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Books on the topic 'Genre features'
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1
Linguistic features and genre profiles of scientific English. Frankfurt am Main: P. Lang, 1995.
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2
Lefer, Marie-Aude, and Svetlana Vogeleer, eds. Genre- and Register-related Discourse Features in Contrast. Amsterdam: John Benjamins Publishing Company, 2016. http://dx.doi.org/10.1075/bct.87.
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Vilimonovic, Larisa. Structure and Features of Anna Komnene’s Alexiad. NL Amsterdam: Amsterdam University Press, 2018. http://dx.doi.org/10.5117/9789462980389.
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The Alexiad, written in the twelfth century by a Byzantine princess, Anna Komnene, tells the story of the Byzantine Empire during the reign of her father, offering accounts of its political and military history, including its involvement with the First Crusade. Structure and Features of Anna Komnene’s Alexiad: Emergence of a Personal History introduces new methods of research for studying the Alexiad, aiming primarily at analysing Anna Komnene’s literary expression. The book’s approach focuses mainly on the author, the subject, the structure and the inner stylistic features, as well as the genre itself. The result is a substantially new outlook on the main Byzantine historiographical work of the twelfth century.
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Fang, Alex Chengyu, and Jing Cao. Text Genres and Registers: The Computation of Linguistic Features. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-45100-7.
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Otte, Kerstin. The equine IGF genes: Structural and transcriptional features. Uppsala: Sveriges Lantbruksuniversitet, 1997.
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Nolte, Dorothee. Umbruchs-Fragen: Das Genre des Interview-Porträts in der spanischen transición. Berlin: Verlag Walter Frey, 1994.
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Tudományegyetem, Eötvös Loránd, ed. Function and genres: Studies on the linguistic features of discourse types. Frankfurt am Main: P. Lang, 2008.
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8
Di Qual, Anna. Eric J. Hobsbawm tra marxismo britannico e comunismo italiano. Venice: Edizioni Ca' Foscari, 2020. http://dx.doi.org/10.30687/978-88-6969-400-4.
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By developing the biographical genre though a “translocal micro-history” approach, the research aims to study the figure of Eric J. Hobsbawm focusing on his elective affinity with Italy. It examines the ways in which the encounter of the English historian with this country took place and was renewed from the fifties until the new Millennium. First, it analyzes the relationships networks which Hobsbawm created in Italy or with Italians worldwide; secondly, it considers the results that these interactions provoked at the level of scientific production and political reflection, trying to capture at the same time the transformations that his political identity underwent in contact with the Italian Communist Party. Moreover it try to explore the features that his reputation reached in Italy, discussing the influences his production exerted on Italian historiographical context and on Italian public opinion.
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Maroni, Gustavo. An atlas of Drosophila genes: Sequences and molecular features. New York: Oxford University Press, 1993.
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Tammemagi, Martin Carl. Tobacco smoking, p53 tumour suppressor gene alterations, and clinicopathologic features and prognosis in non-small cell lung cancer. Ottawa: National Library of Canada = Bibliothèque nationale du Canada, 1998.
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11
Kon'kov, Vladimir, and Tat'yana Surikova. Linguistic foundations of business communication. ru: INFRA-M Academic Publishing LLC., 2021. http://dx.doi.org/10.12737/1062745.
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In the textbook, in section I, the norms and standards of the official business style, genre templates, rules for preparing documents, and the basics of business ethics are set out in a simple, accessible form. It highlights aspects of business communication that, despite their importance, are not reflected in manuals on similar topics. This is information about the problems of adequate understanding of information, working with business terminology, and also gives an assessment of business jargon. Special attention is paid to the forms of information compression in the business text. The theoretical positions are illustrated by relevant examples from various areas of institutional communication.
Section II offers a system of exercises for working with the voice as the main tool of business communication. This is the development of good diction and correct reading skills, exercises for mastering the basic rules of Russian orthoepy. Recommendations are given for preparing for a successful oral presentation. The features of phrase construction, the length of the phrase, contact-setting means, the rhetorical potential of the influencing speech, working with special vocabulary and digital information are considered.
Meets the requirements of the federal state educational standards of higher education of the latest generation.
For undergraduate students studying in management-related specialties.
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Lewis, Maxine. Gender, Geography, and Genre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198768098.003.0006.
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This chapter offers a new reading of Catullus’ Lesbia by examining the poet’s spatial poetics. These poetics play a crucial role in shaping the worlds created in the poems. Catullus’ collection features three distinct poetics of place: topical, neoteric, and abstracted, clustered in specific groups of poems: the polymetrics, the carmina maiora, and the elegiac epigrams, respectively. As Lesbia is the only character (apart from the ‘Catullus’ persona) who appears in each group, she presents the ideal subject for examining how Catullus’ distinct poetics of place shape characterization in different genres of poetry. Furthermore, as a woman whose gender is frequently thematized, Lesbia presents a fulcrum for investigating how gendered ideologies of certain spaces might have shaped Catullus’ spatial poetics. This chapter offers close readings of three ‘Lesbia’ poems: 37, 68b, and 70, to highlight the importance of place and space to Lesbia’s role in each poem.
