Zhu W. Rhetoric and stylistics of the opera: from verbal and musical text to figurative content (based on the work of Russian composers of the XIX century).

The dissertation is assigned to the view of rhetoric and stylistics in the Russian opera of the 19th century. At the connection with which the historical and theoretical aspects of the manifestation of rhetoric are gradually established and victorious, the paths of the phenomenon included in the sphere of the musical text, its correlation with the manifestation of the operatic creation, the composer’s poetics are being heard. For the revision of challenging tasks, the theoretical apparatus of foreign and musical rhetoric, linguistics to text, musical textual studies, literary studies is to be learned. To represent the characteristic of the interconnected poetic and verbal basis and music in the opera, to clarify the insight of the poetic and prose word and the particularity of their functions in the whole genre, to emphasize the principle significance of the robotic capital in the word of the composites themselves. This will allow you to make a special contribution to the formulation of the Russian opera of the period «Pushkinskoy Those». The rhetorical aspects of the operatic creativity of M. Glinka, M. Rimsky-Korsakov, M. Musorgsky begin from the point of view of the function of foreign formulas, so called semantic figures, which may be specific to the structure of the design, as well as the rules of before the contention of the musical-moving relationship. The directors who will rise up, how the skinny with the transcripts of the composers vibrates his own stories with the rhetoric: in accordance with the principle of rhetorical use