Journal articles on the topic 'Popular and genre literature'
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Malkina, Victoria Ya. "GENRE CANON AND INTERIOR MEASURE OF THE GENRE IN THE POPULAR LITERATURE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2022): 12–26. http://dx.doi.org/10.28995/2686-7249-2022-6-12-26.
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The article offers one possible option for distinguishing between mass and high literature namely by relying on the specific features of the genre poetics. The definition of the genre by Mikhail Bakhtin is used as a methodological basis. Having regard to the historical poetics and evolution of the genre category that has been described in the works of Sergey Averintsev, Samson Broitman and others, the article substantiates the following hypothesis: in European literature, starting from the second half of the 18th century, we can see two main genre-forming principles that are existing in parallel: the genre canon and the interior measure of the genre. The interior measure of a genre that is the direction (vector) of its possible development, and it can be used as a characteristic feature of the high literature. The interior measure determines the artistic possibilities of a particular genre. The genre canon becomes a genreforming principle for mass literature. It forms, consolidates and replicates stable (repeating) genre features. As an example, the article considers genres of the novel in verse, the Gothic novel and the historical novel. On their basis, various possible ways of correlating the genre canon and the interior measure of the genre are shown
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M. Oky Fardian Gafari, Muhammad Hafidz Assalam, and Wahyu Wiji Astuti. "Genre Studies on Popular Islamic Literature in Indonesia." LingLit Journal Scientific Journal for Linguistics and Literature 3, no. 3 (November 28, 2022): 148–54. http://dx.doi.org/10.33258/linglit.v3i3.801.
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Religious values, especially Islam, have always been attractive themes in the preparation of literary works. Since the era of oral literature, to written literature, even digital literature as is currently happening, Islamic themes have always been a magnet for readers. In fact, since the spread of the era of ecranization, the nuances of darkness have also become a magnet for audiences in cinemas. From here then comes the term Popular Islamic Literature. Popular Islamic Literature is a differentiator from Islamic Literature which is noble and tends to be absurd. This article aims to reveal 1) The characteristics of popular Islamic literature that distinguish it from other genres, 2) The motives for the emergence of Popular Islamic Literature in Indonesia. The results obtained are that Popular Islamic Literature dominates the distinctive features which include practical Islamic naming code and fashion code. Islam is different from noble Islam which tends to be absurd and transcendental. The Popular Islamic Literature genre follows market tastes that place more emphasis on instant culture and visual beauty. The genre of Popular Islamic Literature will become an established genre if its authors, such as Helvi Tiana Rosa, Habiburahman El-Syirazy, Asma Nadia, Tere Liye and so on, remain productive in producing works with the same theme that are of interest to many readers.
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Zubov, Artem A. "Cognitive Aspects of Reception of Popular Literary Genres and Their Historical Variability." Studia Litterarum 6, no. 2 (2021): 10–27. http://dx.doi.org/10.22455/10.22455/2500-4247-2021-6-2-10-27.
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In the article, the author investigates connections between historical variability of literary genres and readers’ ability to recognize them. Following J.-M. Schaeffer, the author understands genre as a semiotic sign constituted of a “generic name” and “generic notion.” The author interprets Schaeffer’s theory from the perspective of cognitive poetics and treats genres as “prototypes.” Their nature is both individual and collective—it derives from a person’s individual experience and skills of aesthetic reception, but also from social imaginary and stereotypes. The author focuses on a noncanonical genre of popular literature—science fiction—and argues that social and receptive aspects of the genre are interconnected. In the final part, the author analyses the image of “generation starship” in science fiction and concludes that changes of poetic techniques used to create fictional space of science-fictional starships—which has no correlation with readers’ empirical surroundings—formed a new “reading paradigm”, i.e., addressed mechanisms of reception that were not relevant previously in the history of the genre.
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Zubov, Artem A. "Cognitive Aspects of Reception of Popular Literary Genres and Their Historical Variability." Studia Litterarum 6, no. 2 (2021): 10–27. http://dx.doi.org/10.22455/2500-4247-2021-6-2-10-27.
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In the article, the author investigates connections between historical variability of literary genres and readers’ ability to recognize them. Following J.-M. Schaeffer, the author understands genre as a semiotic sign constituted of a “generic name” and “generic notion.” The author interprets Schaeffer’s theory from the perspective of cognitive poetics and treats genres as “prototypes.” Their nature is both individual and collective—it derives from a person’s individual experience and skills of aesthetic reception, but also from social imaginary and stereotypes. The author focuses on a noncanonical genre of popular literature—science fiction—and argues that social and receptive aspects of the genre are interconnected. In the final part, the author analyses the image of “generation starship” in science fiction and concludes that changes of poetic techniques used to create fictional space of science-fictional starships—which has no correlation with readers’ empirical surroundings—formed a new “reading paradigm”, i.e., addressed mechanisms of reception that were not relevant previously in the history of the genre.
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Botting, Fred. "Unrealism: Critical Reflections in Popular Genre." Genre 51, no. 2 (July 1, 2018): 183–207. http://dx.doi.org/10.1215/00166928-6899306.
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Jurdant, Baudouin. "Popularization of science as the autobiography of science." Public Understanding of Science 2, no. 4 (October 1993): 365–73. http://dx.doi.org/10.1088/0963-6625/2/4/006.
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In this paper I investigate the status of popular science texts as a literary genre, and ask how a text can be recognized as belonging to that genre. To determine this I compare popular science texts with science fiction, which indicates that it is popular science's truth claims which give the literary genre of popular science its place in literature as a whole. However, critics have argued that literature is not concerned with truth, which implies that popular science texts—despite being written documents—are not literature. To resolve this I compare popular science with autobiography—another genre which makes truth claims—and examine the products of their shared intention of telling the truth about the natural world in the case of popular science and about oneself' in the case of autobiography.
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Nadeau, Randall L. "Genre Classifications of Chinese Popular Religious Literature: Pao-Chüan." Journal of Chinese Religions 21, no. 1 (January 1993): 121–28. http://dx.doi.org/10.1179/073776993805307411.
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Simsone, Bārbala. "Science Fiction In Latvian Literature." Interlitteraria 22, no. 2 (January 16, 2018): 397. http://dx.doi.org/10.12697/il.2017.22.2.16.