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Puschmann, Cornelius. The corporate blog as an emerging genre of computer-mediated communication: Features, constraints, discourse situation. Universitätsverlag Göttingen, 2010.
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14
Young, Emma. Introduction: Contexts, Politics and Genre. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427739.003.0001.
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The contemporary moment appears to be the moment for women short story writers, who have received increased critical attention and popular acclaim. Indeed, in surveying this literary field and attending to the reoccurring tropes and discourses in this body of work, it seems reasonable to argue that this is an opportune moment for considering the ways in which shifting feminist sensibilities and gendered subjectivities are revealed through women’s short story writing. A prevailing tendency in the short stories of many contemporary British women writers is a preoccupation with issues of gender and sexuality that, in turn, signals a wider engagement with feminist politics. In such narratives, the short story is used as an intentionally feminist literary vehicle in which to explore the issues and debates at the heart of feminist politics today. By framing the discussion in this way, ‘the moment’ brings together the short story and feminist politics and offers a means of conceptualising their independent status in the twenty-first century; as well as offering a new perspective on their interrelationship in the context of British women’s short story writing. The focus on the moment, then, bridges the formal features of the short story, the momentary experience of reading short fiction, and the ‘of the moment’ nature of feminist politics....
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Kynes, Will. The Intertextual Network of Ecclesiastes and the Self-Reflective Nature of Genre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198777373.003.0007.
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The numerous, often contrasting interpretations Ecclesiastes has inspired across history provide a clear example of the self-reflective character of genres. Rather than dismissing these readings completely, Wisdom included, because of their subjectivity, it is more profitable to understand each as a partial and selective perspective responding to some potential of the text. Whether inspired by the traditional collections before Wisdom Literature, intertextual links to other canonical genres, parallels to texts from across the ancient Near East, or comparisons based on the book’s literary features, such as form, tone, or content, each genre proposal reveals something about the nature of the text while falling short of comprehending the whole. Illuminating all the contours of the text’s rugged terrain while dispelling the “misleading shadows” of self-interested exegesis will require engaging with more rather than less of the subjective perspectives on its meaning.
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Jockers, Matthew L. Style. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252037528.003.0006.
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This chapter shows how stylistic signals can be derived from high-frequency features and how the usage, or nonusage, of those features was susceptible to influences that are external to the so-called “authorial style,” external influences such as genre, time, and gender. These aspects of style were explored using a controlled corpus of 106 British novels where genre was a key point of analysis. The chapter first provides an overview of statistical or quantitative authorship attribution before discussing the author's project, in which he analyzed the degree to which novelistic genres express a distinguishable stylistic signal by focusing on the distribution of novels in a corpus based on their genres and decades of publication. Through a series of experiments, he demonstrates the use of the classification methodology as a way of measuring the extent to which factors beyond an individual author's personal style may play a role in determining the linguistic usage and style of the resulting text.
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Uzendoski, Michael A., and Edith Felicia Calapucha-Tapuy. Cosmological Communitas in Contemporary Amazonian Music. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036569.003.0008.
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This chapter describes the modern musical genre Runa Paju, a genre that features clever Quichua lyrics, electronic amplification, and eclectic use of instruments and musical styles. It focuses on the social dynamics of the music and its relationship to Quichua cosmology and mythological thought. It argues that, although Runa Paju is a new, modern genre, it follows the same communicative and social assumptions of storytelling as traditional genres. Runa Paju brings into artistic contour the experiences of life's problems and experiences with a larger narrative of cosmological destiny. By targeting the human soul, Runa Paju musicians must “reverse” many of the superficial or apparent relations of modern life and revert destiny to shared cosmology. The threads of Quichua life become newly interwoven into musical pathways of cosmological communitas, a moment of communitywide experience of the circularity and relatedness of all things.
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Schrag, Brian, and Kathleen J. Van Buren. Analyze Genres and Events. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190878276.003.0005.
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Step 4, the bulk of the Guide, comprises three parts: Part A, “Describe the Event and Its Genre(s) as a Whole”; Part B, “Explore the Event’s Genre(s) through Artistic Domain Categories”; and Part C, “Relate the Event’s Genre(s) to Its Broader Cultural Context.” Part A teaches readers how to collect information about an event and its genres. It advises readers to explore an event by looking through seven “lenses”: space, materials, participant organization, shape of an event through time, performance features, content, and underlying symbolic systems. Part B applies the seven lenses to exposing which—if any—elements of the following five artistic domain categories occur in the event: music, dance, drama, oral verbal arts, and visual arts. These arts are addressed in turn, so that readers can jump to the sections that relate most closely to their work. Part C helps readers to connect artistry in an event with broader cultural contexts. Numerous research questions, suggested activities, and practical examples are provided throughout Step 4.
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Reynolds, Benjamin E. John among the Apocalypses. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198784241.001.0001.
