Literatura académica sobre el tema "Romance genre and trauma representation"
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Artículos de revistas sobre el tema "Romance genre and trauma representation"
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Prayuana, Ratu, Rayhan Romombe De Ferras y Fitra Wahyu Ramadhan. "The Rules of Romance Manifested in the Textual Structure of the Novel Fireside". JIIP - Jurnal Ilmiah Ilmu Pendidikan 6, n.º 8 (14 de agosto de 2023): 6450–54. http://dx.doi.org/10.54371/jiip.v6i8.2882.
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The aim of this study was to identify how Susan Wiggs' novel Fireside (2009) represented the romance genre. This study's research approach, which includes a description of the analysis, is qualitative. The novel Fireside by Susan Wiggs, the textual approach with close reading used in this study, serves as the analytical unit. The results of the data analysis are then used to examine the fundamental principles of romance in the book. Cawelti G. John's (1977) book Adventure, Mystery, and Romance: Formulas Stories as Art and Popular Culture served as the basis for the idea applied in this study. The results of this study indicate that the representation of the romance genre is manifested in the novel Fireside from the customary plot in romance by Cawelti’s theory; first meeting, boy wins the girl, obstacle or problem, and a mostly happy ending of the story.
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Boccardi, Mariadele. "Postmodernism and the past : A romance". Recherches anglaises et nord-américaines 36, n.º 1 (2003): 111–17. http://dx.doi.org/10.3406/ranam.2003.1673.
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British contemporary historical fiction is the genre that most closely, extensively and fruitfully explores the questions concerning the nature and scope of representation raised by postmodern historical and narrative theory. One interesting trait, common to the most speculative works of historical fiction published in the last fifteen years, is the adoption of Romance in all its modes — as a motif of the plot (the love story) and as a narrative mode (defining itself against the novel). Indeed Romance is the means by which the contemporary historical novel first dramatises and then investigates the representation of the past in the context of postmodernism. Lindsay Clarkes The Chymical Wedding (1989) and A. S. Byatt’s Possession (1990), both subtitled A Romance, epitomise the tendency described above. Their discussion in this paper will reveal not only the strategies by which these works deal with the intersection of postmodernism and representation, but also the Romantic elements inherent in postmodernism itself.
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Tiao, Wang. "The Ethics of Romance: Edward Bellamy and American Historical Fiction". Interlitteraria 22, n.º 2 (16 de enero de 2018): 312. http://dx.doi.org/10.12697/il.2017.22.2.9.
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The author examines The Duke of Stockbridge: A Romance of Shays’ Rebellion (1879), a historical novel written by Edward Bellamy (1850–1898) in order to examine the ethics of Romance in the treatment of historical fiction. Edward Bellamy, most famous for his socialist novel, Looking Backwards (1888), himself looks backwards to examine the popular rebellion during the early post-revolutionary American democracy before the US Constitution was established. The striking feature of this novel is the way that it superimposes the romance genre onto political and historical events. Using the ethical criticism of J. Hillis Miller, Martha Nussbaum, Alasdair MacIntyre, and others, the paper examines the romance genre in relation to virtue ethics to analyze the ethical impulse in Bellamy’s historical novel. To what degree does romance – a literary genre that combines stock characters and stereotypical action – open itself up to analysis in terms of the “virtue ethics” of Nussbaum, MacIntyre, and others? To what degree does an analysis of Bellamy’s novel in these terms allow us to understand what I call the “rhetorical ethics” of a critic like Miller? An examination of the Genteel Literary Tradition prevalent at the time of Bellamy’s novel – as it manifests itself in language and historical representation – allows us to see more closely the relations among rhetoric, character and ethics in the historical novel.
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Akkülah, Seray. "Representation of Male Love in East Asia and West: “Fetish vs Activism”". fe dergi feminist ele 16, n.º 1 (30 de mayo de 2024): 70–82. http://dx.doi.org/10.46655/federgi.1427610.
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Alice Oseman, the author of an LGBTQ+ young adult graphic novel that focuses on the lives and romance of two boys, has made a comment that caused some controversy on the internet. This comment by Oseman illustrates a somewhat common view held by Western society toward East Asian Boys Love (BL) genre. That is: BL novels and webcomics being highly sexual, fetish works with little literary value. This research note tries to analyze what could be the reason behind this commonly held view by the West, illustrated by Oseman’s comment through analyzing BL genre, Oseman’s work Heartstopper, the differences and tendencies within the works from East Asia, China specifically, and the West.