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The present paper is devoted to the overview of the beginnings and development of the genre of science fiction in Latvian literature. Similarly to other popular fiction genres, science fiction in Latvian literature has not been very popular due to social and historical reasons; however, during the course of the 20th century several authors have at least partially approached the genre and created either fully fledged science fiction works or literary works with science fiction elements in them. The paper looks at the first attempts to create science fiction-related works during the beginning of the 20th century; it then provides an insight into three epochs when the genre received comparatively wider attention: 1) the 1930s produced mainly adventure novels with elements of science fiction mirroring the correspondent world tendencies of that time period; 2) the period between the 1960s and 80s saw authors who had the courage to leave the strict platform of Soviet Social Realism, experimenting with a variety of science fiction elements in the postmodern literary context which allowed for a wide metaphoric interpretation. This epoch also saw the emergence of a specific phenomenon – humorous / satiric science fiction which the authors employed in order to offer social criticism of the Soviet lifestyle; 3) the beginning of the 21st century saw the emergence of several science fiction works by a new generation of writers: these works presently comprise the majority of newly published science fiction. The paper outlines the main tendencies of the newest Latvian science fiction such as authors experimenting with a variety of themes, the preference for dystopian future scenarios and humour. The paper offers brief conclusions as to the possible future of Latvian science fiction in context of the current developments in the genre.
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Pakhsaryan, Natalia. "FRENCH ROMANTICISM AND THE GENESIS OF POPULAR LITERATURE." Herald of Culturology, no. 3 (2022): 125–40. http://dx.doi.org/10.31249/hoc/2022.03.08.
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The article analyzes the transformation ofcreativity in romanticism of the late 1820 s - 1830 s ideas, the interaction of romantics with newspapers and magazines in the second half of the 1830 s - 1840 s. and the appearance of the feuilleton novel as a genre of popular fiction. The success of F. Soulier, E. Sue, A. Dumas, and other authors works, published in periodicals, contributed to the emergence of ethical and aesthetic disputes about the feuilleton novelas a genre. Following Ch. Sainte-Beuve, who spoke out against "industrial literature", French intellectual elite attacked feuilleton novels, claiming the authors for damaging artistic taste and immorality. Meanwhile, the fields of "high" and "folk" romanticism constantly intersected, and in the course of dispute about feuilleton novels, the poetics of elite prose not only influenced popular fiction, but also voluntarily or involuntarily used its experience. In the process of this repulsion / attraction, the main types of popular literature were born, namely: detective story, love story, fantastic prose, etc.
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Merlini, Mattia. "A critical (and interdisciplinary) survey of popular music genre theories." Interdisciplinary Studies in Musicology, no. 20 (December 31, 2020): 79–94. http://dx.doi.org/10.14746/ism.2020.20.7.
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Genres are among the most discussed topics in popular music studies. The attempt to explain issues as complex and layered as how musical genres are born, how they work and what they ontologically are cannot avoid opening a box full of theoretical problems, questions and tools that need to be understood and used in order to say something significant on genre today. Despite the long story of this theoretical debate (roots of which can be traced back to ancient Greece) and the variety of disciplines involved (e.g. literature, music and film studies, but also philosophy, sociology, cultural studies and semiotics), it is difficult to find survey papers that can give an overview of such a rich research environment. This paper attempts to fill that void by trying to systematize the main (contemporary) perspectives on musical genre, in particular non-essentialist theories coming from the overlapping fields of musicology and sociology. Most importantly, its overview stresses the necessity of an interdisciplinary study of musical genre, which – as an exemplum of extraordinarily layered phenomenon of the human production of culture – intertwines technical, social, discursive, commercial, historical and other elements, thus requiring an approach capable of accounting for as much of its many layers of meaning as possible.
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Crane, Ralph, and Lisa Fletcher. "The genre of islands: Popular fiction and performative geographies." Island Studies Journal 11, no. 2 (2016): 637–50. http://dx.doi.org/10.24043/isj.371.
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To date, studies of the contribution literature makes to ideas about islands have concentrated on “high” literature. This has left unexamined the largest proportion of literature featuring islands. If one of the goals of island studies is to interrogate prevailing ideas about “islandness,” then the islands that crowd the storyworlds of popular genres merit close attention. This article focuses on popular fiction to advocate “performative geographies” as a key concept for island studies of literature, and indeed other domains of culture. Popular genres are undeniably sources of distraction and entertainment for billions of readers. However, they are also systems of meaning, which have an immeasurable impact on our geographical awareness and imagination. This article uses critical snapshots of Anglophone island-set crime fiction and popular romance fiction to show the meta-geographical potential of popular novels as they both depict and reflect on islands as performative geographies, or spaces that make and unmake individual and social identities.
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Faulkner, Ashley E. "Financial literacy education in the United States: Exploring popular personal finance literature." Journal of Librarianship and Information Science 49, no. 3 (November 20, 2015): 287–98. http://dx.doi.org/10.1177/0961000615616106.
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As libraries work to define their roles within the global financial literacy education movement, it will serve them well to understand the popular literary component to this movement: the personal finance self-help genre. In this literature study, the author read 12 of the most popular books of this genre, as determined by simulations of likely Google searches, and conveys herein some of the beliefs and strategies these books may have imparted to library patrons. This study will benefit librarians by enhancing their understanding of the personal finance genre, conveying the genre’s interrelation to the current financial literacy movement, and even prompting librarians to question their own understanding regarding certain financial literacy components.
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Frolova, M. V. "Pulp Fiction: Indonesian detective from 1950–1960s’." Orientalistica 5, no. 5 (December 25, 2022): 1239–60. http://dx.doi.org/10.31696/2618-7043-2022-5-5-1239-1260.
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The article offers a detailed analysis and comparison of four works of popular Indonesian literature (two texts dd 1955 and two dd 1967) in order to trace the vectors of development of the detective genre in the Indonesian literature. The analysis precedes an excursion into the history of criminal genres in the literature of Indonesia. The study shows that, using the selected texts as an example, there is a certain difference between the detective-type literature before the political changes and the transition to the New Order (1965), and afterwards, also allows us to take another step towards the study of the detective genre in Indonesian literature.
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Frenkel, Ronit. "Pleasure as genre: popular fiction, South African chick-lit and Nthikeng Mohlele's Pleasure." Feminist Theory 20, no. 2 (February 21, 2019): 171–84. http://dx.doi.org/10.1177/1464700119831537.