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The central place of revelation in the Gospel of John and the Gospel’s revelatory telling of the life of Jesus are distinctive features of John when compared with the Synoptic Gospels; yet, when John is compared among the apocalypses, these same features indicate John’s striking affinity with the genre of apocalypse. By paying attention to modern genre theory and making an extensive comparison with the standard definition of “apocalypse,” the Gospel of John reflects similarities with Jewish apocalypses in form, content, and function. Even though the Gospel of John reflects similarities with the genre of apocalypse, John is not an apocalypse, but in genre theory terms, John may be described as a gospel in kind and an apocalypse in mode. John’s narrative of Jesus’s life has been qualified and shaped by the genre of apocalypse, such that it may be called an “apocalyptic” gospel. Understanding the Fourth Gospel as “apocalyptic” Gospel provides an explanation for John’s appeal to Israel’s Scriptures and Mosaic authority. Possible historical reasons for the revelatory narration of Jesus’s life in the Gospel of John may be explained by the Gospel’s relationship with the book of Revelation and the history of reception concerning their writing. An examination of Byzantine iconographic traditions highlights how reception history may offer a possible explanation for reading John as “apocalyptic” Gospel.
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Wilkins, Kim, and Wyatt Moss-Wellington, eds. ReFocus: The Films of Spike Jonze. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.001.0001.
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ReFocus: The Films of Spike Jonze is the first collection of essays on this important and original contemporary filmmaker. It looks at his ground-breaking work in both features and short forms, exploring the impact of his filmmaking across a range of philosophical and cultural discussions. Each of Jonze’s feature films, from Being John Malkovich (1999) to Her (2013), is discussed at length, focusing on issues of authorship, narration, genre and adaptation. As well as the textual aspects of Jonze’s feature films, the contributors consider his work in music videos and shorts – investigating his position as a filmmaker on the blurred boundaries between studio and independent modes of production.
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Morgan, Glyn, and Charul Palmer-Patel, eds. Sideways in Time. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620139.001.0001.
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This book is the first collection of scholarly essays on alternate history in over a decade and features contributions from a mixture of major figures and rising stars in the field of science fiction studies. Alternate history is a genre of fiction which, although connected to the genres of utopian, dystopian and science fiction, has its own rich history and lineage. With roots in the writings of ancient Rome, alternate history matured into something close to its current form in the essays and novels of the nineteenth century. In more recent years a number of highly acclaimed novels have been published as alternate histories, by authors ranging from science fiction bestsellers to Pulitzer Prize-winning literary icons. The success and popularity of the genre is reflected in its success on television with original concepts being developed alongside adaptations of iconic texts. This important collection of essays seeks to redress an imbalance between the importance and quality of alternate history texts and the available scholarship and critical readings of texts, providing chapters by both leading scholars in the field and rising stars. The chapters in this book acknowledge the long and distinctive history of the genre whilst also revelling in its vitality, adaptability, and contemporary relevance, with many of the chapters discussing late-twentieth and early-twenty-first century contemporary fiction texts which have received little or no sustained critical analysis elsewhere in print.
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Turner, James Grantham. Cross-Sections (3). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0005.
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This chapter considers the period after the Plague as well as the Fire of London. During this time, the euphoria of Charles II's Restoration faltered and the defeated ‘Puritan’ voice re-emerged, which proved momentous for the history of the novel, even though no major English novels appeared. The chapter reveals fascinating experiments with the romance genre, prefaces that promote the self-conscious author and conduct lively theoretical debates over the nature of fiction, translations of canonical works, and a general move towards realism, loosely defined. ‘Novelistic’ features developed in many genres. Meanwhile, other members of the Royal Society developed habits of observing and recording minutiae in their own experience. This close attention to details conventionally considered trivial — common to the scientific revolution and to the self-scrutiny demanded by radical Protestantism — played a significant role in the evolution of novelistic realism.
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Oikonomopoulou, Katerina. Miscellanies. Edited by Daniel S. Richter and William A. Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199837472.013.25.
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This chapter discusses miscellanies, a type of Second Sophistic writing whose distinguishing features are variety of subject matter and loose organization. The chapter starts out by acknowledging the difficulty of grasping “the miscellany” as a genre: as it argues, socio-cultural approaches to genre are more appropriate than formalistic ones, if we seek to address the question of these works’ readership and appeal. Accordingly, the chapter links miscellanies with imperial Greco-Roman reading culture, by investigating the aesthetic and cognitive advantages of variety (variatio/poikilia). Further, it demonstrates that miscellanies actively engage with key ideals and concerns of Second Sophistic culture, such as paideia and identity, by constructing differing models of polymathy, and by exploring different facets of identity (class, cultural, or gender).
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Newcomb, Lori Humphrey. Cross-Sections (2). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199580033.003.0004.
