Journal articles on the topic 'Hybrid genre theory'
To see the other types of publications on this topic, follow the link: Hybrid genre theory.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Hybrid genre theory.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
Siuta, Bohdan. "Notion “Genre Type” as the Metalіngual Unit of the Modern Musical Theory." Terminological Bulletin, no. 5 (2019): 188–95. http://dx.doi.org/10.37919/2221-8807-2019-5-25.
Full textAbstract:
The notion “genre type” is actual metalіngual unit of the modern musicology and musical theory. The theoretical comprehension of this term is connected with the problem of the theory of the musical genre, which is actual for contemporary musicology. This term (as far as its correspondences in musicological discourse of the countries of Eastern, Central and Western Europe) in Ukrainian musicology is still totally uncertain and not codified. This creates an obvious metalіngual lacuna. In the adequate theoretical representation, the term “genre type” outlines the higher level of the hierarchical category of the speech genre, which combines the characteristics of the speech and creative genres in music. Since the end of the 19th century phenomena musical forms / models / patterns (song form, form of rondo, etc.) and the content of music are the subject of studying and classification within the academic discipline “The doctrine of the musical form”. And in relation to the studying of genre types, other criteria are the determining factors: performance composition (instrumental, vocal, vocal-instrumental, musical and theatrical work), text, functions, place of execution, structure of construction. Additional factors of the systematic classification are periods (such as the Renaissance, Baroque, Viennese classicism) and styles (respectively, genres). The process of emancipation of functional music (which had certain social functions) determined the emergence in the 20th century so called “pure music”, almost unrelated to the primary circumstances of origin and existence. In 20th century composers begin to avoid the narrow qualifications of “genres” and established “genre types” and create “hybrid mixed forms” within the usual “classical genre types” (such as chamber symphony) or with the involvement of other types of art (for example, performances as a mixed form of art based on singing action of dance, theatre and music). In the middle of the 20th century began to differentiate musical-creative and musical-language genres within the T. Adorno’s classification of music practices for E-music, U-music and F-music. However, in contemporary Ukrainian musicology we have not a general acceptance of theoretical and methodological principles for the demarcation of classical music and entertainment. Accordingly, there is no proper musicology terminology. Working out of approaches and convincing criteria of the decision of these difficult theoretical and practical issues still continues. In connection with this, the necessity of introducing into the scientific circle the concept of “genre type”, as well as comprehension of its musical and speech nature is actualized.
2
Monticone, Paul. "TheNoirWestern: Genre Theory and the Problem of the Anomalous Hybrid." Quarterly Review of Film and Video 31, no. 4 (March 5, 2014): 336–49. http://dx.doi.org/10.1080/10509208.2012.660452.
Full text
3
Saburova, Liudmila E. "Tommaso Landolfi: in Search of a Free Genre Form." Studia Litterarum 6, no. 1 (2021): 52–65. http://dx.doi.org/10.22455/2500-4247-2021-6-1-52-65.
Full textAbstract:
This article focuses on genre characteristics of Tommaso Landolfi’s works which the author himself called diaries: “La biere du pecheur,” “Rien va” and “Des mois.” Although formally these three texts are not related and moreover, considerably differ from each other in structure and in content, they are united by a common narrative strategy, due to their genre features. Preserving main characteristics inherent in autobiographical prose, these diaries are at the same time aesthetically organized texts that have an artistic structure and contain artistic imagery as well as, most importantly, elements of fiction. Since the category of fiction is openly present in the diaries and declared as the author’s intention, Landolfi’s autobiographical prose can be defined as a hybrid genre containing elements of many other genres, especially the elements of the novel. The essay introduces the term autofiction to describe the phenomenon in question, namely genre diffusion between the autobiographical writing and the novel.
4
Ren, Wei, Vijay K. Bhatia, and Zhengrui Han. "Analyzing interdiscursivity in legal genres." Pragmatics and Society 11, no. 4 (November 20, 2020): 615–39. http://dx.doi.org/10.1075/ps.17030.han.
Full textAbstract:
Abstract The traditional simplistic understanding of legal genre as homogeneous texts of legalese is recently confronted by researches focusing on the contextual aspects of legal communication, i.e. the production, circulation, and consumption of legal genres in diverse institutional contexts (Candlin and Maley 1997; D’hondt and Van Der Houwen 2014). It is, according to these researches, more reasonable to think of legal genres as a hybrid combining the operation of different heterogeneous discourses. This article takes the broad contextual perspective, draws on the theory of critical genre analysis (Bhatia 2016) and attempts to explore the discursive heterogeneity in one of the Chinese legal genres – the lawyers’ defense opinions. Both textual and interpretative analysis are conducted in order to identify specific discourses that underline Chinese lawyers’ preparation of defense opinions, and to look at how Chinese lawyers linguistically construct the different discourses to fulfill the ultimate purpose of justifying the defendant’s actions.
5
Evtushenko, Oksana, and Svetlana Pervukhina. "Electronic Mode of the Modern Administrative Discourse." Vestnik Volgogradskogo gosudarstvennogo universiteta. Serija 2. Jazykoznanije, no. 5 (January 2021): 99–109. http://dx.doi.org/10.15688/jvolsu2.2020.5.9.
Full textAbstract:
The study has been carried out in line with the current problems of modern discourse and genre studies related to the study of the evolution of administrative discourse, which is understood as a hybrid of oral and written communication. The article presents the results of the analysis of the Internet influence on the long-established genres of administrative discourse. The concept of administrative Internet communication has been clarified. The study of administrative discourse in the Internet space clearly demonstrates that even the most conservative sphere of activity is influenced by modern technologies and extralinguistic factors have the most direct impact on the genres formation. The administrative Internet functions are singled out: informing, requesting information, initiating discussions, organization. The genres of administrative Internet communication are analyzed, in the modern administrative discourse we have identified the most indicative in terms of management hypergenres and genres: the hypergenre "corporate web portal" or "Intranet", the genre "email", the genre "online meeting" or "video conferencing", the genre "electronic documents". This article details two genres: "corporate web portal" and "online meeting". The conducted survey made it possible to determine the pragmatic nature of the considered corporate web portal hyper-genre – keeping to corporate culture, interactivity, speed. It has been established that due to the mentioned Internet genres emergence, a partial decrease in distance and erasing of the status line in the "head-subordinate" pair occurs. It is concluded that cyberspace is transforming the power-subordinate nature of administrative communication into democratic partnership, as well as there is the transformation of traditional genres with the advent of electronic communication in the field of management. It is concluded that the theory of speech genres is applicable to study of the evolution of administrative communication, and new techniques are required to take into account linguistic changes caused by the development of information technologies.
6
Muravieva, Larissa E. "Exofiction and Enactivist Narratives in Contemporary French Literature." Studia Litterarum 7, no. 3 (2022): 30–51. http://dx.doi.org/10.22455/2500-4247-2022-7-3-30-51.