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The success of popular women's fiction requires a mode of analysis that is able to reveal the patterns across this category in order to better understand the appeal of these books. Popular fiction, like chick-lit, can be contradictorily framed as simultaneously constituting one, as well as many genres, if a genre is the codification of discursive properties. It may consist of romances, thrillers, romantic suspense and so forth in terms of its discursive properties, but popular women's fiction will also have a pattern of similarity that cuts across these forms – that similarity, I will suggest, lies in the idea of pleasure as a genre of affect that ties various popular fictions together, thereby acting as a type of imperial genre. Pleasure is so ubiquitous and so diverse across the multiple forms that constitute popular women's fiction that I argue it has become a genre in itself. This is, however, not a genre that limits itself to one particular stylistic form, but rather, as a dynamic social construct, it has become a genre of affect that invokes feelings of pleasure. Nthikeng Mohlele's most recent novel, Pleasure, exemplifies the applicability and plasticity of the concept of pleasure, allowing me to examine this work as a type of fictionalised theory which I then apply to South African chick-lit texts: the Trinity series by Fiona Snyckers and Happiness Is a Four-Letter Word by Cynthia Jele. Mohiele's expansive theorisation of pleasure is inherently local in that it is depicted at the level of experience and imagination; yet it is simultaneously macro and global in the connections made to deeply political circuits of identity-based oppressions and structural inequalities. Mohlele reveals the mobility of pleasure as a genre that offers an opportunity to think through the circuits that connect popular fiction through the lens of African literature.
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Markova, Tatyana N. "Fantasy in the Russian-Language Segment of Literature of Kazakhstan." Вестник Пермского университета. Российская и зарубежная филология 14, no. 3 (2022): 106–12. http://dx.doi.org/10.17072/2073-6681-2022-3-106-112.
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The turn of the 20th–21st centuries is characterized by highly intensive processes of national self-identification. An important role in this process is played by fantasy as a popular genre of popular literature. The study of Kazakh fantasy is of academic interest due to its popularity with readers, the dynamic transformation of the genre structure. The article demonstrates a wide genre spectrum of Kazakh fantasy books and their authors. In the novel Resurrecting Legends Timur Yermashev turns to the heroic page in the history of the Kazakhs – the Orbulak battle of the 17th century. Ilyaz Nurgaliyev consistently works with national myths and folklore images of the Turkic peoples. Azamat Baigaliev and Kira Nurullina write about aliens. Sabyr Kairkhanov in the format of urban fantasy (the novel Synchro) raises the question of the ambiguous role of the Semipalatinsk test site in the life of the Kazakhs. An example of the combination of children’s and adventure fantasy is the novel by Zira Naurzbayeva and Lily Kalaus In Search of the Golden Bowl: The Adventures of Batu and His Friends. Particularly popular are fantasy texts with plots based on the facts of national history, those resurrecting the heroes of Kazakhstani mythology, national traditions and customs. The themes and poetics of Kazakh fantasy are in line with the processes developing in modern prose, the nature of the transformation of the genre correlates with the changing readership. Fantasy readers are mainly representatives of a certain social and age group, those attracted by the topical issues raised – the growth of national self-consciousness – combined with an exciting adventurous plot. The entertaining genre of popular literature has taken on an important ideological function – to promote and shape the national identity of the Kazakhs in a situation of geopolitical changes.
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Dixon, Peter, and Marisa Bortolussi. "Approach and Selection of Popular Narrative Genre." Empirical Studies of the Arts 23, no. 1 (January 2005): 3–17. http://dx.doi.org/10.2190/ja6u-5apv-nere-pygc.
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Kokkonen, Sara. "Reading Girls’ Literature: Popular Finnish Heroine Tiina." Knygotyra 76 (July 5, 2021): 207–27. http://dx.doi.org/10.15388/knygotyra.2021.76.81.
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The Tiina book series for girls circulated in Finland for a considerable period of thirty years (1956–1986). This girls’ series was quite popular among young girls during the whole period, and the protagonist Tiina has appealed to young Finnish readers for decades. Different generations have read the girls’ books about the brave and tomboy heroine. Girls’ series books are part of the girls’ literature genre, which was developed originally in the mid-nineteenth century. This article explores the reading and reception of Tiina books in the context of the Finnish and international girls’ literature and reading research. Female readers of various ages participated in a reading survey and submitted written accounts of their experiences reading the Tiina books. In particular, this article seeks to examine the engagement of readers with the books and the girl protagonist.
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Ruffell, I. A. "Beyond Satire: Horace, Popular Invective and the Segregation of Literature." Journal of Roman Studies 93 (November 2003): 35–65. http://dx.doi.org/10.2307/3184638.
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Throughout its history, Latin Satire was engaged in acts of impersonation and masquerade. While written by and for members of an élite and highly literate class, it continually affected a low style in metre and diction, an aggressive engagement with or pointed withdrawal from contemporary social realities, and the partial or wholesale adoption of an authorial voice at some rungs below the highest of society. All this is well-known and relatively uncontroversial. What is also well-known is the way in which Roman satirists, especially Juvenal, were engaged in a dialogue with epic and other literary genres (including earlier satire). What is less accepted is that Roman satirists, not least Horace, were equally engaged in a dialogue with other non-literary or ‘subliterary’ traditions of verse. I shall be arguing that a primary intertext for the definition of Horace's poetry and poetic persona was the rich and varied contemporary tradition of popular invective poetry. I suggest that he is attempting to erect a cordon sanitaire between the genre of satire and these ‘unofficial’ or ‘folk’ forms, to segregate elite and popular culture, and to define his poetry as what we may anachronistically call literature.
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Erwin, Lee. "Genre and Authority in Some Popular Nigerian Women's Novels." Research in African Literatures 33, no. 2 (June 2002): 81–99. http://dx.doi.org/10.2979/ral.2002.33.2.81.
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Erwin, Lee. "Genre and Authority in Some Popular Nigerian Women's Novels." Research in African Literatures 33, no. 2 (2002): 81–99. http://dx.doi.org/10.1353/ral.2002.0045.
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Vanherpen, Sofie. "The Afterlives of an Icelandic “Foremother of Us All”: Auðr djúpauðga and the Making of Cultural Memory." Scandinavian-Canadian Studies 28 (December 1, 2021): 230–59. http://dx.doi.org/10.29173/scancan208.
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ABSTRACT: During the last few decades an increasing number of Old Norse scholars have drawn from memory studies in their analyses of texts. Yet, so far, these studies have not sufficiently considered other genres of literature besides the Íslendingasögur, such as post-medieval poetry and folk literature, in the discussion of memory. This article looks at the relation between genre and the ways in which the foremother figure Auðr djúpauðga is remembered in late eighteenth- and early nineteenth-century forms of popular culture as diverse as rímur, popular poetry, such as kappakvæði, vikivakakvæði, and other types of folk poetry, prayers, and þjóðsögur. The article demonstrates how various authors have created and recreated the foremother figure Auðr djúpauðga in accordance with their chosen genres.
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Mudrak, Maryna. "Polemical Literature and Carnival Culture: Aspects of (not) an Intersection." NaUKMA Research Papers. Literary Studies 3 (September 2, 2022): 8–18. http://dx.doi.org/10.18523/2618-0537.2022.3.8-18.