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This chapter looks at Elizabethan prose fiction. Once combed mainly for formal features that might presage the novel, Elizabethan prose fiction is today appreciated for its own distinctive energy and heterogeneity. However, prose fiction in the sixteenth century still was largely an experimental genre. For writers willing to move beyond set forms, prose narrative offered new freedoms to enhance the status of English letters while drawing freely on Continental sources, to develop prose style while incorporating verse elements, to claim usefulness while indulging writerly and readerly pleasure, and to vaunt exclusivity while driving the expansion of the leisure-reading audience. Above all, fiction was the genre in which writers could best experiment with ways to reconcile literary ambition and unapologetic commercialism.
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Telotte, J. P. Movies, Modernism, and the Science Fiction Pulps. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190949655.001.0001.
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This book considers the impact that the new art of film had on the development of the emerging science fiction (SF) genre during the pre- and early post-World War II era, during the time that the genre was trying to locate an identity, develop its key themes, and even settle on a name. Focusing on the primary venue for early SF literature, the popular pulp magazines such as Amazing Stories, Wonder Stories, and Astounding Stories, it traces this early film/literature relationship by examining four common features of the pulps: stories that involve film or the film industry; film-related advertising; editors’ commentaries and readers’ remarks on film; and cover and story illustrations. All these features demonstrate an interest and even a fascination with the movies, which, as many of SF’s readers, writers, and editors recognized, demonstrated a modernist agenda similar to that which characterized the literature. By surveying these haunting traces of another medium in early SF discourse, this book shows how that cinematic influence penetrated and, both consciously and unconsciously, helped shape the experience of SF, as well as the cultural idea of SF during this formative period.
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Manuel, Peter. Chowtal and the Dantāl. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038815.003.0003.
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This chapter discusses two distinct traditional entities in Indo-Caribbean music culture—the antiphonal folksong genre called chowtal and the dantāl, a common metallophone—which have flourished in the diaspora. In fact, they have become considerably more widespread, on a per capita basis, than their counterparts in North India. In the process, they illustrate how the neotraditional stratum of the international Bhojpuri diaspora—including both the Caribbean and Fiji—can constitute an entity that shares features that, despite being of traditional Indian origin, nevertheless are distinct from the Bhojpuri ancestral culture. These phenomena illustrate how, in this sense, neotraditional Bhojpuri diasporic music culture is best seen not as a microcosm of its nineteenth-century Bhojpuri-region ancestor, but as an entity with its own distinctive features, in which inherited features may assume trajectories quite distinct from their North Indian counterparts.
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Shami, Jeanne. The Sermon. Edited by Andrew Hiscock and Helen Wilcox. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.013.11.
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This chapter examines the sermon in post-Reformation England, and its development as the pre-eminent genre of instruction, edification, and conversion to Christian believers of all stripes. Beginning with its roots in traditional religious and classical forms and its development as a flexible form restrained by ecclesiastical regulation, censorship, and gender, the chapter emphasizes the sermon’s radically occasional nature and its elusive performative impact. The chapter explores the experience of sermon delivery and reception in oral and written forms, shaped by the institutional and public settings in which it was delivered, and by the historical/political contexts (both national and local) in which it emerged. Connections to other genres—plays, conduct books, catechisms, newsbooks, satiric pamphlets are also outlined. The chapter emphasizes the sermon as a form with family features adapted to local circumstances with an inherently political and controversial potential both at the moment of delivery and beyond.
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Cao, Jing, and Chengyu Alex Fang. Text Genres and Registers: The Computation of Linguistic Features. Fang Chengyu Alex, 2015.
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Peterson, Anna. Laughter on the Fringes. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190697099.001.0001.
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This book examines the impact that Athenian Old Comedy had on Greek writers of the Imperial era. It is generally acknowledged that Imperial-era Greeks responded to Athenian Old Comedy in one of two ways: either as a treasure trove of Atticisms, or as a genre defined by and repudiated for its aggressive humor. Worthy of further consideration, however, is how both approaches, and particularly the latter one that relegated Old Comedy to the fringes of the literary canon, led authors to engage with the ironic and self-reflexive humor of Aristophanes, Eupolis, and Cratinus. Authors ranging from serious moralizers (Plutarch and Aelius Aristides) to comic writers in their own right (Lucian, Alciphron), to other figures not often associated with Old Comedy (Libanius) adopted aspects of the genre to negotiate power struggles, facilitate literary and sophistic rivalries, and provide a model for autobiographical writing. To varying degrees, these writers wove recognizable features of the genre (e.g., the parabasis, its agonistic language, the stage biographies of the individual poets) into their writings. The image of Old Comedy that emerges from this time is that of a genre in transition. It was, on the one hand, with the exception of Aristophanes’s extant plays, on the verge of being almost completely lost; on the other hand, its reputation and several of its most characteristic elements were being renegotiated and reinvented.
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Shippey, Tom. Hard Reading. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382615.001.0001.