Full textAbstract:
The proliferation of hybrid genres is a notable trend in contemporary French literature. Alongside autofiction, new hybrids are emerging in French literature, modelled on a mixture of fiction and factual genre. One of them is exofiction (“ex” + “fiction”), which implies a narrative about fictitious events from the life of a historical character or an attempt to introduce fiction into someone else’s biography. The neologism, belonging to the writer Philippe Vasset, is rapidly entering scholarly and critical discourse, but no systematic attempt to describe the phenomenon has been made. According to Vasset, exofiction can be defined as any narrative that “blends the reality with the phantasms that accompany its representations” (Ph. Vasset); in other words, exofictitious writing practices form the space of “enactivist literature” in the cognitive sense. Exofiction reveals itself in the search for a connection between inner narrator’s experience and the other subject’s experience — including traumatic — through the language. This article attempts to identify the main features of exofiction, according to the enactivist approach in cognitive science and narratology, and to propose an analysis of the genre characteristics of exofiction by the exаmple of the novels by Pascal Quignard, Jean Echenoz and David Foenkinos.
7
Molodychenko, Evgeni N. "Metapragmatic discourses in differentiating genres in online media." Vestnik of Saint Petersburg University. Language and Literature 18, no. 2 (2021): 363–82. http://dx.doi.org/10.21638/spbu09.2021.207.
Full textAbstract:
One of the possible ways to explore contextualization is through external discourses referencing the pragmatics of the discourse in question. These are known as metapragmatic discourse. The purpose of this article is to theoretically integrate the concept of metapragmatics into genre analysis and apply metapragmatic tools to the analysis of specific genres. Five YouTube videos together with their accompanying comments exhibiting metapragmatic properties were analyzed. Methodologically, the analysis relies on the textually oriented content analysis. The results indicate that placing discourses nominally relying on one and the same generic form into a certain genre may be predicated on contextual variables that may have nothing to do with said form per se. These variables, however, may be verbalized by the original author and by their audience in the form of metapragmatic markers. This may mean that for the final addressee, the “effect” of the original discourse will depend on the attribution of this discourse, based on the metapragmatic markers, to one of the “competing” genre variations emerging, as it were, in an ongoing exchange between the author and his audience. A case in point are sponsored and “honest” review genres. A second observation resides in the realm of hybrid genres. An example here is integrating sponsored content into one of the “legitimate” lifestyle-genres (“hot tips”, vlog, etc.). A fraction of the discourse community seems to view this as delegitimizing the discourse and the genre in question, while others see it as an “unfortunate insert”, which does not, however, change the genre’s overall value. This leaves the question open whether such genres should be considered new and full-fledged genres, with sponsored content being one of their integral features.
8
Masschelein, A., C. Meuree, D. Martens, and S. Vanasten. "The Literary Interview: Toward a Poetics of a Hybrid Genre." Poetics Today 35, no. 1-2 (March 1, 2014): 1–49. http://dx.doi.org/10.1215/03335372-2648368.
Full text
9
Varghese, Susheela Abraham, and Sunita Anne Abraham. "Book-Length Scholarly Essays as a Hybrid Genre in Science." Written Communication 21, no. 2 (April 2004): 201–31. http://dx.doi.org/10.1177/0741088303262844.
Full text
10
Calabrese, Filomena. "Leonardo’s Profezia: Moral Writings of a Hybrid Kind." Quaderni d'italianistica 32, no. 2 (April 9, 2012): 75–100. http://dx.doi.org/10.33137/q.i..v32i2.16309.
Full textAbstract:
In the period 1490-99, Leonardo da Vinci (1452-1519) wrote nearly three hundred literary writings that were later compiled by scholars into four primary collections: the Bestiario, Favole, Facezie, and Profezia. This article takes Leonardo’s Profezia as its main subject in order to give due recognition to the generic nature of this collection. Specifically, it examines the texts in the Profezia as examples of mixed genre in an attempt to demonstrate how ethos, context, and generic convention yield to the greater moral statement made by Leonardo in the writings themselves. Unlike Leonardo’s other three literary collections, which subscribe to an easily identifiable literary genre, the Profezia texts are hybrid writings that enjoin its readers to consider instead why and how the mixture of forms might be a necessary means of expression to convey a truth and reality.
11
HANTKE, STEFFEN. "The Military Horror Film: Speculations on a Hybrid Genre." Journal of Popular Culture 43, no. 4 (July 19, 2010): 701–19. http://dx.doi.org/10.1111/j.1540-5931.2010.00766.x.
Full text
12
Vidineeva, Natalya Yu. "Means of Implicitness in Russian Political Weblogs." RUDN Journal of Language Studies, Semiotics and Semantics 11, no. 4 (December 15, 2020): 733–44. http://dx.doi.org/10.22363/2313-2299-2020-11-4-733-744.
Full textAbstract:
The study concerns genre characteristics of weblogs as well as the analysis of linguistic means of implicitness in political weblogs. The ongoing communication media development challenges researches with the investigation of its features. From the linguistic standpoint, the genre approach to media studies seems to be the most relevant. We assume that pragmatic genre studies meet the needs of weblogs investigation in the best possible way. This is due to taking into consideration the genre interlocutory nature and the factors of the speaker and the recipient. A weblog is a hybrid genre originating from personal diaries. We argue that weblogs can be considered a hypergenre which combines a weblog entry and commentaries to it. The theory of linguistic means of implicitness is developed by a number of researches. We aim at investigating the means of implicitness which bloggers tend to use. The relevance of implicit meaning studies lies in the lack of consensus on the nature of implicitness. Moreover, we consider it relevant to develop types of linguistic tools that implement implicit meanings. One more pressing research task is the description of linguistic means of implicitness typical of the Internet genres, specifically of the weblog genre. The study was conducted using qualitative general scientific and linguistic methods. The results show that Russian-speaking bloggers tend to use connotative words, idioms and allusions to implicate a negative assessment of political figures and events.
13
Gould, Rebecca Ruth. "Russifying the Radīf: Lyric Translatability and the Russo-Persian Ghazal." Comparative Critical Studies 17, no. 2 (June 2020): 263–84. http://dx.doi.org/10.3366/ccs.2020.0362.
Full textAbstract:
Building on Earl Miner's insight that the lyric is a ‘foundation genre’ of world literature, this article develops this idea in the context of thinking about lyric translatability. I do this by examining the Russo-Persian lyric, a hybrid literary genre that developed within Russian literature of the nineteenth and twentieth centuries. Radically unlike its classical Persian prototype, the Russo-Persian ghazal is a case study in lyric translatability. I explore the development of this hybrid genre from its appropriation by the Russian Romantic poet Afanasy Fet (d. 1890) to its influence on Sergei Esenin's Persian Motifs (1925), a text that adds a new dimension to the Russian-Persian encounter. Moving beyond historicist treatments that focus solely on direct impact or empirical encounters, this exploration of the Russo-Persian lyric traces the movement of literary form as a process of cultural translation that sometimes misunderstands the original, but which also transforms it, generating new literary form for a receptive audience. Broadly, this research sheds light on how the ghazal and its adaptations modifies and extends our understanding of lyric form, and on what is and is not translated through the lyric genre.
14
Ekinci, Barış Tolga. "A hybrid documentary genre: Animated documentary and the analysis of Waltz with Bashir (2008) Movie." CINEJ Cinema Journal 6, no. 1 (September 14, 2017): 4–24. http://dx.doi.org/10.5195/cinej.2017.144.
Full textAbstract:
The word documentary has been described as an advice” in “Oxford English Dictionary” in the late 1800s. Document is a main source of information for lawyers. And in cinema, basic film forms are defined with their own properties. The common sense is to separate documentary from fiction, experimental from main current and animation from the live action films. While these definitions were being made, it has been considered that which expression methods were used. The film genre which is called documentary has been defined in many different ways. In this study, animated documentary genre which is a form of hybrid documentary has been concerned with Baudrillard’s theory. In this context, Ari Folman’s animated documentary Waltz with Bassir (2008) has been analyzed with genre criticism method.