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Elements of culture of popular laughter (Mikhail Bakhtin) in the “Knyzhka” of the Ukrainian polemicist were the object of study in the works of Ivan Franko and Mykhailo Hrushevsky. Researchers have not yet distinguished between the concepts of humorous, ironic, and satirical. The third chapter of the “Knyzhka” is called by the Ukrainian historian the forerunner of Ukrainian comedy due to its humorous elements and simple language. However, Hrushevsky calls the descriptions of the image of a layman either ridicule or humor.Carnival elements are closely related to the nature of the genre. Polemical literature is mainly a synthesis of genres. Vyshensky’s texts were called syncretism (Igor Eremin) and the synthesis of genres (Petro Bilous). Bilous attributed most of the chapters of the “Knyzhka” to the genre of invective due to the dialogism and excessive expressiveness. According to Mikhail Bakhtin’s definition, a genre is representative of creative memory. Serio-comic genres, elements of which we explore in the “Knyzhka”, contain elements of carnival culture.In our opinion, such traces of carnival culture in the polemist’s texts include heterogeneous dialogic structures – “Socratic dialogue” and dialogue constructed on the type of catechism. And also these are methods of familiar everyday speech and vulgar common parlance (swearing, quarreling), active word-formation, considerable attention to the body, “grotesque realism” (according to Bakhtin’s definition). We trace in the “Knyzhka” the features of the ancient genres of diatribe (the genre of moral preaching) and mennipea. Similar techniques were used in medieval literature, for example in the works of Francois Rabelais.However, it is worth noting the complete difference between the goals set by the French writer and the Ukrainian polemicist. In Rabelais, artistic methods were aimed at restructuring the picture of the world, the liberation of the body. Instead, Vyshensky’s image of the body is no longer ambivalent, it belongs to a new canon, where the body has an individual character and is subject to church dogmas, and the connection with the universe is lost.Laughter’s elements in Vyshensky’s texts also lose its ambivalent character and become aspects of condemnation. Therefore, the archaic of seriously funny genres is preserved at the formal level, not at the semantic level.
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Guendouzi, Amar. "Bridging The Gap Between Ghanaian Elite And Popular Fictions: Ayi Kwei Armah's The Beautyful Ones Are Not Yet Born And The Episteme Of Post-Independence Popular Literature." African Research & Documentation 134 (2018): 58–73. http://dx.doi.org/10.1017/s0305862x00023049.
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If the recent research in African popular culture has succeeded in dismissing the traditional “binary paradigm” (Barber 1997, p. 2) that keeps compartmentalising the continent's culture into two strands, the literate/elite vs. the oral/traditional, and in asserting the domain of the popular productions as a “third space” of creative production, little has been done so far to study a possible artistic continuity between the genre of the popular and the other two genres. Indeed, while the interplay between traditional verbal arts and the modern development in the novel is extensively investigated by scholars and critics alike, little has been done until now to explore the interactions between popular and elite fictions.
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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (November 13, 2018): 11. http://dx.doi.org/10.33884/basis.v5i2.776.
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This study examined the formulation of the child literature genre with data sources in the form of Walt Disney Animation Movie sellection. Tangled (2010), Brave (2012) and Frozen (2013) were the 3 films chosen as data in this paper. The approach used by researchers in this study is a popular literary approach to the genre of children's literature based on Cawelty theory and other supporting theories. Child literature was generally a work created for children in which the language and story were simpler and easier to understand with the aim of entertaining and educating children at their age; help children in developing imagination, able to understand the meaning of life, and able to distinguish human characters. But more than it, children literature also displayed something that was unrealistic but could be accepted by the child as something that was reasonable and acceptance in a film. It was due to the intelligence of the producers in determining the direction of production so that the people really feel satisfied. In this study, researchers found that although plot in popular works was presented with various kinds of innovations and creativity of producers, there were formulas that became conventions so that children's literature could be accepted as reasonableness so as to obscure the boundaries of reality and reality in literary works.
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Linda, Lisma, and Tomi Arianto. "CHILD LITERATURE GENRE FORMULATION IN WALT DISNEY ANIMATION MOVIE." JURNAL BASIS 5, no. 2 (November 13, 2018): 11. http://dx.doi.org/10.33884/basisupb.v5i2.776.
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This study examined the formulation of the child literature genre with data sources in the form of Walt Disney Animation Movie sellection. Tangled (2010), Brave (2012) and Frozen (2013) were the 3 films chosen as data in this paper. The approach used by researchers in this study is a popular literary approach to the genre of children's literature based on Cawelty theory and other supporting theories. Child literature was generally a work created for children in which the language and story were simpler and easier to understand with the aim of entertaining and educating children at their age; help children in developing imagination, able to understand the meaning of life, and able to distinguish human characters. But more than it, children literature also displayed something that was unrealistic but could be accepted by the child as something that was reasonable and acceptance in a film. It was due to the intelligence of the producers in determining the direction of production so that the people really feel satisfied. In this study, researchers found that although plot in popular works was presented with various kinds of innovations and creativity of producers, there were formulas that became conventions so that children's literature could be accepted as reasonableness so as to obscure the boundaries of reality and reality in literary works.
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Babicheva, M. E. "Popular Biobibliographic Essay (The Evolution of the Genre in RSL Publications)." Bibliosphere, no. 1 (February 11, 2022): 102–12. http://dx.doi.org/10.20913/1815-3186-2022-1-102-112.
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The article examines the evolution of the modern genre of recommended bibliographic publications, which is clearly tracked in the publications of the Russian State Library (RSL). The author’s goal is to show how the signs that make the genre popular for modern cultural and educational activities have been formed and consolidated in the process of evolution. The relevance of the research is to identify the opportunities to use recommended bibliographic publications more effectively to promote a book to a reader. The popular biobibliographic essay has become an evolutionary pinnacle for two types of recommended bibliographic products. These are personal indexes, where information about a person is combined with information about literature (publications) plus a detailed review in the genre of «conversations about books». Both types of indexes go back to the list of recommended literature, with the creation of which in the 1920s the recommendation bibliographic activity of the RSL began. In the 1980s, in the RSL there appeared publications, which became the prototype of modern popular biobibliographic essays. The decisive influence on the formation of the genre of popular biobibliographic essay had «perestroika». The recommendation bibliography was actively engaged in navigation in the array of the most popular literature, And in parallel it turned to the little-known and hard-to-access literature. In both cases, new tasks appeared. Some authors had to be selected from the total number, while others, in fact, had to be introduced. A modern essay, accordingly, gives a comprehensive picture of life and work of the person to whom it is dedicated. It creates the image of a person, shows his (her) place in the cultural context, analyzes creativity in general, and characterizes specific book publications.