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This book makes an argument for the intellectual ambition and intellectual achievement of science fiction, a genre consistently undervalued by professional literary critics. It is pointed out repeatedly how much the genre owes to developments in anthropology, history, and other “soft sciences”; how the authority of the hard sciences is both asserted and challenged; and how the authority of ancient myths and modern values are likewise interrogated, with widely variant results. Science fiction, it is argued, has been a collective “thinking machine” for authors and readers alike, often (and especially in its early years) people without academic experience or intellectual support. It has been (but increasingly less so) a genre for autodidacts. Reading and writing it is nevertheless an education in itself, as the author shows with repeated personal prefaces both to the book as a whole and to each chapter. Science fiction, finally, has its own rhetoric, seen in neologisms, paratextual devices, anachronisms, breaches of stylistic decorum, and the manipulation of degraded information, techniques little understood by and often incomprehensible to critics used only to the conventions of mainstream literature. All these features contribute to the description of science fiction as hard reading, but correspondingly rewarding reading. They have made science fiction the most characteristic literary genre of the twentieth and now the twenty-first centuries.
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Mitchell, Lee Clark. Noir Fiction and Film. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192844767.001.0001.
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The argument of Noir Fiction and Film is curiously counterintuitive: that in a century of hard-boiled fiction and detective films, characteristics that at first seemed trivial swelled in importance, flourishing into crucial aspects of the genre. Among these are aimless descriptions of people and places irrelevant to plot, along with detectives consisting of little more than sparkling dialogue and flippant attitudes. What weaves together such features, however, seems to be a paradox: that a genre rooted in solving a mystery, structured around the gathering of clues, must do so by misdirecting our attention, even withholding information we think we need to generate the suspense we also desire. Yet successful noir stories and films enhance that suspense through passing diversions (descriptive details and eccentric perspectives) rather than depending on the centerpieces of plot alone (suspected motives or incriminating traces). As the most accomplished practitioners have realized, the “how” of detective fiction (its stylistic detours) draws us in more insistently than the “what” or the “who” (its linear advance). The achievement of recent film noir is to make that “how” become the tantalizing object of our entire attention, shorn of any pretense of reading for the plot, immersing us in the diversionary delight that has animated the genre from the beginning.
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Magerstädt, Sylvie. TV antiquity. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781784995324.001.0001.
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TV antiquity explores representations of ancient Greece and Rome throughout television history. It is the first comprehensive overview of the genre in television. More specifically, the author argues that serial television set in antiquity offers a perspective on the ancient world quite distinct from their cinematic counterparts. The book traces the historic development of fictional representations of antiquity from the staged black-and-white shows of the 1950s and 60s to the most recent digital spectacles. A key argument explored throughout the book is that the structure of serial television (with its focus on intimacy and narrative complexity) is at times better suited to explore the complex mythic and historic plots of antiquity. Therefore, the book consciously focusses on multipart television dramas rather than made-for-TV feature films. This enables the author to explore the specific narrative and aesthetic possibilities of this format. The book features a range of insightful case studies, from the high-profile serials I, Claudius (1976) and Rome (2005-8) to lesser known works like The Caesars (1968) or The Eagle of the Ninth (1976) and popular entertainment shows such as Hercules: The Legendary Journeys (1995-9) and STARZ Spartacus (2010-3). Each of the case studies also draws out broader issues in the specific decade under consideration. Consequently, the book highlights the creative interplay between television genres and production environments and illustrates how cultural and political events have influenced the representations of antiquity in television.
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Dalbeth, Nicola. Clinical features of gout. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780198748311.003.0005.
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About 60% of the variance in serum urate levels can be explained by inherited genetic factors, but the extent of the contribution of genetic factors to gout in the presence of hyperuricaemia is not known. Genome-wide association studies in Europeans have identified 28 loci controlling serum urate levels, although the molecular basis of the majority of these genetic associations is currently unknown. The SLC2A9 and ABCG2 renal and gut uric acid transporters have very strong effects on urate levels and the risk of gout. Other uric acid transporters (e.g. SLC22A11/OAT478, SLC22A12/URAT1) and a glycolysis gene (GCKR) are associated with urate levels. Environmental exposures such as sugar-sweetened beverages and alcohol interact with urate-associated genetic variants in an unpredictable fashion. Very little is known about the genetic control of gout in the presence of hyperuricaemia, formation of monosodium urate crystals, and the immune response.
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Hassler-Forest, Dan. Roads Not Taken in Hollywood’s Comic Book Movie Industry. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.23.
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Chapter 23 approaches the phenomenon of the comic book movie as a complex and dynamic adaptation process. While superhero movies and other comics-inspired franchises now dominate the global box office, it is rare that they adapt comic books’ formal features in a meaningful way. By foregrounding three comic book movies that have largely been considered failures, the essay discusses innovative ways of adapting comics to film through a media-archaeological approach to the genre. The films Popeye (1980), Dick Tracy (1990), and Hulk (2002) can be read, each in its own way, as provocative “roads not taken” by the Hollywood film industry.
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Kahn, Andrew, Mark Lipovetsky, Irina Reyfman, and Stephanie Sandler. Literary identity and social structure of the imperial period. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199663941.003.0026.