15
Mehlenbacher, Ashley Rose. "Registered Reports: Genre Evolution and the Research Article." Written Communication 36, no. 1 (December 10, 2018): 38–67. http://dx.doi.org/10.1177/0741088318804534.
Full textAbstract:
The research article is a staple genre in the economy of scientific research, and although research articles have received considerable treatment in genre scholarship, little attention has been given to the important development of Registered Reports. Registered Reports are an emerging, hybrid genre that proceeds through a two-stage model of peer review. This article charts the emergence of Registered Reports and explores how this new form intervenes in the evolution of the research article genre by replacing the central topoi of novelty with methodological rigor. Specifically, I investigate this discursive and publishing phenomenon by describing current conversations about challenges in replicating research studies, the rhetorical exigence those conversations create, and how Registered Reports respond to this exigence. Then, to better understand this emerging form, I present an empirical study of the genre itself by closely examining four articles published under the Registered Report model from the journal Royal Society Open Science and then investigating the genre hybridity by examining 32 protocols (Stage 1 Registered Reports) and 77 completed (Stage 2 Registered Reports) from a range of journals in the life and psychological sciences. Findings from this study suggest Registered Reports mark a notable intervention in the research article genre for life and psychological sciences, centering the reporting of science in serious methodological debates.
16
Bresler[1], Liora, Judith Davidson Wasser, and Nancy Hertzog. "Casey at the Bat: a hybrid genre of two worlds." Research in Drama Education: The Journal of Applied Theatre and Performance 2, no. 1 (March 1997): 87–106. http://dx.doi.org/10.1080/1356978970020106.
Full text
17
Powell, Robert. "Taking Pieces of Rand with Them: Ayn Rand's Literary Influence." Journal of Ayn Rand Studies 12, no. 2 (December 1, 2012): 207–35. http://dx.doi.org/10.2307/41717248.
Full textAbstract:
Abstract Despite the fact that Ayn Rand did not influence the best artists, she did leave an important legacy for the American imagination and literary establishment. Rand's influence is arguably more multi-genre than any other author. Some multi-genre authors who were possibly influenced by Rand include: John Steinbeck (literature), Mickey Spillane and Ian Fleming (detective fiction), Ira Levin, Cameron Hawley, Erika Holzer and Kay Nolte Smith (popular fiction) and Terry Goodkind (science fiction). Her influence represents an important balance between many various types of American Literature and is a credit to the hybrid and versatile nature of her fiction.
18
Powell, Robert. "Taking Pieces of Rand with Them: Ayn Rand's Literary Influence." Journal of Ayn Rand Studies 12, no. 2 (December 1, 2012): 207–35. http://dx.doi.org/10.5325/jaynrandstud.12.2.0207.
Full textAbstract:
Abstract Despite the fact that Ayn Rand did not influence the best artists, she did leave an important legacy for the American imagination and literary establishment. Rand's influence is arguably more multi-genre than any other author. Some multi-genre authors who were possibly influenced by Rand include: John Steinbeck (literature), Mickey Spillane and Ian Fleming (detective fiction), Ira Levin, Cameron Hawley, Erika Holzer and Kay Nolte Smith (popular fiction) and Terry Goodkind (science fiction). Her influence represents an important balance between many various types of American Literature and is a credit to the hybrid and versatile nature of her fiction.
19
Martin, Thomas L. "Relevant Context, Genuine Relation: Genre, Form, and Gender in Twenty-First Century The Winter's Tale Criticism." Ben Jonson Journal 27, no. 1 (May 2020): 1–23. http://dx.doi.org/10.3366/bjj.2020.0269.
Full textAbstract:
A resurgence of interest in Shakespeare's late romances has scholars once again asking what kind of work is The Winter's Tale. After The Tempest, it has occupied critics over the first two decades of the twenty-first century more than any other in this group of late plays. Besides a variety of new themes, dramatic material, staging challenges, and interpretive cruxes, the question of genre among these plays still puzzles late modern critics as much as it did early Enlightenment critics. What was Shakespeare doing experimenting with genre so late in his career, where elements of tragedy and comedy seem to flow together to create a hybrid form or introduce something new on the stage? This article considers how new approaches to The Winter's Tale parallel new speculations about its genre and decisions about its performance on stage. Considering how the issue of genre operates as a kind of regulative principle over new interpretations in much the same way that stage productions must make the play coherent in a limited physical space for an evening's entertainment, the article makes a case for preserving the work's central and traditionally celebrated wonder.
20
Luzón, María José. "Connecting Genres and Languages in Online Scholarly Communication: An Analysis of Research Group Blogs." Written Communication 34, no. 4 (September 12, 2017): 441–71. http://dx.doi.org/10.1177/0741088317726298.
Full textAbstract:
Blogs provide an open space for scholars to share information, communicate about their research, and reach a diversified audience. Posts in academic blogs are usually hybrid texts where various genres are connected and recontextualized; yet little research has examined how these genres function together to support scholars’ activity. The purpose of this article is to analyze how the affordances of new media enable the integration of different genres and different languages in research group blogs written by multilingual scholars and to explore how various genres are coordinated in these blogs to accomplish specific tasks. The study reported in this article shows that the functionalities of the digital medium allow research groups to incorporate myriad genres into their genre ecology and interconnect these genres in opportunistic ways to accomplish complex objectives: specifically, to publicize the group’s research and activities, make the work of the group members available to the disciplinary community, strengthen social links within their community and connect with the interested public, and raise social awareness. Findings from this study provide insights into the ways in which scholars write networked, multimedia, multigenre texts to support the group’s social and work activity.
21
Goroshko, Olena, and Tetiana Poliakova. "Visualization of Digital Genres: Instagraming in English Political Communication." Social Communications: Theory and PracticeS 14, no. 1 (August 30, 2022): 148–63. http://dx.doi.org/10.51423/2524-0471-2022-14-1-9.
Full textAbstract:
The article depicts the emergence of a new digital hybrid genre –instagraming.The research objective is to analyze the design of the genre Instagram at the text level and to determine the main linguistic and non-linguistic features of the genre design in the field of English political Internet-communication. Research methods and techniques.The material of the research includes 144 English publications obtained from the official accounts of Joe Biden and Boris Johnson. The qualitative and quantitative methods are used in the research namely: the methods of information analysis, synthesis, comparison, linguistic description,content analysis, and the semantic-syntactic method. The Voyant Tools program is used for data analysis. The content analysis of publications of the political leaders of the USA and UK on Instagram shows the difference in the number of their posts which indicates different attitudes of the politicians and their teams in the use of the social network when achieving their political goals. The genrestructure depends on the development of information technology, as well as on the type of device into which it is entered and which affects the order of heading placement, the format of the page, as well as the position of a text comment in relation to a video or photo. Results and discussion. The results obtained testify that both verbal and nonverbal constituencies of instagraming present inseparable parts of this genre. It is possible to speak about the hybridization of the digital genre as an inseparable feature. Conclusions. One can state that instagraming might be considered as a sort of container of multiple texts, combining video, audio and picture semiotic systems together. Additionally instagraming is rendered as a Goroshko, O., Poliakova, T. (2022). Visualization of Digital Genres:Instagraming in English Political Communication.Social Communications: Theory and Practice,Vol.14(1),148–163.DOI: 10.51423/2524-0471-2022-14-1-9149eISSN 2522-9125 pISSN 252—0471https://new.comteka.com.ua/subgenre providing communicativespace for various genres of political communication on the Net. One can argue that social media genre research requires the combination of linguistic and paralinguistic methods of analysis that develops a methodological base for linguistics 2.0 –a new approach in linguistic and communication studies of the ХХІ century.Keywords:digital genre, genre 2.0, Instagram, instagraming, social media, visualization, English-speaking political communication.