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Hutami, Nestiani, and Meria Zakiyah Alfisuma. "The Application of Socio-Cultural Pedagogical Approach in Teaching Popular Literature." Lensa: Kajian Kebahasaan, Kesusastraan, dan Budaya 12, no. 2 (December 31, 2022): 197. http://dx.doi.org/10.26714/lensa.12.2.2022.197-216.
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The trend of online learning during the Covid-19 pandemic has driven English Literature lecturers to come up with effective ways of teaching literature. Concerning this issue, this research aims to analyze how literature, especially popular literature, is taught online. Focusing on the socio-cultural pedagogic principles, the approach of teaching popular literature is examined using a qualitative descriptive approach. This study was conducted at English Literature Department, Adab and Humanity Faculty, UIN Sunan Ampel Surabaya, involving two popular literature lecturers. The data were obtained through interviews, observations, and documentation and analyzed using the interactive analysis method. It was found that the socio-cultural pedagogic principles were applied partially. (1) the principle of engagement was applied by warming-up questions, mind-mapping technique, mentioning adjectives, and watching movie trailers, (2) the principle of intelligibility was not applied because the lecturers explained the theory of genre and sub-genre characteristics before giving examples, and (3) the principle of participation was applied by delivering quizzes through various online platforms, like Google Classroom, Mentimeter, and Kahoot! and giving tasks which were uploaded in UIN Sunan Ampel’s e-learning system, SAILS ‘Sunan Ampel Integrated Learning Service’. The significance of these findings will contribute to the teaching and learning process of popular literature. Besides, the results will provide insight for popular literature lecturers to apply a better teaching approach.
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Maftuhin, Arif. "The Historiography of Islamic Law: The Case of Tārīkh al-Tashrī‘ Literature." Al-Jami'ah: Journal of Islamic Studies 54, no. 2 (December 14, 2016): 369. http://dx.doi.org/10.14421/ajis.2016.542.369-391.
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Tārīkh al-Tashrī‘ (the history of sharia affairs) is a relatively new genre of Islamic historiography and very popular among students of Islamic Law. Despite its popularity, academics of Islamic historiography seem not interested in studying it. There is hardly any academic paper seriously studied the literature. This paper is a first effort to explore the Tārīkhu’t-tashrī‘ literature through a historiographical analysis. As an initial exploration, it argues that Tārīkh al-Tashrī‘ is the latest development of Islamic historiography, developed in the 19th century, but it is a genre of the old Islamic historiography with some new elements. The new elements are influenced by both modern Western historiography and the need to re-open the supposedly closed gate of ijtihād. The paper studied books of Tārīkh al-Tashrī‘ available during the research between 2013-2015. [Tārīkh al-Tashrī‘ adalah genre yang relatif ‘baru’ dalam matarantai perkembangan historiografi Islam. Literatur ini sangat popular dan menjadi mata kuliah wajib di fakultas-fakultas Syariah di Indonesia maupun Timur Tengah. Hanya saja, meskipun ia sangat populer sebagai mata pelajaran, Tārīkh al-Tashrī‘ belum banyak menarik minat para peneliti historiografi. Makalah in berusaha mengeksplorasi literatur Tārīkh al-Tashrī‘ dengan pendekatan historiografi. Makalah ini berpendapat bahwa Tārīkh al-Tashrī‘, meski terlihat ‘modern’ dari segi kelahirannya, tidak banyak berbeda dengan literatur historiografi klasik. Perbedaan terjadi karena adanya pengaruh historiografi Barat dalam model penulisannya dan karena kebutuhan untuk membuka kembali pintu ijtihad yang tertutup. Kajian dilakukan terhadap kitab-kitab Tārīkh al-Tashrī‘ yang dapat ditemukan selama riset antara 2013-2015 ]
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Shervashidze, V. V. "K. Chekalov. Of popular literature in a popular manner. Gaston Leroux and mass literature in France during the Belle Époque." Voprosy literatury 1, no. 1 (February 20, 2020): 282–87. http://dx.doi.org/10.31425/0042-8795-2020-1-282-287.
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The review covers K. Chekalov’s monograph on the problems of mass literature and the literary legacy of Gaston Leroux. The author chose one of the pivotal moments in the history of French literature: a transition period, which, according to Bakhtin’s law on borderlines and transitions, combines adherence to traditions as well as revision of the existing systems. This topic has so far remained unexplored by Russian scholars, just like the works of Leroux, whose role in establishing the genre of detective fiction is enormous. No research has been dedicated to his oeuvre in Russia. Only a meager share of his works has been translated into the Russian language. The choice of such a topic implies the relevance and novelty of the research. The purpose of the book is to create a solid basis for further exploration of this complex phenomenon, which determined the book’s structure, comprising six chapters and a closing summary.
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KÖSE, Elifhan. "From Hidayet novels to pious women's literature: Changing agency in negotiation with feminism." fe dergi feminist ele 14, no. 1 (June 10, 2022): 78–91. http://dx.doi.org/10.46655/federgi.1098273.
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Hidayet literature was a genre that emerged for the first time in the 1970s in Turkey with Islamism becoming visible in the public sphere. This genre not only provided a life/body guideline for urbanizing Islamism, but also offered popular literal products to allow others defined as western/modern to have contact with the Muslim world. Although Hidayet novels have lost their old influence nowadays, they continue to have a similar popular effect with new writers reviving ‘Islamist romanticism’. Pious female literature, on the other hand, describes the oppression of religious women wearing hijab who wanted to get their right to education at the end of the 1980s. These political pressures on hijab have produced female writers who have been aggregating autobiographical stories the theme of which is the exile from the secular and Islamist public sphere and even from their “Muslim homes”. In Hidayet novels, pious agency is established as an essence of a holistic representation of good in a world divided into good and evil with sharp boundaries. In pious female literature, however, the permeability of these two worlds can be seen but the expectation from the pious agency is to be preserve holistic good authentic existence. In this study, how feminism is represented in the literal negotiation that establishes pious agency will be discussed descriptively, considering the perspective of these different genres on feminism.
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Repenkova, Maria M. "Plot-building motifs in turkish urban fantasy (as exemplified by Sadik Yemni's novel, Solvent)." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 3 (2022): 198. http://dx.doi.org/10.31857/s086919080020161-4.