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The chapter explores how works of literature in the nineteenth century increasingly mapped the complex social structure of imperial Russia. It explains why social class and group identity features so prominently in the representation of characters in nineteenth-century Russian literature. The chapter demonstrates that different types of space, such as the capitals (St. Petersburg and Moscow), the village, or the estate, have specific cultural associations in literature. It discusses the phenomenon of the Petersburg mythology and the genre of Petersburg fiction, examines the provincial spaces as presented by Gogol and Chekhov, and colonial spaces such as the Caucasus as portrayed by Tolstoy.
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Luffin, Xavier. Sub-Saharan Africa. Edited by Waïl S. Hassan. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199349791.013.27.
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This chapter examines the development of the novel genre in Somalia, Chad, Mali, Nigeria, and Senegal. It begins with a discussion of the use of Arabic in sub-Saharan Africa and the emergence of a new literary tradition in English, French, and Italian during and after independence. It then considers the works of Arabophone novelists from those five countries. The chapter shows that Arabic literature in sub-Saharan Africa is not homogenous and that African authors enrich the contemporary Arabic novel by introducing new perspectives on familiar themes ranging from migration to war, exile, and new cultural features, while insisting on local history and customs.
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Joye, Stijn, Daniël Biltereyst, and Fien Adriaens. Telenovelas and/as Adaptations. Edited by Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.20.
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Within an emerging tradition of adaptation research that looks beyond fidelity-driven inquiries into exclusively literary adaptations, the case of telenovelas is exemplary for a contemporary media industry that is characterized by a cross-media and cross-border exchange of narratives. Focusing on the recent revival and international success of the telenovela genre and format, Chapter 20 reflects on a series of extra-textual features and contexts that are related to the practice of adapting global telenovela formats into different cultural environments. It approaches telenovelas as localizable yet universally appealing cultural products and narratives that undergo a tailoring process to match local expectations or to conform to local sensibilities and cultural, narrative, and production codes.
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Hämeen-Anttila, Jaakko. The Novel and the Maqāma. Edited by Waïl S. Hassan. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199349791.013.8.
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This chapter examines the influence of the maqāma, a short, often comic tale written in rhymed prose, on the modern Arabic novel. The maqāma and the novel share a number of features, including openly fictitious protagonists, the use of a plot, and relative length. This chapter begins with an overview of the maqāma as a literary genre, then discusses the work of Aḥmad Fāris al-Shidyāq and his links to the maqāma tradition, along with Badī‘ al-Zamān al-Hamadhānī’s influence on Muḥammad al-Muwayliḥ ī. It also explores the influence of maqāmas on modern Arabic literature from the nineteenth century and beyond. Finally, it assesses the role of the maqāma in the development of the modern Arabic novel.
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Wilson, Luke. Contract. Edited by Lorna Hutson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199660889.013.28.
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Recent work in literature and contract law has endorsed a view of literature as supremely sensitive to legal technicalities. But literary texts respond as well to deeper, slower-changing features of the idea of contract. The example of Philip Henslowe shows how law illiteracy produced tactical adaptations that responded only vaguely to developments in contract law. Although contract as a literary device may appear in any genre, it has particular and abiding affinities with comedy. In Shakespeare, contract tends to appear in close association with two other literary forms, riddle and prophecy, and in conjunction with these functions as a tool to think about the management of the predictability and intelligibility of future contingencies.
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Hofer-Robinson, Joanna, and Beth Palmer, eds. Sensation Drama, 1860–1880. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474439534.001.0001.
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Featuring previously unpublished material alongside famous plays,this pioneering edition provides access to some of the most popular plays of the nineteenth century. Characterised by exhilarating plots, large-scale special effects and often transgressive characterisation, these dramas are still exciting for modern readers. This anthology lays the foundation for further scholarly work on sensation drama and focuses public attention on to this influential and immensely popular genre.It features five plays from writers including Dion Boucicault and Mary Elizabeth Braddon. These are supported by a substantial critical apparatus, which adds further value to the anthology by providing rich details on performance history and textual variants. The critical introduction situates the genre in its cultural context and argues for the significance of sensation drama to shifting theatrical cultures and practices.
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Pepe, Teresa. Blogging from Egypt. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474433990.001.0001.
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Six years before the Egyptian revolution of January 2011, many young Egyptians had resorted to blogging as a means of self-expression and literary creativity. Some of these bloggers have not only received big popularity within the online community, but have also attracted the interest of independent and mainstream publishing houses, and have made their way into the Arab cultural field. Previous research on the impact of the Internet in the Middle East has been dominated by a focus on politics and the public sphere, while its influence on cultural domains remains very little explored. Blogging From Egypt aims at filling this gap by exploring young Egyptians’ blogs as forms of digital literature. It studies a corpus of 40 personal blogs written and distributed online between 2005 and 2016, combining literary analysis with interviews with the authors. The study reveals that the experimentation with blogging resulted in the emergence of a new literary genre: the autofictional blog. The book explores the aesthetic features of this genre, as well as its relation to the events of the “Arab Spring”. Finally, it discusses how blogs have evolved in the last years after 2011 and what is left of the blog in Arabic literary production. The book includes original extracts and translation from blogs, made available for the first time to an English-speaking audience.