22
Andrade, Pedro. "GeoNeoLogical Novel and Other Hybrimedia Experiments: or How to Use Hybrid Methods such as Hybrid Discourse Analysis (HDA) within a Knowledge Base." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 4, no. 2 (July 11, 2016): 157–81. http://dx.doi.org/10.14195/2182-8830_4-2_8.
Full textAbstract:
In this essay I will present some results of the project Public Communication of Art, which developed a seminal theory and methodology intended to cope with hybridity and new media literacy in our globalized and inter/transcultural world. Some of the methods used blend vision with touch and are called ‘hybrid methods’ or ‘hybrimethods’. Examples of these are, for instance, a Multitouch Interactive Table, a Multitouch Questionnaire, Trichotomies Game and GeoNeoLogic Novel, this last one being a hybrid novel activated by fusion of vision, touch and GPS coordinates. Another hybrimethod is a sort of discursive analysis, named Hybrid Discourse Analysis (HDA), which uses ‘semantic-logical networks’ organized by concepts and ‘relation-concepts’. HDA is here articulated with Critical Sociology and applied to the analysis of a text on Magic Realism, which is also a hybrid genre within the social field of literature.
23
Sasongko, Michael Hari. "MUSIK ETNIK DAN PENGEMBANGAN MUSIK GEREJA." Tonika: Jurnal Penelitian dan Pengkajian Seni 2, no. 1 (May 29, 2019): 32–47. http://dx.doi.org/10.37368/tonika.v2i1.41.
Full textAbstract:
Church, as a religious institution, and ethnic music, as a communality creation, are different thing. They have different philosophy, meaning, existence, entity, form, and also sosial and historical context. Sometimes even as, ideologically, they display even negation. However inspite of the contradiction, they have some interest and orientation i.e. come together on a place for expressing who people are. When they meet, there, they create something new. Based on Homi K. bhabha's theory, this something new is called "the third space". We will find ambivalence and mimicry in the new space. On the musical perspective, the hybrid of church and ethnic music call into being a new genre, namely "ethnical church music". The cutting-edge genre proved succeed for increasing worship atmosphere.
24
Hanstein, Michael. "Protreptik, Lehrbrief, Studienanleitung für Lehrer." Daphnis 50, no. 2-3 (July 21, 2022): 219–44. http://dx.doi.org/10.1163/18796583-12340063.
Full textAbstract:
Abstract In 1565 the Strasbourg Gymnasium experienced a profound crisis. Rector Sturm contributed this to the lack of understanding of the method he had developed approximately 30 years prior. Thus, Sturm inspected teaching lessons and distributed detailed recommendation letters to teachers. These letters, called the Classicae Epistolae, represent a hybrid genre: as didactic letters they convey a pedagogic-methodical content, while they also contain protreptic elements with Sturm’s calls to implement his recommendations.
25
Staels, Hilde. "The Rogue as an Artist in Patrick deWitt’s "The Sisters Brothers"." Text Matters, no. 9 (December 30, 2019): 153–66. http://dx.doi.org/10.18778/2083-2931.09.09.
Full textAbstract:
This article explores Eli Sisters as a reinvigorated rogue who finds his artistic calling in Patrick deWitt’s The Sisters Brothers, published in 2011. With the help of insights from narratology and genre theory, the article provides a textual analysis of Eli’s discourse, perspective and behaviour. Eli casts a critical light on the senseless violence, unbridled greed, ecological devastation, and hyper-masculinity inherent to America’s Frontier myth. As a reinvigorated rogue, he raises questions about what it means to be human and reflects upon morality. With hindsight, the rogue as an artist creates a generically hybrid narrative that parodically imitates and transforms the genre conventions of the Western and the picaresque tale. The article also draws attention to the power that Eli assigns to women in a story about male heroic conquest. These include otherworldly female figures from classical mythology and the brothers’ mother.
26
Seita, Sophie. "Playing with Knowledge." TDR: The Drama Review 66, no. 3 (September 2022): 78–95. http://dx.doi.org/10.1017/s1054204322000314.
Full textAbstract:
Seated between art and academia, the lecture performance is a hybrid and playful genre that questions the norms and forms of lectures. Often highly reflexive, discursive, and pedagogical, it draws attention to the structures of how knowledge is produced, distributed, and received. It stages and costumes knowledge; makes it wearable or movable.
27
Amit-Danhi, Eedan R., and Limor Shifman. "Digital political infographics: A rhetorical palette of an emergent genre." New Media & Society 20, no. 10 (January 9, 2018): 3540–59. http://dx.doi.org/10.1177/1461444817750565.
Full textAbstract:
Information visualizations (“infographics”) have long been part of the production of knowledge, although the rise of digital media brought about a significant expansion in both their volume and their use for political purposes. This article provides a first overview and typology of the emergent genre we term “digital political infographics.” Informed by literature and theory about visualizations, political persuasion, interfaces, and digital sharing, we aimed to reveal the “data-politics” unique to this expression form. A grounded analysis of 200 politically oriented infographics on Twitter yielded a two-dimensional typology relating to the narrative strategies and the interfaces underpinning users’ engagement with data in this discursive format. An integrative evaluation revealed that digital political infographics are hybrid communicative forms, characterized by three influence trajectories between political persuasion, infographic conventions, and digital environments: “politicizing” infographic traits, “infographing” political tactics, and creating a new common ground, featuring a rhetoric of “tactile data experience.”
28
Martín-Jiménez, Virginia, Pablo Berdón-Prieto, and Itziar Reguero-Sanz. "The precursors of infotainment? Debate and talk shows on Televisión Española (1980-1989)." Communication & Society 35, no. 1 (January 10, 2022): 119–35. http://dx.doi.org/10.15581/003.35.1.119-135.
Full textAbstract:
The theory formulated to date indicates that political infotainment programs arrived in Spain in a widespread manner in the 1990s with the rise of private television channels. But were there spaces in public television that shared the traits of this novel television genre before that time? This article is aimed at analyzing debate and talk shows, as well as hybrid format shows combining both genres, broadcasted on Televisión Española (TVE-1 and TVE-2) during the ‘80s, in order to determine whether or not these programs present the emblematic style characteristic of infotainment. The methodology consists of a content analysis of a total of 31 television programs, each of which was viewed on the RTVE archive using different multimedia platforms. The results of this research reveal that Televisión Española incorporated into its debate shows, talk shows, and hybrid format shows, features typical of infotainment prior to the ‘90s. Among the most recurrent stylistic features of these programs are the tendency to dramatization, polemic and emotionality (achieved through different techniques and strategies), an increase of soft content, a greater presence of satire, humor and close-ups, and the use of music.
29
Hajimia, Hafizah, Nur Rasyidah Mohd Nordin, Manvender Kaur Sarjit Singh, and Philip Golingai. "The rhetorical structure of newspaper reports: A synergy between corpus, genre and discourse analysis." Indonesian Journal of Applied Linguistics 12, no. 1 (May 31, 2022): 86–99. http://dx.doi.org/10.17509/ijal.v12i1.46433.
