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The object of research of this article is the types of dialogic connections that arise between speech genres inserted into the structure of a literary text, between genres and the text of a novel, between inserted genres and existing texts. Investigated problem: This study covers several levels. Firstly, the mechanisms of artistic communication, during which the author, with the help of the speech genres present in the text, can give the reader implicit information and activate the latter's participation in the perception of the text of the novel. Secondly, the concept of intertextual relations is expanded, in the case when we consider the inserted speech genre as an independent text. Thirdly, the studied dialogic connections can be extended to other areas of communication: advertising, political, Internet communication, etc. Main results scientific: The article is the result of the application of the theory of speech genres by M. Bakhtin to the analysis of the structure of a literary text, leading to further development of the concepts of dialogism and intertextuality. Area of practical implementation of the research results. Intertextuality is one of the main means of creating pragmatic influence in both commercial and political advertising, media and political discourse. Moreover, it can already be argued that with the advent of the latest information technologies, society is moving from intertext to hypertext, which is typical for communication in almost all areas, since they are mediated in one way or another by computer technologies. It is this fact that explains the necessity and necessity of studying the problem of dialogism and intertextuality

The object of research of this article is the types of dialogic connections that arise between speech genres inserted into the structure of a literary text, between genres and the text of a novel, between inserted genres and existing texts. Investigated problem: This study covers several levels. Firstly, the mechanisms of artistic communication, during which the author, with the help of the speech genres present in the text, can give the reader implicit information and activate the latter's participation in the perception of the text of the novel. Secondly, the concept of intertextual relations is expanded, in the case when we consider the inserted speech genre as an independent text. Thirdly, the studied dialogic connections can be extended to other areas of communication: advertising, political, Internet communication, etc. Main results scientific: The article is the result of the application of the theory of speech genres by M. Bakhtin to the analysis of the structure of a literary text, leading to further development of the concepts of dialogism and intertextuality. Area of practical implementation of the research results. Intertextuality is one of the main means of creating pragmatic influence in both commercial and political advertising, media and political discourse. Moreover, it can already be argued that with the advent of the latest information technologies, society is moving from intertext to hypertext, which is typical for communication in almost all areas, since they are mediated in one way or another by computer technologies. It is this fact that explains the necessity and necessity of studying the problem of dialogism and intertextuality

The article is devoted to the study of the genre of literary epitaph in Tabasaran poetry. In the water part, which has a theoretical character, the difference between the cemetery and literary epitaph is shown, the constitutional signs of two genre varieties are revealed, the degree of mastering of the genre in the literatures of the peoples of Dagestan is stated.
In the main part of the work, the thematic, structural and compositional analysis, as well as the analysis of the subjective organization of the texts of the Tabasaran literary epitaph were carried out on the material of the poetic texts of poets G. Hajiyev and R. Ramazanov. The author comes to the conclusion that the literary epitaph in Tabasaran poetry has an edifying and satirical character; it condemns the actions and qualities of people who contradict the national ideal of a woman, mother, highlander — adultery, violence against people, selfishness and indifference, depravity and perseverance in committing sins. Also in the epitaphs, the problems of retribution for earthly life, gratitude are raised.

A literary translation invariably reflects the historical and cultural features of the time and place of its production. The perception of literary texts is determined by the political and cultural situation in a given language community, and the literary translation, therefore, is justly seen as the negotiation that aims at reaching a compromise between two languages, two geographical spaces, and two historic times. Literary translation is as well regarded as a manipulation, an attempt to make the translation fit in with the target audience culture, social situation, or ideology.The famous poemThe White Man's Burdenby Rudyard Kipling was alternately seen as racist and Eurocentric or as missionary and philanthropic. The translations made intodifferent European languages conveyed the ideology of the poem differently as well, the interpretation depending on the historic time, the targeted language community, and the social requirements to literature and translation. These social factors preconditioned the difference in interpretation of such controversial issues of the poem as race, difference, and religion in the five translations analysed in this article. The article offers a comparative study of the strategies applied by Russian, Bulgarian, and French translators of the poem who worked under different historical and social conditions.

This article investigates two literary texts, House of Day, House of Night (2002) by Olga Tokarczuk and Piaskowa Góra [Sand Mountain] (2009) by Joanna Bator and how they overcome the divisive and politicized narration of the post-WWII population expulsions and resettlement in Poland. The article argues that by employing the “tender narrator,” (Tokarczuk, 2019) e.g. directing readers’ attention to the former German items of everyday use and their stories, the writers create a more empathetic version of this period of history, thus recovering the memories of the, largely silenced, Polish and German experiences of displacement. Adopting postcolonial approaches, the article draws from affect theories and studies of how displaced populations relate emotionally to the changing material environment (Svašek, 2012) to examine the attitudes and emotions of the Poles dealing with the objects, landscape and property of the German deportees. These texts raise important questions about the foundations of the communities in the Polish-German borderlands, and their wider implications for Polish-German relations.