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Nardini, Luisa. Chants, Hypertext, and Prosulas. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197514139.001.0001.
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The liturgical chant that was sung in the churches of southern Italy between the ninth and the thirteenth centuries reflects the multiculturalism of a territory in which Roman, Franks, Lombards, Byzantines, Normans, Jews, and Muslims were present at various times and with different political roles. This book examines a specific genre, the prosulas that were composed to embellish and expand preexisting liturgical chants of the liturgy of mass. Widespread in medieval Europe, prosulas were highly cultivated in southern Italy, especially by the nuns, monks, and clerics in the city of Benevento. They shed light on the creativity of local cantors to provide new meanings to the liturgy in accordance with contemporary waves of religious spirituality and to experiment with a novel musical style in which a syllabic setting is paired with the free-flowing melody of the parent chant. In their representing an epistemological “beyond” and because of their interconnectedness with the parent chant, they can be likened to modern hypertexts. The emphasis on universal saints of ancient lineage stressed the perceived links with the cradles of Christianity, Africa and West Asia, and the center of the papal power, Rome, while the high number of Christological prosulas in manuscripts used in nunneries might be tied to the devotion to Jesus as “spiritual spouse” that was typical of female religiosity. Full editions of texts, melodies, and manuscript facsimiles in the companion website enrich the study of the stylistic features and the cultural components of this fascinating genre.
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Hyland-Russell, Tara. Indigenous Novels in Canada. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199679775.003.0026.
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Canadian Indigenous novels emerged as a specific genre within the last thirty years, rooted in a deep, thousands-year-old ‘performance art and poetic tradition’ of oratory, oral story, poetry, and drama. In addition to these oral and performance traditions are the ‘unique and varying methods of written communication’ that flourished long before contact with Europeans. The chapter considers Canadian novels by Indigenous writers. It shows that Indigenous fiction is deeply intertwined with history, politics, and a belief in the power of story to name, resist, and heal; that novel-length Aboriginal fiction in Canada built on a growing body of other forms of Indigenous literature; and that many Indigenous novels foreground their relationship with place and identity as key features of the resistance against systemic and institutional racism. It also examines coming-of-age novels of the 1980s and 1990s that are grounded in realism.
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Crary, Alice. Coetzee’s Quest for Reality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805281.003.0008.
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In this chapter, Alice Crary argues that a truly ‘realist’ work of literature might be one that, instead of conforming to familiar genre-specifications, attempts by other means to expose readers to the real—that is, to how things really are. Crary highlights Coetzee’s efforts to elicit what she calls ‘transformative thought’: a process that involves both delineating the progress of individual characters in their quests for reality, and, in formal terms, inviting readers to, for instance, imaginatively participate in such quests. With regard to The Childhood of Jesus, she highlights resonances between these features of Coetzee’s writing and Wittgenstein’s procedures in the Philosophical Investigations. In doing so, Crary brings out a respect in which literature and philosophy are complementary discourses: literature can deal in the sort of objective or universal truth that is philosophy’s touchstone, and philosophical discourse can have an essentially literary dimension.
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Abbott, Helen. Repackaging Baudelaire. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.003.0003.
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Beginning with a survey of known Baudelaire settings, this chapter analyses the extent of reworkings of Baudelaire’s poetry, including those made by the poet himself, through the different editions of Les Fleurs du mal, and translations of his work beyond France. The rationale for the selected corpus of song settings is then outlined (focus on an important time period for transmission of Baudelaire’s poetry across Europe; analysis of groups of Baudelaire poems set to music by a given composer; focus on scores which converge around the mélodie genre). It explores definitions of a ‘song set’ as: (a) a looser grouping than the ‘song cycle’ of the German Lied tradition; and (b) shaped by both aesthetic and commercial concerns. These concerns influence the analysis which seeks to balance ‘quantifiable’ features of song settings against the challenges of evaluating songs which emerge from a given historical and cultural context.
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Allen, Roger. Selected Studies in Modern Arabic Narrative. Lockwood Press, 2019. http://dx.doi.org/10.5913/2019765.
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No Western scholar has contributed as much to the study of modern Arabic narrative as has Roger Allen. His doctoral dissertation was the very first Oxford D.Phil. in modern Arabic literature, completed in 1968 under the supervision of Mustafa Badawi. That same year, he took a position in Arabic language and literature at the University of Pennsylvania, the oldest professorial post in Arabic in the United States. Roger Allen has been phenomenally prolific: fifty books and translations, two hundred articles and counting—on Arabic language pedagogy, on translation, on Arabic literary history, criticism and literature. He is also one of the most decorated and acclaimed translators of Arabic literature. The present volume brings together sixteen of Roger Allen’s articles on modern Arabic narrative, with a focus on genre, translation, and literary history, and features analyses of the works of Rashid Abu Jadrah, Bensalem Himmich, Yusuf Idris, Naguib Mahfouz, and Tayeb Salih.