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Beyer, Charlotte. "‘What are words?’: Symbolism and romance in Agatha Christie’s short stories ‘Within a Wall’, ‘The House of Dreams’ and ‘The Lonely God’". Short Fiction in Theory & Practice 10, n.º 1 (1 de abril de 2020): 27–42. http://dx.doi.org/10.1386/fict_00012_1.
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This article explores three of Agatha Christie’s early non-crime short stories written in the mid-1920s. I examine Christie’s use of symbolism and key motifs to explore the representation of relationships through the prism of romance. I argue that Christie’s short stories serve as a highly significant creative site for her investigation of the relationship between genre, subjectivity and symbolism.
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Johnson, Nicholas L. "The Paradox of Chivalric Madness: Ariosto’s and Cervantes’s Madness Representations’ Impact on Disability Representation". Humanities 13, n.º 3 (7 de junio de 2024): 87. http://dx.doi.org/10.3390/h13030087.
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This study investigates the connection between madness and critiques of the chivalric romance genre in two late Renaissance works, Ludovico Ariosto’s Orlando Furioso and Miguel de Cervantes’s Don Quijote de la Mancha. The satire of chivalric romance in these works of fiction caution against nascent modes of thinking in imperial societies for the implementation of chivalric ideas to inspire and promote imperial conquests in Latin America through juxtaposition with the Muslim and Moorish conquest in the Maghreb and through metaphorical island governance. In order to make such critiques, these novels implement the madness of their parodic knights to disguise their critiques. This practice establishes a precedent which later literature can employ to make sociocultural critique covertly, to the detriment of disability representations as literary devices or metaphors.
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Herb, Annika. "(Para)normalizing Rape Culture". Girlhood Studies 14, n.º 1 (1 de marzo de 2021): 68–84. http://dx.doi.org/10.3167/ghs.2021.140107.
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Contemporary Young Adult literature is a favored genre for exploring sexual assault, yet rarely interrogates the social structures underpinning rape culture. In its representation of heterosexual relationships, Young Adult paranormal romance offers insight into the processes and structures that uphold rape culture. Genre tropes normalize abusive behavior and gender ideals, demonstrating the explicit and implicit construction of rape culture, culminating in the depiction of supernatural possession analogous to rape. Here, I reflect on power, control, rape culture, and girlhood in a textual analysis of Nina Malkin’sSwoon, Becca Fitzpatrick’sHush, Hush, and Sarah Rees Brennan’sThe Demon’s Covenant. A constructive reading reflects implicit cultural discourses presented to the girl reader, who can apply this to her own negotiation of girlhood.
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Amal, Bakhrul Khair, Supsiloani, Daud, Dina Ampera y Muhammad Natsir. "The Analysis of Fantasy and Representation of Female on Gay and Male Homoerotic Relationships in the Yaoi Genre". Asian Social Science and Humanities Research Journal (ASHREJ) 3, n.º 2 (30 de septiembre de 2021): 57–66. http://dx.doi.org/10.37698/ashrej.v3i2.80.
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The research aims to analyze the analysis of fantasy and representation of female on gay and male homoerotic relationships in the Yaoi Genre. This research uses an ethnographic approach, which is one of the qualitative research methods. The results of this study indicate that Fujoshi's background likes love stories between men is certainly different. But from this study it is found that there are a number of similarities, such as being Fujoshi because they initially like manga and anime, those who were curious about the Yaoi Genre, and those who feel bored with the love story between men and women, as well as various other reasons that made them finally addicted romance between men to have sexual fantasies between men.
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Lujanović, Nebojša y Paula Jurišić. "Representation and Subversion in Croatian Alexander Romance". Zbornik radova Filozofskog fakulteta u Splitu, n.º 16 (21 de diciembre de 2023): 27–42. http://dx.doi.org/10.38003/zrffs.16.2.
