Science and Information Technology, the Institute of Physical Culture and Sports of Saratov National Research State University named after N. G. Chernyshevsky and philologists studying at the Institute of Philology and Journalism. The purpose of the study is to identify the genre features of these texts. The multidimensional analysis of self–presentations revealed genre-forming features, the most typical cognitive models (scenarios) of self-presentation, which allow us to conclude that the student’s self-presentation is a synthetic speech genre pursuing informative, imperative, evaluative goals. It can also be attributed to the genre of reaction. The genre of self-presentation interacts with other speech genres, as a rule, self-presentation includes a call, a message, gratitude. Bachelors and specialists choose a strategy – the desire to please, to seem attractive to others, Master’s students – self-advertisement, self-promotion, proving their professional competence. The choice of these strategies is related to the basic characteristics that the author defines for himself as essential: for Master’s students this is a career, for bachelors and specialists – a family, in which they live, and positive personality qualities. The article presents an overview of the forms of students’ self-presentations. Examples of atypical self-presentation are poetic texts and fairy tales, in which verbal-logical and emotionally expressive elements of speech as means of influencing the audience. Irony, jokes, puns are successfully used in students’ self-presentations, but in general the degree of seriousness within the genre is very high, for the most part self-presentations are a variant of business communication. In the works of students of all faculties, except philologists, a rhetorical technique is productive and frequent – the use of quotations and references to the opinions of famous people, philologists use lyrical reflections.

The article is included in the range of works devoted to the study of genre characteristics of texts and genre forms. The relevance of the study is determined by the specific nature of speech genres and their variability. The purpose of the work is to research the magazine “Tram” as a speech genre and its genre forms. The material for the study was the journal issues published between 1990 and 1995. The article tries to consider the relationship between the concepts of “genre” and “genre form”. The authors adhere to the point of view that a “genre form” is a genre that is part of the structure of another, more complex genre. One of the genre characteristics of the magazine “Tram” and its constituent genre forms is creolization/polycode, a combination of verbal and paraverbal components. On the one hand, the interaction of these elements turns out to be a feature of all magazines for children and teenagers. On the other hand, drawings, sometimes their predominance over the verbal text, their location on the page, color, variety of fonts distinguish the analyzed magazine from others. The magazine “Tram” distinguishes genre forms, which are divided into two groups – traditional and new ones. The analysis shows that traditional genre forms are stories, comics, riddles, fairy tales (folk, author’s, fantasy ones), works of young readers, instructions; new genre forms include a conversation with the reader, the genre of limericks, words-epigraphs, fairy tales, messages about Orthodox holidays, cooking recipes (“gastronomic pages”). The authors of the article considers “traditionality” to be conditional, because while maintaining the genre form, the content of the texts presented in the magazine differs from the texts of the same genre forms from other children’s magazines: the basis of the riddle is not comparison or metaphor and epithet, but irony; the stories are constructed as a dialogue that continues from issue to issue, or they are preceded by comments from the compilers regarding the author or the content of the work; there appear intertextual tales, in the creation of which readers take part.

Digital technologies that allow mass audiences to create a wide variety of content have led to the fact that traditional speech forms and genres on the web have changed or acquired a hybrid character. The genre of “a cooking recipe”, which has acquired a video format, is no exception. A modern video recipe is often a hypergenre, since it includes elements of advice or a story of everyday life. Cooking video recipes, unlike traditional recipes, are interactive: they are addressed to viewers, to whom a blogger can address, and those, in turn, can leave comments under the video. The purpose of this article is to study the attractive techniques in the titles of video recipes on the Zen platform, based on the use of descriptive, comparative and interpretive methods. The study of 350 titles of video recipes showed that they often use a narrative, thanks to which images of the communicative past and the communicative future emerge. Struggling for the attention of viewers, bloggers compose incredible stories about getting a recipe or cooking a dish, which are reflected in the title of the video. Typical nonverbal and verbal attractive techniques used in the titles of video recipes on the Zen platform are font selections, numbers, emojis, exclamation marks, as well as words with a positive valuation. The objects of positive evaluation are such aspects of the dish as taste, aroma, health benefits, speed and ease of cooking, cheapness of ingredients, etc.