Full textAbstract:
The pandemic has intensified issues faced by the journalism community in Malaysia. This study is an attempt to help the media industries upskill themselves in terms of the written discourse. This study describes the rhetorical structures in Malaysian newspaper reports, namely The Star, in terms of the rhetorical moves and steps by using the genre theory, corpus-based discourse analysis and corpus analysis. MyCORONAS (Malaysian Corpus of Online Newspaper Articles) corpus of 90 selected news reports consisting of crime news (TSC), environmental news (TSE) and political news (TSP) was compiled and analysed quantitatively and qualitatively to identify the frequency, functions, and patterns of rhetorical moves. The findings identified a nine-move structure for the newspaper reports. The nine-move structure consists of five optional moves and four obligatory moves. Variations in the use of the steps were observed within the sub-genres. Additionally, based on the functions of the moves, it was found that the newspaper report is a hybrid genre with various communicative functions. Based on the patterns of move distribution, the dispersion value shows that the moves are tightly clustered. To conclude, the findings of this study will heighten the awareness of ESP learners on the importance of using appropriate rhetorical moves to write a newspaper report which will help the journalism industries reform themselves during the pandemic.
30
Smith, Erin A. "Who Didn’t Do It?" Reception: Texts, Readers, Audiences, History 14 (July 1, 2022): 22–41. http://dx.doi.org/10.5325/reception.14.1.0022.
Full textAbstract:
ABSTRACT David Grann’s Killers of the Flower Moon is a generic hybrid: literary journalism, true crime tale of the Wild West, and whodunit. I argue that the activation of different sets of reader expectations for these genres gives it an extraordinarily powerful political impact. Based on reviews and reader responses on Amazon and Goodreads and on the genre characteristics of the narrative itself, I make the case that Grann satisfies readers’ expectations for formula Westerns and classical detective stories in the first two parts (i.e., solving the crime and arresting the bad guy), only to undermine them in the final section, in which just about all the white citizens in the county emerge as complicit with the crimes. Further, Killers of the Flower Moon–like many true-crime stories–offers a feminist critique of the romance plot by unveiling how happily-ever-after marriages can turn violent and abusive for women.
31
Humpál, Martin. "Roman som skuespill: Sjangerhybriditet i Erlend Loes Stille dager i Mixing Part." European Journal of Scandinavian Studies 49, no. 1 (April 24, 2019): 42–54. http://dx.doi.org/10.1515/ejss-2019-0003.
Full textAbstract:
Abstract Erlend Loe’s novel Stille dager i Mixing Part (2009, Quiet Days in Mixing Part) focuses on a marital crisis of a Norwegian couple on vacation in Germany. The husband, Bror Telemann, is a dramaturg who dreams of writing a major play, and he tries in vain to begin to write one. The novel is a third-person narrative, but it actually contains few narrative passages: most of the text consists of dialogues. The text is, in fact, a hybrid of two genres – part novel, part play. This seems to be a consciously chosen aesthetic strategy on Loe’s part. The main thematic aspects of Stille dager i Mixing Part are tied up with drama and theatre in various ways. This article shows how genre hybridity, aided by intertextual allusions, contributes to representing these main aspects.
32
Badran, Dany. "Metaphor as argument: A stylistic genre-based approach." Language and Literature: International Journal of Stylistics 21, no. 2 (May 2012): 119–35. http://dx.doi.org/10.1177/0963947011435858.
Full textAbstract:
One of the most intriguing questions in both stylistic and rhetorical analyses relates to determining textual effect on readers, aesthetic or otherwise. Whether the power of the text is directly associated with the role of the text producer and his or her intentions, the linguistic, paralinguistic, extralinguistic and situational context of the text, the background and socio-cognitive expectations of the reader, or a combination of some or all of these factors (or other factors) is a question that is still the subject of stylistic and rhetorical analysis today. This article is a further step in this direction. It attempts to investigate one dimension of textual effect, namely uniformity in reader reaction to an argumentative poem entitled Dinner with the Cannibal, by focusing on the roles that genre and metaphor play in ideologically positioning readers. It argues, on the one hand, that literature is the dominant genre in this hybrid literary-argumentative poem, channelling the readers’ initial interpretations almost exclusively in the interest of more traditional literary interpretative approaches. On the other hand, and more importantly, it focuses on the role that metaphor, as a cognitive link between text producer and reader, plays in the construction of an extremely controlled, uniform interpretation of the argumentative dimension to the poem. The overall effect of the way genre and metaphor function in this argumentative poem, it is concluded, is highly ideological.
33
Ristivojević, Marija. "(Re)defining tradition: the example of the world music phenomenon." Issues in Ethnology and Anthropology 9, no. 1 (February 25, 2016): 69. http://dx.doi.org/10.21301/eap.v9i1.4.
Full textAbstract:
The paper problematizes the understanding of the concept of tradition in the context of the world music phenomenon. Marketed as a hybrid music genre, from the perspective of anthropological theory, the world music genre is a complex cultural phenomenon, the result of mixing global and local influences which are reflected not only in the creation of a specific sound, but through different perceptions of music itself (the audience, musicians, producers, creators of cultural policies etc.) By analyzing the Serbian world music scene as exemplified by the work of the World Music association of Serbia, as well as the Serbia World Music Festival in Takovo, I will attempt to determine the way in which the concept of world music is perceived in local narratives, whether it is experienced as a form of musical tradition and if so, what is signified and represented as tradition in this context.
34
Jones, Amelia. "Material Traces: Performativity, Artistic “Work,” and New Concepts of Agency." TDR/The Drama Review 59, no. 4 (December 2015): 18–35. http://dx.doi.org/10.1162/dram_a_00494.
Full textAbstract:
A new genre of hybrid artworks involving elements of performance, conceptualism, sculpture, and installation practices evokes complex art experiences that are performative yet exist in various material forms—including, implicitly or explicitly, that of the artist’s laboring body. These works call for new ways of engaging that do not dwell on final objects or celebrate “authentic” presence but understand the relational tensions and seductions between human and nonhuman.
35
Obidič, Andrejka. "Margaret Atwood’s Postcolonial and Postmodern Feminist Novels with Psychological and Mythic Influences: The Archetypal Analysis of the Novel Surfacing." Acta Neophilologica 50, no. 1-2 (November 13, 2017): 5–24. http://dx.doi.org/10.4312/an.50.1-2.5-24.
Full textAbstract:
The paper analyzes Margaret Atwood’s postcolonial and postmodern feminist novels from the psychological perspective of Carl Gustav Jung’s theory of archetypes and from the perspective of Robert Graves’s mythological figures of the triple goddess presented in his work The White Goddess: A Historical Grammar of Poetic Myth (1997). In this regard, the paper focuses on the mythic and psychological roles embodied and played by Atwood’s victimized female protagonists who actively seek their identity and professional self-realization on their path towards personal evolution in the North American patriarchal society of the twentieth century. Thus, they are no longer passive as female characters of the nineteenth-century colonial novels which are centered on the male hero and his colonial adventures. In her postcolonial and postmodern feminist novels, Atwood further introduces elements of folk tales, fairy tales, legends, myths and revives different literary genres, such as a detective story, a crime and historical novel, a gothic romance, a comedy, science fiction, etc. Moreover, she often abuses the conventions of the existing genre and mixes several genres in the same narrative. For instance, her narrative The Penelopiad (2005) is a genre-hybrid novella in which she parodies the Grecian myth of the adventurer Odysseus and his faithful wife Penelope by subverting Homer’s serious epic poem into a witty satire. In addition, the last part of the paper analyzes the author’s cult novel Surfacing (1972 (1984)) according to Joseph Campbell’s and Northrop Frye’s archetypal/myth criticism and it demonstrates that Atwood revises the biblical myth of the hero’s quest and the idealized world of medieval grail romances from the ironic prospective of the twentieth century, as it is typical of postmodernism.