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Reading the novel Hrvatska Aleksandrida (Croatian Alexander Romance) as a chivalric narrative structured around a historical figure, this paper aims at reinterpretation of it in the key of popular culture and looks into the politics of the representation of the protagonists-bearers of specific ideological values, acting both affirmatively and subversively within the imposed value system. Beside that, the paper will focus on the novel’s strategy of undermining dominant codes, arguing that the chivalric romance provides an ideal frame for the observation of the clash of ideological centers and margins. The codification of the genre increases the transparency of the text, facilitating political readings capable of bringing about the new interpretative potential of the narrative in question. From that theoretical point, the Middle Age chivalric novel Croatian Alexander Romance reveals itself as a textual terrain for clashing specific social forces and their mainfestations, stressing the fact that they can be noticed only by using described methodological optics. The dominant chivalrous and Biblical codes represent exactly two dominant social classes (nobels and religious structures) as owners of social power in the historical period in which the text is inscribed. Therefore, this chivalric narrative, at the same time, respects their imperatives, but also offers disparate motives as fantasy, superstition, satire, social critics, individualistic morality and so on. That kind of contradiction inscribed in the (cultural) text himself confirms the very common thesis of cultural studies theorists about culture as a battlefield. On the text level, it is manifested as the series of incompatible motives that a reader could miss out if they read or overview just the surface level of the text. Because, on that level, the text sets an ideological (imposed) ‘consensus’ which is just specious. They still have its antipode, that they can not completely suppress, and that binary opposition articulates itself in certain segments of the text differently. Its rotations make this text interesting in further readings.
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Bernardi, Claudia. "Murders in Shocking Pink: Women, Love and Desire in Rossana Campo’s Noir Fiction". Quaderni d'italianistica 37, n.º 1 (9 de junio de 2017): 141–58. http://dx.doi.org/10.33137/q.i..v37i1.28283.
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This article analyzes Rossana Campo’s Mentre la mia bella dorme (1999), Duro come l’amore (2005) and Il posto delle donne (2013) in the context of Campo’s work in general, showing how her use of crime genre conventions is specifically designed to reveal flaws and pitfalls inherent in romance narratives. By establishing a complex dialogue between noir and rosa, and by offsetting both traditions with female protagonists who question in different ways the heterosexual paradigm, Campo’s crime novels occupy a unique place in her production, especially in regard to the representation of female desire.
Tesis sobre el tema "Romance genre and trauma representation"
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Loughridge, Anna L. "A Love Affair: Feminist Voice and Representation in the Romance Fiction Narrative". Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/650.
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I focus on the changing and now contemporary feminist conceptualization of romance fiction. Through the genre’s mass-market success and complicated history, a definition of ro·mance (genre) is conjured. By depicting a fantasy world for the female reader to escape to, feminist critics and romance academics have found the genre’s influence to be an effective one. In an analysis if popular romance fiction author, Emily Giffin, and her most recent novel The One & Only, I demonstrate what has now resulted in the modern romance and further, how the modern heroine is understood today.
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Bolfarine, Mariana. "Between \"Angels and Demons\": trauma in fictional representations of Roger Casement". Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-15012016-140005/.
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The life of the controversial Irish nationalist Roger David Casement, who was sentenced to death for high treason by the British Crown, has inspired writers to produce works of various literary genres: prose, poetry, drama and critical essays. This doctoral dissertation aims to investigate, under the light of trauma theory as suggested chiefly, but not solely by Cathy Caruth, Ron Eyerman and Dominick La Capra, the ways in which the figure of Roger Casement can be associated with traumatic events that have sealed Anglo-Irish relations. Thus, I have selected works that deal with Casements Life as he acts both for and against the trauma inflicted by imperialism respectively as a Victorian hero in Arthur Conan Doyles The Lost World (1912) and as an oblique presence in the 1916 Easter Rebellion in Jamie ONeills At Swim, Two Boys (2001); the trauma surrounding his Trial and the discovery of the homosexual Black Diaries that culminated in his hanging through his representation as a whole man in Mario Vargas Llosas The Dream of the Celt and in Patrick Masons The Dreaming of Roger Casement (2010); and finally, the trauma that persists unresolved in his Afterlife, as a ghost in David Rudkins Cries from Casement as his Bones are Brought to Dublin and as traumatic memory in the Annabel Davis-Goffs The Foxs Walk. As a result, we have found that the representation of Roger Casement in these works, although in various ways, is a metaphor for the traumatic process itself: an embodiment of the disjunction of temporality, [and] the surfacing of the past in the presente (Whitehead) as his presence continues to haunt the story of the transatlantic world.A vida do controverso nacionalista irlandês Roger David Casement, condenado à morte por alta traição pela Coroa Britânica, inspirou a escrita obras de diversos gêneros literários: prosa, poesia, teatro e ensaios críticos. Esta tese de doutorado tem como objetivo investigar, sob a luz da teoria do trauma, tal como sugerido principalmente, mas não exclusivamente por Cathy Caruth, Ron Eyerman e Dominick La Capra, diferentes maneiras pelas quais a figura de Roger Casement pode ser associada a eventos traumáticos que selaram as relações Anglo-irlandesas. Dessa forma, foram selecionados trabalhos que lidam com a Vida de Casement, como ele age a favor e contra o trauma causado pelo imperialismo como herói vitoriano em The Lost World (1910) de Arthur Conan Doyle e como uma presença oblíqua na Revolta da Páscoa de 1916 em At Swim, Two Boys de (2001) Jamie ONeill; o trauma em torno de seu Julgamento e da descoberta dos Black Diaries que o levaram à forca por meio de sua representação como um homem completo em The Dream of the Celt (2012) de Mario Vargas Llosa e em The Dreaming of Roger Casement (2012) de Patrick Mason e, finalmente, o trauma não resolvido que persiste em sua Vida após a Morte, como um fantasma em Cries from Casement as his Bones are Brought to Dublin (1973) e como memória traumática em The Foxs Walk de Annabel Davis-Goff. Verificamos que as representações de Roger Casement nessas obras, ainda que de formas distintas, representam uma metáfora do processo traumático em si: Uma personificação da disjunção da temporalidade, [e] o surgimento do passado no presente (Whitehead), visto que sua presença continua a assombrar a história do mundo transatlântico.