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The paper looks at Solvent (2003), a novel by the prominent modern science fiction author Sadik Yemni, to study the predominant motifs of Turkish urban fantasy. We prove that the motifs of dual worlds, dreams and hallucinations, fall from grace, punishment, a quest-like journey, and mysteries and secret organizations are central not just to this particular novel's plot but also to the entire urban fantasy sub-genre. The latter assumption is highly relevant, because it facilitates the review of features typical of the aforementioned sub-genre in Turkish literature, which remains almost entirely unstudied by either Russian or foreign literature scholars. We also highlight the eclectic nature of urban fantasy, which incorporates the features of conspiracy novels and philosophical novels, thus reflecting the postmodern synthesis of genres and genre forms. The eclectic nature of urban fantasy allows for, on the one hand, studying it as a meta-genre, and on the other, talking about the emergence of a new type of entertainment-focused popular literature, where the fantastical situation is interlaced with existential and ontological messages. Our hypothesis is that the genesis of urban fantasy entails expanding and elaborating on the moral and psychological aspects (humankind's place in the world, faithfulness to moral guidelines).
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Larabee, Ann. "Editorial: The Future of Genre Studies in Popular Culture." Journal of Popular Culture 52, no. 1 (February 2019): 7–9. http://dx.doi.org/10.1111/jpcu.12764.
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Bochniarz, Marek S., and Przemysław Sztafiej. "Japońskie filmy o Ajnach w perspektywie amerykańskiego westernu." Przestrzenie Teorii, no. 31 (December 6, 2019): 357–72. http://dx.doi.org/10.14746/pt.2019.31.19.
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Recently the topic of transnationalism in the arts has become a popular strand of academic research. Nevertheless, this phenomenon is not an entirely new concept. In cinema it has been a constant element since its inception. One of the most important inspirations for world cinema has been the traditional cinematography of the USA, especially from the period of the great film studios, with the western being one of the most popular and imitated genres. Although it seems to be inextricably connected with the American myth of the frontier, the Wild West, the theme of expansion, and the conflict of ‘civilization’ and ‘wildness/savagery’ has reverberated outside the USA. In Japan westerns resonated on both the consumer-commercial and artistic levels. Japanese filmmakers utilized elements of the genre while weaving in some native contexts. The history of colonization of the northern island of Hokkaidō and its native inhabitants – the Ainu people – have been a point of reference for Japan-based western films. In this article, the authors analyze the western-specific genre elements in Japanese films about the Ainu people, while concentrating on the portrayal of individuals, groups and human relations on the frontier.
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Helmer, Dona J. "Book Review: Ghosts in Popular Culture and Legend." Reference & User Services Quarterly 56, no. 4 (June 21, 2017): 303. http://dx.doi.org/10.5860/rusq.56.4.303b.
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The co-editors are June Pulliam, who teaches classes in horror literature, YA fiction, and film, and Anthony Fonesca, who has written about horror and also has a background in information literacy. They previously co-authored Hooked on Horror: A Guide to Reading Interests in the Genre, and have now applied their talents and expertise to create a work that contains accessible information about a popular topic.
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Cefalu, Paul. "What's So Funny about Obsessive-Compulsive Disorder?" PMLA/Publications of the Modern Language Association of America 124, no. 1 (January 2009): 44–58. http://dx.doi.org/10.1632/pmla.2009.124.1.44.
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During the past several decades, obsessive-compulsive disorder (OCD) has been widely represented in novels, memoirs, film, television, and other genres and media. What distinguishes representations of OCD from depictions of other mental disorders is the frequency with which OCD is treated with humor and levity. Drawing on genre theory, disability studies, and philosophies of humor, this essay explains why OCD symptomatology evokes laughter and resonates with contemporary popular culture. The essay focuses on the ways in which popular portrayals of OCD distort the actual experience of the disorder.
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Mortenson, Erik, Duygu Ergun, and Selen Erdoğan. "Underground literature and its influence on youth in Turkey." New Perspectives on Turkey 52 (May 2015): 77–104. http://dx.doi.org/10.1017/npt.2015.3.
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AbstractThis paper examines the impact underground literature (yeraltı edebiyatı) has on influencing the opinions and beliefs of Turkey’s youth regarding issues of contemporary importance. In order to understand the relevance of this genre to Turkish youth culture, we have not only examined the debate surrounding the topic in popular and academic circles, but also asked the readers themselves their opinions about their experience with the genre (in both its imported Western and homegrown Turkish variants) and its relevance to their lives. For our purposes, the effect of such texts on readers is the primary focus, and ours is the first mixed-media study to conduct a methodological, data-based investigation into the composition and opinions of underground literature’s readers. Thus, our study supplements a lack in the existing scholarship by offering concrete qualitative and quantitative data that will better elucidate our knowledge of the relationship between underground literature and Turkish youth attitudes, as well as the potential the genre might hold for the future of Turkey’s youth.
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Kučuk-Sorguč, Indira. "Kolumna kao novinsko-publicistički žanr / Column as a Journalistic-Publicistic Genre." Pregled: časopis za društvena pitanja / Periodical for social issues 62, no. 3 (February 10, 2022): 151–75. http://dx.doi.org/10.48052/19865244.2021.3.151.
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Although the "column" is very popular and in the media reality highlighted as written genre, in communicology as science its specificity and distinctiveness as gender or genre is talked about very little and two-sided. The scientific communication apparatus has long doubted whether the column is a separate genre at all, classifying it into other genres and thus denying its peculiarity and distinctiveness, qualitative diversity, linguistic and stylistic specificity and heading independence. Even after it was classified as press-publicity genus, declining did not miss out and it created aureole of controversy and division in the understanding of the column in the professional literature. This is a historical-communicology study that provides a comprehensive insight into the topic of definition, history, media significance and values that the column occupies in the Bosnian public. Similarities and differences between other newspaper genres and the column are also noted, with special emphasis on the differences between the commentary and the column. Analysis that was built includes the paradigm of columnist work of three Bosnian authors and emphasizes the distinctions in their journalistic expression.
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Pruitt, Cenate. "“Boys ‘Round Here”: Masculine Life-Course Narratives in Contemporary Country Music." Social Sciences 8, no. 6 (June 7, 2019): 176. http://dx.doi.org/10.3390/socsci8060176.
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Country music remains one of the most popular genres in U.S. American society but is historically under-researched compared to rock, rap and other styles. This article extends the social science literature on the genre by examining themes of masculine identity in popular country hits of the current century. A content analysis of 35 top country hits from the last 15 years of the Billboard charts reveals three key masculine archetypes: the lover, the family man and particularly the country boy, which is the dominant masculine image within the last few years of the genre. Together, the three create a life-course narrative where the rambunctious country boy will eventually settle into monogamous heterosexual romance, with marriage and fatherhood presented as the ultimate achievement of successful manhood. A fourth, lesser, archetype, the roughneck, presents an “arrested development” version of the country boy, fully-grown but rejecting the social and familial responsibilities of the other archetypes. These narratives simultaneously challenge some aspects of hegemonic masculinity (urbanity, white-collar labor) while reinforcing others (whiteness, heterosexuality).