36
Ferrara, Enrica Maria. "The Reception of Fernando de Roja’s Celestina in Italy: A Polyphonic Discourse." Renaissance and Reformation 40, no. 1 (July 21, 2017): 91–120. http://dx.doi.org/10.33137/rr.v40i1.28449.
Full textAbstract:
La Celestina by Fernando de Rojas was published in Spain for the first time in 1499 as a comedy, and as a tragicomedy in 1502. The first Italian translation of the play was published in Rome in 1506 and gave birth to a parallel and complementary textual tradition on which the reception and translation of the play in other modern languages (such as French and German) were based. Given the wide success of Celestina in Italy, this essay focuses on the hybrid genre of the play, which can be placed at the crossroads of comic and tragic genres but also on the boundaries between narrative and theatrical modes of expression. It emphasizes the importance of Celestina’s dialogic, parodic, and polyphonic structure, and its links with Dante’s Commedia and Boccaccio’s Decameron. Building on the “working hypothesis” of a Florentine genesis of Celestina, this essay explores its connection with humanist comedy and with Aretino’s comic-burlesque literature.
La Celestina de Fernando de Rojas fut publiée en Espagne pour la première fois en 1499 en tant que comédie, puis en 1502, en tant que tragicomédie. La première traduction italienne de la pièce a été publiée à Rome en 1506 et a donné le jour à une tradition textuelle complémentaire et parallèle, laquelle en a par la suite nourri la réception et la traduction en plusieurs langues modernes (en français et en allemand par exemple). Étant donné le grand succès que reçut La Celestina en Italie, cet essai se penche sur le genre hybride de la pièce, qui participe également des genres tragique et comique, et qui, en outre, se situe à la frontière des modes d’expression narratif et théâtral. Ces observations soulignent l’importance de la structure dialogique, parodique et polyphonique de La Celestina, ainsi que ses liens avec la Divine Comédie de Dante et avec le Décaméron de Boccace. De plus, suivant l’hypothèse de travail d’une genèse florentine de La Celestina, cet article explore ses relations avec la comédie humaniste et la littérature comique-burlesque de l’Arétin.
37
FIGUEROA, MELISSA. "Staging Muhammad: A Subversion of the Hagiographic Genre in Vida y muerte del falso Profeta Mahoma." Bulletin of Hispanic Studies 97, no. 8 (September 1, 2020): 807–21. http://dx.doi.org/10.3828/bhs.2020.46.
Full textAbstract:
This article examines the subversion of the hagiographic genre in a biographical play from the seventeenth century about the Prophet of Islam, Muhammad, written in Spain. In this essay I argue that the contradiction of using a theatrical genre intended to emphasize the holiness of Christian characters in a play about Muhammad unveils the historical tensions and anxieties of Spain’s Muslim past. The disparity between form and content reveals the unconscious political aspect of the play and illustrates why it can be read from two opposite perspectives regarding the Islamic leader. Departing from Caroline Levine’s use of the term ‘affordance’, and drawing on Fredric Jameson’s concept of the political unconscious, I posit that Vida y muerte del falso Profeta Mahoma (1642) is more a reflection on Spain’s hybrid and ambivalent religious culture than a dramatization of Muhammad’s life.
38
Nünning, Ansgar, and Alexander Scherr. "The Rise of the Fragmentary Essay-Novel: Towards a Poetics and Contextualization of an Emerging Hybrid Genre in the Digital Age." Anglia 136, no. 3 (September 6, 2018): 482–507. http://dx.doi.org/10.1515/ang-2018-0047.
Full textAbstract:
Abstract This contribution introduces the ‘fragmentary essay-novel’ in terms of an emerging hybrid genre within the experimental branch of contemporary Anglophone literature. Reading David Shields’s manifesto Reality Hunger (2010) as a poetics which literally ‘essays’ a “path for the novel” (Smith 2008: n. pag.) in the early 21st-century, it also discusses Tom McCarthy’s recent work Satin Island (2015) as a prime representative of the fragmentary essay-novel. Both Shields’s and McCarthy’s texts are contextualized and framed as aesthetic responses to the digital age, especially to the implications that processes of digitization have for our shifting understanding of ‘reality’, ‘authenticity’, ‘literature’, ‘reading’, and ‘authorship’. Special attention will be given to the question of how the organization of knowledge in digital networks affects the epistemological situation of the novelist and the human individual. In addition to putting the essay-novel on the map of contemporary fiction, we aim to raise awareness of the tradition and general significance of this unduly neglected genre.
39
Majdzik Papić, Katarzyna. "Od męki translacji do piekła logosu. O przekładzie w „Przekładzie” Pabla De Santisa." Forum Filologiczne Ateneum, no. 1(7)2019 (December 31, 2019): 143–66. http://dx.doi.org/10.36575/2353-2912/1(7)2019.143.
Full textAbstract:
The article presents how the novel The Translation by Pablo De Santis reffers to the most important concepts of theory and philosophy of translation. Among these concepts the most significant are those which consider the boundaries and mechanisms of interpretation in the act of translation. These ideas are metaphorically expressed by the myth of the fall of the Tower of Babel. The interpretative context for the novel by De Santis is determined by the works of Jacques Derrida, Julia Kristeva and Hans-Georg Gadamer. An important research problem is also the relationship between the category of translation and the hybrid genre of the crime novel by De Santis.
40
CALZÓN GARCÍA, José Antonio. "EL STEAMPUNK Y SU RESIGNIFICACIÓN DEL OBJETO DESDE LA ÓPTICA POSMODERNA." Signa: Revista de la Asociación Española de Semiótica 30 (January 6, 2021): 391. http://dx.doi.org/10.5944/signa.vol30.2021.26430.
Full textAbstract:
Resumen: El artículo repasa, en primer lugar, las principales características del género steampunk, así como la evolución histórica, sus problemas de adscripción, sus implicaciones ideológicas o la naturaleza transversal de su discurso, entre otros aspectos. En segundo lugar, y una vez vista la naturaleza híbrida y posmoderna del género, estudia el desarrollo semiótico que el steampunk plantea a propósito de la resignificación de la relación sujeto-objeto desde una óptica postcapitalista y deconstructiva, poniendo para ello ejemplos concretos.Abstract: This article will address, first of all, the main features of the steampunk genre, as well as its historical evolution, its problems of ascription, its ideological implications and the transverse nature of its discourse, among other aspects. Secondly, and once the hybrid and postmodern nature of this genre has been stablished, the article will analyse the semiotic development which steampunk sets out regarding the resignification of the subject-object relation from a postcapitalist and deconstructive point of view, providing specific examples.
41
Sokolova, Alla. "The Origins of the Genre of the English Masque." Culturology Ideas, no. 17 (1'2020) (2020): 89–98. http://dx.doi.org/10.37627/2311-9489-17-2020-1.89-98.