In this paper, I demonstrate specific methods, developed from Jewish and black Womanist traditions, for the derivation of theology and ethics from contemporary Jewish women's literature and auto/biography. In order to recognize these texts as potentially theological, a radical shift in perception and interpretation is required. These texts bring to us Jewish women's experience. More, they contain the Jewish woman's response to that experience. I suggest within that response is an ethics, behind the ethics a theology. These texts then bring to us the theologies of our predecessors and contemporaries. In this paper, then, I explore the possibility that a baseline feminist approach to Jewish women's literature must begin here: viewing every Jewish woman's word as a potential declaration, each context a revelatory setting, all content an epiphany of the hitherto unrevealed and unread Jewish women's experience and situation, pains and glories, wisdom and silence.

Abstract
The word 'Text' in Text and Image Studies encompasses sound/ language text, textual body, word/ literary text and image text. 'Image' represents not only pictorial illustrations, but also symbols, icons, logos/ trademarks and other forms of visual rhetoric, as well as videos, lines and printed material. Text and Image Studies offers valuable approaches in the investigation and analysis of the complexity of the interplay, interrelations and disjunctions between text and image in various forms of visual media. Chief subjects of interest include creativity and innovation, distribution and dissemination, sociopolitical implications, impact on consumerism, psychological effects on human cognition, etc. The theoretical application of Text and Image Studies in the East Asian cultural exchange discussed in this article is the fruit of almost two decades of research. The article uses a seven-pronged approach - canonization, politicization, conceptualization, abstraction, localization, standardization, modularization- in the study of East Asian cultural exchange in variety of regions, time periods, and genre in an attempt to explore new research ideologies and theories.

The Indian Constitution (IC) has been considered in terms of its intertextuality with preceding colonial documents such as the Government of India Act 1935. This essay relocates the IC in intertextual relationships with anti-colonial autobiographies and texts such as Gandhi's Hind Swaraj, showing the parallels between the way they dramatise self-rule and mix global, Indian and regional levels of identity. Both the IC and these texts are marked by processes of transnational and internal dialogue, and reflect transnational aspects of Indian print culture and the subject positions it gave rise to. Widening the discursive sites of the IC to include anti-colonial autobiographies raises questions about the IC as a species of autobiography itself, and it also gives us another perspective on the tensions within the IC, showing how the conflict between liberty and power is manifested in its linguistic cosmopolitanism and its approach to translation. Constitutions embody the aspirations of a nation's citizens, and the IC's verbal skills grade and structure these aspirations, plotting them along a spectrum of possible futures and grounding them in a variety of pasts. This concern with temporality has a parallel in some anti-colonial autobiographies where the consciousness of time is particularly acute. Finally, both the IC and Indian anti-colonial life writing can be seen as instances of South Asian literary modernity in terms of the style of their creative choices.

The article is devoted to the study of the originality of literary anthroponyms in the works of Boris Ukachin. This problem has been little studied and requires further research. The relevance of the research is determined by the need to interpret the artistic anthroponymicon in order to comprehend the deep meaning of the text. The anthroponymic vocabulary of Boris Ukachin's artistic works has a significant potential for understanding the ways of the individual author's organization of the artistic space and the system of subtext connections. Therefore, the study of the anthroponymy of the author's works makes it possible to expand and streamline information about the traditional and new in the writer's artistic heritage.
Literary anthroponyms serve as a means of designating characters, isolating and distinguishing them, concretizing and generalizing. The anthroponymic space of Boris Ukachin's works is extraordinarily rich, there are names in it that reflect the customs, traditions and worldview of the Altai people, which are formed by different ways of word formation. The name and her appearance largely determine the artistic thought of the author, it is closely related to the plot, portrait, landscape of
Boris Ukachin's works. Since people call an object by their personal names, they do not attribute any properties to it, however, in a literary text, thanks to anthroponyms, the writer hides a certain meaning that reflects the character of the hero. It is thanks to proper names that the reader becomes clear which character is in front of him. Anthroponymic semantics manifests itself especially vividly and profoundly in the title of the stories.
According to the author, anthroponyms are widely and variously represented in the work of B. Ukachin. Many of them are divided by lexical and semantic characteristics into descriptive names, wish names and names that give some information about a person's personality.