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Smith, Helmut Walser. "Time, Place, and Religion: Rethinking the Contexts of the Village Tales of Berthold Auerbach, Alban Stolz, and Johann Peter Hebel." Internationales Archiv für Sozialgeschichte der deutschen Literatur 47, no. 2 (November 1, 2022): 534–48. http://dx.doi.org/10.1515/iasl-2022-0028.
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Abstract This essay tries to contextualize a very popular nineteenth-century literary genre – Dorfgeschichten, village tales – from the standpoint of a historian.1 It considers two of the most widely read exemplars of the genre – Berthold Auerbach’s Schwarzwälder Dorfgeschichten and Alban Stolz’s Kalender für Zeit und Ewigkeit, and places them in relation to a third: Johann Peter Hebel’s Rheinisches Schatzkästlein. The essay argues that it makes sense to approach this genre from the early nineteenth-century context – temporal, spatial, and religious – that formed it rather than from problems, such as industrialization, encountered in a later time. It also argues for due consideration of historical concreteness over strict considerations of genre.
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Sharapova, Elena V. "CHARACTERISTICS OF THE FORM AND STYLE OF BELARUSIAN NARRATIVE SHORT STORY OF THE 20–30S OF THE 20TH CENTURY." RSUH/RGGU Bulletin. Series Eurasian studies. History. Political science. International relations, no. 1 (2022): 81–95. http://dx.doi.org/10.28995/2686-7648-2022-1-81-95.
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The paper deals with the Belarusian narrative short story of the 20–30s of the 20th century based on the works by Symon Baranavykh, Andrei Mryi, Lukash Kaliuga. It is shown that the mentioned period is marked by radical changes in the content and form components of the national literature. The socio-political and cultural situation of that time offers writers a wide range of new themes and plots. The writers thereby quite often use traditional genres and genre modifications. As a result, new genre forms with specific form-building and style-forming features appear. The analysis of these forms is carried out using the categorical apparatus of narratology (narrative theory). The paper studies such a genre modification of a short story as a “narrative short story” as well as its varieties, for example, a tale, which are common in Belarusian literature. The tale is a productive form of the named genre modification; it is particularly popular during the period of social upheavals, as evidenced by Russian and Belarusian literature examples. It is noted that the narrator, often non-personalized, is the form-building center of the narrative short story; the features of his presence in the text are described and the importance of the recipient for understanding the text is determined. It is also indicated that the main style-forming component of the narrative short history of the above period is the interference between the texts of narrators and characters.
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MORSE, RUTH. "Racination and ratiocination: post-colonial crime." European Review 13, no. 1 (January 20, 2005): 79–89. http://dx.doi.org/10.1017/s1062798705000086.
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Crime fiction is currently one of the most globalized, most popular, and biggest-selling of commercial genres, but there has been almost no attempt to study it in relation to other kinds of post-colonial literature. There is no bibliography of crime writers as ‘post-colonial’, and no attempt to generalize about a body of fiction. This paper is a brief extract from work in progress, based on the books of over fifty Anglophone or Francophone authors who might be categorized as ‘post-colonial’ by birth or residence. I test post-colonial theory against crime fiction, to argue that strong generic conventions call into question some of that theory's received ideas. I consider two linked problems: first, so-called ‘colonial mimicry’ and its obverse, ‘ventriloquism’, because it seems to me a wrong turning in 20th-century criticism; and, second, the demand for new literatures which would create ‘national identities’. I argue that ‘mimicry’ makes no sense in the context of a strong popular genre, and that accusations of ‘colonial mimicry’ reinscribe the asymmetries of judgement they appear to attack. The possibility of imagined geopolitical units as identity-forming, especially in genres which are informed by social criticism, calls into question the demand for literature as a source of national identity.
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Buylova, N. N., and O. N. Lyashevskaya. "On Verbal Construction Frequency in Certain Genres of Popular Literature." NSU Vestnik. Series: Linguistics and Intercultural Communication 20, no. 3 (October 14, 2022): 64–74. http://dx.doi.org/10.25205/1818-7935-2022-20-3-64-74.
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Corpora-based language studies is a widespread practice in modern linguistics. In our study, we address so-called mass literature (or paraliterature) via a corpus of texts. The standardization of mass literature allows us to describe its genres by applying literary formulas. In brief, a formula serves for the embodiment of cultural themes and stereotypes in a universal form. While mass literature is a common subject of literary and cultural studies, from a linguistic point of view, literary formulas have not been studied well enough. We suggest that differences between the microgenres of paraliterature may be in syntax as well as in the vocabulary. Our work is based on the mass literature corpora and provides analysis of verb constructions characteristic of microgenres (love story, detective story, science fiction novel, and fantasy). In order to identify the distinctive features of mass literature microgenres, we have conducted a series of machine learning experiments. As a dataset, we compiled a corpus of 1,200 texts belonging to four microgenres. In our previous studies we showed that statistical features (text length, sentence length, and parts of speech frequencies) were insufficient for successful classification. The usage of lexical features has improved the quality of machine learning, however, the classifier based on syntactic features has shown the best results. 81 constructions have been selected as the most important features of syntactic-based machine learning. A verb construction consists of a “verb + dependencies”. We consider several types of dependencies: arguments (subject, direct and indirect objects) and adjuncts (subordinate clause and adverbial classifier). The constructions are described in terms of the fullness of the verb valencies. Several types of constructions are distinguished: complete, incomplete (with omissions of direct or indirect complements), and extended (with adjuncts). Specific examples of verb constructions in each of the microgenres have been analyzed and described. Based on the similarity of the construction profile, romance novels and detective stories show the predominance of verbs and direct speech constructions, whereas science fiction novels and fantasy demonstrate the prevalence of full constructions. Possible non-textual explanations for our observations are also provided. The method proposed in the study can be used for the investigation of various kinds of syntactic features, for instance, those associated with the author’s, temporal or genre specificities.
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Dr Irfan Ahsan Pasha, Dr Saira Irshad, Dr Asia Rani, and Memoona Sehar. "NEW FORMS OF MODERN GHAZAL." Tasdiqتصدیق۔ 4, no. 01 (June 30, 2022): 130–46. http://dx.doi.org/10.56276/tasdiq.v4i01.97.