Full textAbstract:
This paper aims to analyze the scientific works of leading British researchers to identify the origins of the stages of the formation of the English Masques genre, the influence of continental culture on the Masques genre, understanding the specific features of the first prototypes of the Masques, as well as the “early” Tudor Masques, including the Masques of the times of Henry VIII and Elizabeth І. Research methodology. Twenty-one publications by leading English scholars on this subject are considered, including archival data and historical choirs. The materials of the scientific literature are studied using logical, historical, chronological, problem-chronological and historical-retrospective methods. Results. It has been revealed that Masque is a musical-theatrical performance, a stylized hybrid, where acting, dancing, chorus, musical interlude, poetry, masquerade costume, and stage design are closely intertwined and interact with each other. The origins of English Masques date back to the folk traditions and customs of England, the traditions of Christmas or seasonal festivals, and the development and formation of Masques was influenced directly by Italian and French culture. However, the English Masques had specific genre peculiarities inherent in the exclusively English version of the musicaltheatrical performance. The masques become a key pastime in the Tudor royal court, where the royal court play an important role. Novelty. In this paper, an attempt has been made to comprehensively investigate the origins of the English Masque genre, as well as to characterize the influence of continental European culture on the development of early English Masques. The practical significance. The materials of this study can be used at lectures and seminars on the history of foreign culture, theory and history of culture in secondary and higher education institutions.
42
Kuzmina, Marina D. "BUSINESS VS FRIENDLY LETTER UNDER THE PEN OF RUSSIAN CLASSICISTS (EPISTOLARY BY A. P. SUMAROKOV)." Verhnevolzhski Philological Bulletin 22, no. 3 (2020): 18–27. http://dx.doi.org/10.20323/2499-9679-2020-3-22-18-27.
Full textAbstract:
The article is devoted to the study of one of the milestones in the development of the genre of writing – the epistolary heritage of Russian classicists, in particular, A. P. Sumarokov, who was, as is known, among the largest representatives of classicism. Being engaged not only in literary practice, but also in theory, he himself brought writing outside of literature, described it in the treatise «On the Russian Language», while literary genres – in the treatise «On Poetry». This freed the author-epistolographer from complying with the requirements of classicism, gave freedom unknown to others – literary genres proper. At the same time, it didn’t reduce writing to an everyday or business text, firstly, due to the fact that there was a continuous mutual influence of the genres of writing and a poetic message, epistle, and secondly, due to the fact that the letters of writers a priori had aesthetic value. Thus, taken outside the bounds of literature, writing was organically closely related to it, included in it. At first glance, the peripheral position of the epistolary genre in the era of classicism turned out to be privileged and very promising. One of the varieties of the epistolary genre, the friendly letter, had particular prospects during the 18th century influenced other species. Business letter was no exception, including the business letter of the classicists. Thus, the business letters of A. P. Sumarokov, addressed to both dignitaries and the empress, were strongly influenced by a friendly letter. It seems that he appealed to the traditions of the latter, consciously or not, wishing to overcome the split of his «I», which is very tangible in his business epistolography. The image of the author seems to be twofold in it, in many respects in accordance with the aesthetics of classicism. On the one hand, Sumarokov positions himself as a «public person»: a recognized, talented writer, theater director, citizen, selflessly serving the motherland. On the other hand, as a «natural person»: helpless, lonely, suffering from a lack of money, energy, time, from undeserved grievances, injustice, misunderstanding, etc. According to the logic of classicism, a «social person» must prevail over the «natural», unpatriotic position, selfishness, weaknesses and passions of which are shameful. Perhaps, only the epistolary genre gave the author the possibility of a different intention – gaining the wholeness of his «I» not by suppressing the «natural person» in himself and strengthening the «social», but by «balancing» both hypostases. Sumarokov tries to realize this intention through the actualization of the features of a friendly letter that is authentic for two facets of his «I»: if a «public person» by his activities in the literary and civil field deserves friendly communication «on equal terms» with any high-ranking addressee, then a «natural person» deserves it is communication with your personal qualities. In addition, the fate of the author depends on the addressee vested with power: the first can solve the problems of the second, – therefore, it is in a business letter that Sumarokov actualizes the features of a friendly letter. As a result, a kind of friendly-business hybrid is created under his pen, promising for the further development of the epistolary genre.
43
Addison, Catherine. "THE VICTORIAN VERSE NOVEL AS BESTSELLER: OWEN MEREDITH'SLUCILE." Victorian Literature and Culture 45, no. 2 (May 5, 2017): 257–74. http://dx.doi.org/10.1017/s1060150316000607.
Full textAbstract:
By the 1860s, the versenovel had become a significant feature of the Victorian literary landscape. According to Dino Felluga, this hybrid was a “perverse” and even “subversive” genre, firstly, because it undermined the “‘high’ autotelic” status of poetry by mixing it with the “heteroglot, carnivalesque, and polyphonic novel” and, secondly, because its specific fictions tended to oppose or parody the “middle-class heterosexual, domestic ideology” upheld by the prose novel of the period. In support of his argument, Felluga discusses a handful of texts that are normally regarded as “high” literature: Elizabeth Barrett Browning'sAurora Leigh, Arthur Hugh Clough'sAmours de Voyage, George Meredith'sModern Loveand Robert Browning'sThe Ring and the Book(Felluga, “Verse Novel” 171–74; “Novel Poetry” 491–96).
44
Sañudo, Eva Pelayo. "‘History’s Attic’: The Role of Legends and Family Stories in Gendering and Decolonizing US Immigration and Ethnic History Through Laurie Fabiano’s Family Saga Elizabeth Street (2006)." English: Journal of the English Association 68, no. 263 (2019): 366–88. http://dx.doi.org/10.1093/english/efz034.
Full textAbstract:
Abstract This article explores the role of legends and family stories in gendering and decolonizing US immigration and ethnic history, particularly through the lens of Italian/American literature and culture. Using the theoretical framework of the politics of representation, the analysis concentrates on the function of mythic and passed-down stories not only as naturalizing agents of cultural norms but as a means to destabilize hegemonic narratives, particularly gendered history and media influence. Laurie Fabiano’s family saga Elizabeth Street (2006) is a debut novel that intertwines the strands of history, autobiography and journalistic research, among others. Precisely the status of this novel as a hybrid genre sheds light into the additional use of alternative sources such as legendary and familial narratives to study migration and ethnic history, as well as to (re)imagine the past from a feminist perspective.
45
Cantillo Lucuara, Mayron Estefan. "“Come, Dark-eyed Sleep”: Michael Field and the Performance of the Lyric as a Radical Fantasy." Revista Alicantina de Estudios Ingleses, no. 35 (July 28, 2021): 43. http://dx.doi.org/10.14198/raei.2021.35.02.
Full textAbstract:
This article seeks to illustrate how the Michael Fields articulate their Sapphic poetry in Long Ago (1889) not only in keeping with their own Shakespearean aspirations and with Robert Browning’s hybrid formula of dramatic lyrics, but also in connection with Jonathan Culler’s theory of the lyric as a performative genre. Much recent scholarship has broken ground in the rediscovery and reappraisal of the Fields’ literary stature, yet the general critical approach has been divisive in addressing their poetry and their verse dramas separately. Some critics have taken heed of how their lyrics in general exhibit an intrinsic dramatic temper, yet no systematic inquiry has discussed how this lyrical dramaticity is manifest in any particular instance. Thus, this article singles out Long Ago’s second poem for its powerful performative energy, offering a close reading of each line, and demonstrating that it amounts to a hybrid dramatic lyric, as well as a tragic and transgressive performance in which a new Sappho takes centre stage as a Dionysian apologist of radical erotic fantasies.