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Abbott, Helen. Baudelaire in Song. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198794691.001.0001.
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Exploring the work of the major nineteenth-century French poet Charles Baudelaire (1821–67), this book examines how and why Baudelaire’s poetry has inspired so many composers to set it to music in different ways. The author proposes a new model for analysing song, through an ‘assemblage’ approach, which examines the complex relationships formed between common features of poetry and music, including metre/prosody, form/structure, sound properties/repetition, and semantics. The model also factors in the realities of song as a live performance genre, revealing which parameters of song emerge as standard for French text-setting and where composers diverge in their approach. The specific case studies that make up the second half of the book focus on Baudelaire song sets produced by European composers between 1880 and 1930, specifically Maurice Rollinat, Gustave Charpentier, Alexander Gretchaninov, Louis Vierne, and Alban Berg. Using this corpus, the assemblage model is tested to uncover new findings about what happens to Baudelaire’s poetry when it is set to music. Analysing Baudelaire’s poetry within song settings uncovers richer features of the texts that we might otherwise not see or hear. Examining each song setting in close detail confirms that there are no overt resonances between the types of poems selected for musical interpretation, just as there is no single, perfect ‘ideal’ setting of Baudelaire.
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Stamm, Laura. The Queer Biopic in the AIDS Era. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197604038.001.0001.
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The Queer Biopic in the AIDS Era returns to the historical moment of the AIDS crisis and the emergence of New Queer Cinema to investigate the phenomena of queer biopic films produced during the late 1980s–early 1990s. More specifically, the book asks why queer filmmakers repeatedly produced biographical films of queer individuals living and dead throughout the years surrounding the AIDS crisis. While film critics and historian typically treat the biopic as a conservative, if not cliché, genre, queer filmmakers have frequently used the biopic to tell stories of queer lives. This project pays particular attention to the genre’s queer resonances, opening up the biopic’s historical connections to projects of education, public health, and social hygiene, along with the production of a shared history and national identity. Queer filmmakers’ engagement with the biopic evokes the genre’s history of building life through the portrayal of lives worthy of admiration and emulation, but it also points to another biopic history, that of representing lives damaged. By portraying lives damaged by inconceivable loss, queer filmmakers challenge the illusion of a coherent self presumably reinforced by the biopic genre and in doing so, their films open up the potential for new means of connection and relationality. The book features fresh readings of the cinema of Derek Jarman, John Greyson, Todd Haynes, Barbara Hammer, and Tom Kalin. By calling for a reappraisal of the queer biopic, the book also calls for a reappraisal of New Queer Cinema’s legacy and its influence of contemporary queer film.
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Forter, Greg. Critique and Utopia in Postcolonial Historical Fiction. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198830436.001.0001.
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Postcolonial historical fiction offers readers valuable resources for thinking the prehistory of our present. The genre’s treatment of colonialism as geographically omnivorous yet temporally “out of joint” with itself gives it a special purchase on the continuities between the colonial era and our own. These features also enable the genre to distill from our colonial pasts the evanescent, utopian intimations of a properly postcolonial future. Critique and Utopia in Postcolonial Historical Fiction arrives at these insights by juxtaposing novels from the Atlantic world with books from the Indian subcontinent. Attending to the links across these regions, Forter develops luminous readings of novels by Patrick Chamoiseau, J. G. Farrell, Amitav Ghosh, Marlon James, Hari Kunzru, Toni Morrison, Marlene van Niekerk, Arundhati Roy, Kamila Shamsie, and Barry Unsworth. He shows how these works not only transform our understanding of the colonial past and the futures that might issue from it, but also contribute to pressing debates in postcolonial theory—debates about the politics of literary forms, the links between cycles of capital accumulation and the emergence of new genres, the meaning of “working through” traumas in the postcolonial context, the relationship between colonial and panoptical power, the continued salience of hybridity and mimicry for the study of colonialism, and the tension between national liberation struggles and transnational forms of solidarity. Beautifully written and meticulously theorized, Critique and Utopia in Postcolonial Historical Fiction will be of interest to students of world literature, Marxist critics, postcolonial theorists, and thinkers of the utopian.
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Grossmith, George and Weedon. The Diary of a Nobody. Edited by Kate Flint. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199540150.001.0001.
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‘Why should I not publish my diary? I have often seen reminiscences of people I have never even heard of, and I fail to see - because I do not happen to be a ‘Somebody’ - why my diary should not be interesting.’ The Diary of a Nobody (1892) created a cultural icon, an English archetype. Anxious, accident-prone, occasionally waspish, Charles Pooter has come to be seen as the epitome of English suburban life. His diary chronicles encounters with difficult tradesmen, the delights of home improvements, small parties, minor embarrassments, and problems with his troublesome son. The suburban world he inhabits is hilariously and painfully familiar in its small-mindedness and its essential decency. Both celebration and critique, The Diary of a Nobody has often been imitated, but never bettered. This edition features Weedon Grossmith's hilarious illustrations and is complemented by an enjoyable introduction discussing the book's social background and suburban fiction as a genre.