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Every genre of literature transforms with time by the means of form and content. Ghazal is the most popular and form-based genre of Urdu Literature. Though very confirmed and defined in its structure and form, Ghazal has also changed its structure and form with time. Especially in the twentieth and twenty-first centuries, when new experiments are being performed particularly with the casting of this ancient kind of literature, Ghazal underwent many transformations in the name of modernity. This article encompasses these changes and modernization of Urdu Ghazal in the contemporary era and near past.
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Barrera, Ivalla. "The Advice Genre (1400-1599). Genre and Text Type Conventions." Studia Anglica Posnaniensia 45, no. 2 (January 1, 2009): 39–58. http://dx.doi.org/10.2478/v10121-009-0015-4.
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The Advice Genre (1400-1599). Genre and Text Type Conventions The aim of this paper is to characterize the advice text as a genre in the late medieval and early modern English periods. This genre is very popular during this time and is usually found within medical remedy books. For this reason, it has been generally studied within the scope of medieval recipes in historical discourse analysis. In this paper my intention is to show the independent status of the advice text as a genre. A first step for this lies in the characterization of the linguistic features pertaining to the sections that compound this genre and its comparison with the recipe genre. The corpus for this study has been collected from several sources, both edited and unedited. The description of the text type features will be illustrated with examples taken from this corpus. As I show in the conclusion, the advice text is an independent genre with a clear communicative purpose and addressed to an intended audience.
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McGill, Meredith L. "What Is a Ballad? Reading for Genre, Format, and Medium." Nineteenth-Century Literature 71, no. 2 (September 1, 2016): 156–75. http://dx.doi.org/10.1525/ncl.2016.71.2.156.
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Meredith L. McGill, “What Is a Ballad? Reading for Genre, Format, and Medium” (pp. 156–175) In this essay I show how definitions of the ballad shift as critics take into account not only the place of ballads within the genre system but also the mediation of nineteenth-century ballads across the full range of popular and elite print formats. Arguing that the ballad is a genre that flourishes with the rise of print, I show how Henry Wadsworth Longfellow’s “The Wreck of the Hesperus” (1840) exploits the ballad’s multimedia appeal, forgoing the fiction of folk origins and oral transmission to explore the terms of a sensationalist mass culture.
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Faulkner, Ashley E. "Financial Literacy Education in the United States: Library Programming versus Popular Personal Finance Literature." Reference & User Services Quarterly 56, no. 2 (January 4, 2017): 116. http://dx.doi.org/10.5860/rusq.56n2.116.
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It is essential that librarians providing financial literacy programming understand how their programming ties in with the available personal finance literature. Consequently, this article intends to explore the interplay between the differing audiences, content and goals addressed by the popular personal finance genre and financial literacy library programming respectively. The author will explore how library programming and the most popular financial literacy resources compare and contrast, and address how overlap, and the surprising degree of separation between these mediums, will impact the financial literacy education accessible to various demographic groups and the role library programming may play in the movement to come.
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Zubareva, V. K. "The Belkin Tales [Povesti Belkina]: The literature of ‘everyday life’ and mass literature." Voprosy literatury, no. 5 (November 9, 2019): 24–74. http://dx.doi.org/10.31425/0042-8795-2019-5-24-74.
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‘Which way will Russian literature go?’ is the question at the centre of The Tales. It was in the mid-1820s to early 1830s that an argument arose about the popular (genre) stream, which resonated so well with mass audiences. Pushkin creates the persona of Belkin as the collective image of a commercially driven author who utilizes popular subjects of local and foreign origin, much like the writer in A. Pogorelsky’s The Double [Dvoynik]. Having pinpointed the typical features of moral descriptions and transferred them into Belkin’s stories, Pushkin devises various combinations of moral descriptions through depictions of ‘everyday life’, ranging from utter rejection to creative adaptation of the more effective elements of commercial writing. The stories offer three ways for analysis: from the viewpoint of Belkin, who reworks borrowed subjects in the manner of his idol F. Bulgarin; of Pushkin’s Double, who produces the ‘everyday reality’ context; and of Pushkin himself, who weaves those strands together and is responsible for the overall architectonics and subtext of The Tales.
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Fyn, Amy F. "Book Review: Encyclopedia of Romance Fiction." Reference & User Services Quarterly 58, no. 4 (October 25, 2019): 263. http://dx.doi.org/10.5860/rusq.58.4.7162.
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Part reference book, part readers’ advisory, and completely entertaining to browse, the Encyclopedia of Romance Fiction’s selective set of entries illustrates the breadth of the romance genre while acknowledging its reach, from early literature to today’s publishing industry. The market share of popular romance indicates the public’s enduring interest and demonstrates a need for supplementary resources for general readers or those beginning research in romance-related topics. Academic study of this popular reading material is increasing, with special issues and at least one peer-reviewed journal devoted to the topic and recognition within disciplines including literature, women’s and gender studies, and popular culture.
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Russett, M. "Three Faces of Ruth Rendell: Feminism, Popular Fiction, and the Question of Genre." Genre 35, no. 1 (January 1, 2002): 143–65. http://dx.doi.org/10.1215/00166928-35-1-143.
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Riabchenko, Maryna. "Combatant Prose in Modern Ukrainian Literature: Genre and Stylistic Features." Слово і Час, no. 6 (June 21, 2019): 62–73. http://dx.doi.org/10.33608/0236-1477.2019.06.62-73.
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During the last few years a signifi cant number of texts covering a huge range of genres appeared within the Ukrainian literary community with a purpose to depict the recent events of the war taking place in the East of the country. The most complete list of such literary texts created by Anna Skorina has more than 400 positions. It includes poetry, fiction, essays, diaries, non-fi ction (documentaries and political researches), photo albums and, surprisingly, comic books and a graphic novel. Moreover, the list is permanently updated. There are both civilians (writers, journalists, volunteers) and combatants among the authors of the texts. The prose written by the latter group of authors is an important and interesting phenomenon of the modern Ukrainian literary process. The group includes professional writers conscripted into Ukrainian Armed Forces or enlisted in the Volunteer Batallions as well as authors without pre-war experience of being related to the literary beau monde. To a certain extent their texts belong to documentaries or to the literature of fact. Most authors resort to self-descriptive writing for comprehending their recent experience and psychological changes it caused. These works can be classifi ed as ego-documents (diaries, memoires) and ego-texts (autobiographical fiction and essays). Genre diffusion is a characteristic feature of memoires and autobiographical prose, the combatant prose being no exception. Such popular fi ction genres as comic books and graphic novels must be considered a rather interesting practice within modern military literature. The paper emphasizes the incorrectness of identifying modern combatant prose with so-called lieutenant prose, the Soviet literary phenomenon, as these groups of texts have essential differences that exceed by far their common features.