46
Lord, Catherine. "Sexy, slimy, monstrous: Infection as collaboration in Ben Wheatley’s In the Earth and Jaco Bouwer’s Gaia." Australasian Journal of Popular Culture 11, no. 1 (December 1, 2022): 147–61. http://dx.doi.org/10.1386/ajpc_00056_1.
Full textAbstract:
This article offers a discussion of two eco-horror feature films, each released in 2021: Ben Wheatley’s In the Earth, and Jaco Bouwer’s Gaia. With a pandemic theme, both film fictions feature sentient woods and forests which infect humans with fungal spores. This is the non-human world enlisting human collaboration. Both films break the mould of the traditional eco-horror; invariably, the latter dramatizes how the natural world avenges itself on humankind. This storytelling mode involves the use of catastrophe narratives. Elizabeth Parker has explored the alternative genre, the ‘ecoGothic’ (), which stimulates ambiguous emotional responses to human–non-human hybrid forms. To date, there is little scholarship which analyses such hybrids through the lens of queer ecology. Therefore, I will bring Timothy Morton’s theory of queer ecology (), dark ecology () and his concept of the spectral non-human world () into dialogue with Simon C. Estok’s term ‘the slimic imagination’ (). My thesis is that both films engage an interaction between queer and slimic narratives in order to undo the catastrophe narrative. Queer slime is that which destabilizes gender binaries as a means of creating uneasy but intimate collaborations between the human and non-human world.
47
YAQIN, AMINA. "Truth, Fiction and Autobiography in the Modern Urdu Narrative Tradition." Comparative Critical Studies 4, no. 3 (October 2007): 379–402. http://dx.doi.org/10.3366/e1744185408000086.
Full textAbstract:
From its various beginnings in the nineteenth century and ever since the rise of print capitalism on the Indian subcontinent, the Urdu novel has become a prime medium of expression for writers seeking to fuse the narrative traditions of both the East and the West. As a hybrid genre which took shape during the nineteenth century, the Urdu novel's early beginnings were associated with the theme of historical romance; this eventually gave way to the influence of realism in the first half of the twentieth century. By and large, the Urdu novel incorporates influences encompassing the fantastical oral storytelling tradition of the dastan or the qissa (elaborate lengthy heroic tales of adventure, magic and honour), the masnavi (a form of narrative poem), Urdu grammars, religious pamphlets and journals, and the European novel.
48
Baccolini, Raffaella. "The Persistence of Hope in Dystopian Science Fiction." PMLA/Publications of the Modern Language Association of America 119, no. 3 (May 2004): 518–21. http://dx.doi.org/10.1632/003081204x20587.
Full textAbstract:
It is widely accepted todaythat, whenever we receive or produce culture, we do so from a certain position and that such location influences how we theorize about and read the world. Because I am an Italian trained in the United States (specializing in American modernism) in the 1980s, my reading of science fiction has been shaped by my cultural and biographical circumstances as well as by my geography. It is a hybrid approach, combining these circumstances primarily with an interest in feminist theory and in writing by women. From the very beginning I have foregrounded issues of genre writing as they intersect with gender and the deconstruction of high and low culture. Such an approach, however, must also come to terms with the political and cultural circumstances that characterize this turn of the century.
49
Ivanova, Svetlana V., and Gulnara Sharifullovna Khakimova. "Celebrity gossip as a genre in English-language mass media discourse." Russian Journal of Linguistics 24, no. 2 (December 15, 2020): 386–418. http://dx.doi.org/10.22363/2687-0088-2020-24-2-386-418.
Full textAbstract:
The multidimensionality of rumours as part and parcel of mass communication has stipulated the research in their linguistic nature. The present paper studies this specific communication phenomenon and the discursive practices by means of which it is realized across the Anglophone mass media discourse continuum. The theory of discourse-analysis underpinning the present paper predetermines an integrative approach with various methods employed. This approach makes it possible to gain an insight into the complex nature of the object under study. The research is targeted at media rumours, namely celebrity gossip, manifested in on-line versions of the printed press and original web outlets in 2015-2018. The main goal of the research is to reveal specific features of media rumors as a speech genre in the Anglophone media communication. Celebrity gossip texts make up the empiric material for the present study. This aim is achieved via the description of the content and form of the text-type structure supplemented by an application of stylistic analysis. In terms of the topics, the findings demonstrate a wide variety of topoi comprising both public (social interactions) and private spheres of celebrities’ life with an emphasis on privacy, sensationalism and scandalous impropriety as dominant discursive characteristics of the text-type samples under study. The structure of the celebrity gossip discourse is represented by texts in different journalistic forms: from informative genres to feature type variations used by authors as means of constructing celebrity culture. The information of trivial content and questionable validity because of its unverified character is disguised as reports of high testimonial trustworthiness and epistemic value with the help of a variety of language and textual resources. The results of the study enable us to argue that within the mass media communication there exists a specific discourse which is hybrid by nature and non-evidential by verification.
50
Andrade, Carlos Augusto Baptista, and Diogo Souza Cardoso. "Verbo-visualidade em tira quadrinizada da Mafalda: cortesia/descortesia linguística e humor nas interlocuções da narrativa figurativa." Texto Livre: Linguagem e Tecnologia 9, no. 1 (July 13, 2016): 13–27. http://dx.doi.org/10.17851/1983-3652.9.1.13-27.
Full textAbstract:
RESUMO: Como se deve fazer a leitura de uma tira quadrinizada? Quais relações dialógicas tal gênero pode realizar, tendo em vista sua natureza híbrida de linguagens? Propõe-se, neste artigo, analisar uma tira quadrinizada de Mafalda, personagem criada por Quino, como gênero discursivo híbrido, atentando-se à verbo-visualidade que constitui o discurso e explorando os efeitos de sentido que surgem das relações dialógicas. As marcas de cortesia e descortesia linguística presentes na materialidade verbo-visual também são objetos deste estudo. A fundamentação teórica está pautada na Análise Dialógica do Discurso (ADD), seguindo os postulados de Bakhtin (2010a, 2010b) e de seu Círculo e de Brait (2013), bem como nas obras de Brown e Levinson (1987), para fundamentar as questões de cortesia, e Kandinsky (2012) para auxiliar nas reflexões sobre os elementos pictóricos.PALAVRAS-CHAVE: tira quadrinizada; verbo-visualidade; cortesia e descortesia linguística; relações dialógicas. ABSTRACT: How to read a comic strip? What dialogical relations can such a genre perform, considering its hybrid nature of languages? It is proposed, in this article, to analyze a Mafalda’s comic strip, character created by Quino, as a discursive hybrid genre, observing the verb-visuality that constitutes the discourse, as well as exploring the meaning effects that arise from the dialogical relations. The marks of linguistic politeness and impoliteness present in the verb-visual materiality are also an object of this study. The theoretical foundation is the Dialogic Discourse Analysis (ADD), following the principles of Bakhtin (2010a, 2010b) and his Circle and Brait’s (2013), as well as Brown and Levinson (1987) as a ground theory to support the issues of courtesy; and Kandinsky (2012) to assist in the reflections about the pictorial elements.KEYWORDS: comic strip; verb-visuality; linguistic politeness and impoliteness; dialogical relations.