Livia examines a broad corpus of written texts in English and French, concentrating on those texts which problematize the traditional functioning of the linguistic gender system. They range from novels and prose poems to film scripts and personal testimonies, and in time from the 19th century to the present. Some withhold any indication of gender; others have non-gendered characters. Livia's goal is two-fold; to help bridge the divide between linguistic and literary analysis, and to show how careful study of the manipulation of linguistic gender in these texts informs larger concerns. This fre

This article suggests that a parallel exists between the practice of tattooing and the injection of heroin as both activities are represented in a body of literature here called `Junk Narratives'. These texts include William Burroughs' Junky, Irvine Welsh's Trainspotting, Jerry Stahl's Permanent Midnight and David Foster Wallace's Infinite Jest. In these books, act and meaning, as in life, are inseparable: tattoos can be interpreted, but that they are tattoos, that they have been indelibly inscribed into the flesh, is also stressed. In these books tattoos are represented as, in addition to whatever specific interpretive significance can be attached to them, visible markers of the hatred junkies feel for their own bodies. It will be suggested throughout the article that the body in these texts is always a source of shame and horror. Tattoos in these books do not decorate a body, rather they visibly emphasize its pathetic corporeality: no flesh, no image. The central dynamic of these texts is toward the transcendence of the body by the injection of heroin, a use of the needle which mimics the practice of tattooing and stresses the subservient, inessential nature of the body.

An introduction to genre analysis, this highly readable volume presents key concepts in an accessible manner for undergraduate courses in film, TV, media criticism and cultural studies. The texts are representative of horror, science fiction, spy, classic detective, and tough guy detective genres, and readers may make their own analyses of texts based on the methods explained and the examples offered

This paper analyses the literary studies of dr. Ibrahim Rugova, one of the most known modern Albanian scholar, who in fact is known all over the world as e Kosovo political leader and founder of the independent state of Kosovo. But he is not known in the field of literary studies as in the political field, so our main aim is to present him as a scholar. Rugova's work as a literally scholar started with his "Lyrical Touch" (1971), which features almost all poetic literary interpretations, to follow with his "Toward Theory", which sets off Rugova's path to theoretical-literary research. Specifically, the problem treated in this book captures theoretical problems of literature and centered on the proposal for "artistic text" and "open work," which proves that Rugova never intended to close the discussed issues, but aims at providing possible solutions. In this sense, his theory goes to the point of view of literature as "differentia specifica," as a special artistic product. In the case of this concept, apart from treating it theoretically, Rugova breaks it apart from Albanian literature, comparing it with the models of world knowledge. Such an effort seeks to differentiate literature as a particular gender, as an intellectual product, as quest of the "literary essence".

"Con/Texts of Persuasion is a path-breaking multidisciplinary body of essays devoted to exploring how discourse--literary, but also political, religious, commercial and philosophical--draws on strategies from linguistics, pragmatics, argumentation theory, rhetoric and hermeneutics, not merely to communicate, but to induce recipients to think or to act differently than they might have otherwise. Persuasion is context- and culture-bound, a dialogue-friendly rhetoric in the hermeneutics of understanding (Gadamer) whose negation, manipulation, can serve the ends of propaganda ("Bend Sinister"); but it is also a vehicle for circumventing censure (burlesque) or for providing oratory with intertextual resonance ("I have a dream"). An appeal to emotions, values and subjectivity, persuasion can "immerse" the reader in a fictional world or it can result from the "phonosemantic" strategies of poetry and advertising. And the ways of persuasion can extend to the situatedness of interpretive context in critical discourse in its ideologically consonant vs. dissonant modes. An invaluable collection for anyone with an interest in the persuasive powers of textual communication."--p. [4] of cover

The article summarizes the analysis results of the quality of rendering of the national specifics and individual style of the writer related to it in the process of literary translation. The material for analysis is the novel "Diamond Belt" by Pirimkul Kadyrov translated from Uzbek into Russian by Yu. Suvortsev and interlinear translation presented by the author himself. The explanatory potential of a hermeneutic approach to the analysis of source and target texts is demonstrated in the article. The examples of successful translational solutions to the representation of national picture of the world reflected in the source text, which are revealed in rendering of puns, proverbs, etc., were characterized. There were also revealed errors made by the translator when reproducing personal names of characters, etiquette formulas, stylization of characters' speech, etc., which led not only to a violation of the integrity of the perception of a literary text, but also to leveling of the national specificity of the source text. As the result of the study, an approximate algorithm for a translation strategy, which will minimize losses in the rendering of the national specificity and writer's individual style in the process of translation from one language to another, has been developed. As a research perspective, the authors raise the problem of authorized translation and the problem of the writer's creative work in the process of the interlinear translation.