Libros sobre el tema "Romance genre and trauma representation"
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Romance of Private Life (Chawton House Library Series: Women's Novels). Pickering & Chatto Ltd, 2008.
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Jerng, Mark C. Racial Worldmaking. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823277759.001.0001.
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When does racial description become racism? Critical race studies has not come up with good answers to this question because it has overemphasized the visuality of race. According to dominant theories of racial formation, we see race on bodies and persons and then link those perceptions to unjust practices of racial inequality. Racial Worldmaking argues that we do not just see race. We are taught when, where, and how to notice race by a set of narrative and interpretive strategies. These strategies are named “racial worldmaking” because they get us to notice race not just at the level of the biological representation of bodies or the social categorization of persons. Rather, they get us to embed race into our expectations for how the world operates. These strategies find their most powerful expression in popular genre fiction: science fiction, romance, and fantasy. This book thus rethinks both racial formation in relation to African American and Asian American studies, as well as how scholars have addressed the relationships between literary representation and racial ideology. It analyzes how genre and race build worlds. In doing so, it engages questions central to our current moment: in what ways do we participate in racist worlds? How can we imagine and build an anti-racist world?
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Chapman-Kelly, Alice M. Fanfiction as Queer Healing. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350350892.
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Exploring the phenomenon of Femslash fanfiction (fan narratives that bring together heterosexual female characters from mainstream media and fiction), this book analyses fan-authored works as forms of literature worthy of studying at length.It examines the anti-racist, feminist, sapphic fan works produced in response to white supremacist, heteronormative, queerbaiting mainstream fantasy and argues that they represent a significant site of queer healing for marginalised audience members. Focusing on the 'Swan Queen' fandom, where fans pair the ‘white trash’ heroine, Emma Swan and the villainous Latina Evil Queen (Regina Mills) from ABC's hit showOnce Upon a Time, Alice Kelly redresses the widespread academic neglect of queer female fandoms and responds to urgent calls to diversify fan and fantasy scholarship. With reference to complex theoretical subjects such as ethnography, sociology, psychology and decolonial, queer, film and media studies, the book also delves into the alternative timescales on which queer female and genderqueer fan authorship runs; offers intriguing insights into fanfiction narrative structures; and tackles the issues of broader fandom representation and contextualization. Making the case that fan texts deserve attention in the academy, Kelly shows how some of the most prolific fan works have the ability to enact colour reparation and a reclamation of memory, fantasy, romance, maternity, childhood, parenting and magic. These fictions serve fan communities as a whole through intersectional challenges to the power dynamics of the source text and within the fandom itself and, as the book demonstrates, offer attendant validation to fantasy fans who have been repeatedly told that the genre is not for them.
Capítulos de libros sobre el tema "Romance genre and trauma representation"
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"Checking Out: Trauma and Genre in Ian McEwan’s The Child in Time". En Trauma and Romance in Contemporary British Literature, 226–37. Routledge, 2013. http://dx.doi.org/10.4324/9780203073766-21.
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"Individual Choice and Responsibility for the Other: Two Ethical Paths in the Representation of Trauma in Jeanette Winterson’s and Graham Swift’s Postmodernist Romances". En Trauma and Romance in Contemporary British Literature, 154–71. Routledge, 2013. http://dx.doi.org/10.4324/9780203073766-16.
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McMurdo, Shellie. "Found footage horror and historical trauma". En Blood on the Lens, 43–66. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474482080.003.0003.
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This chapter focuses on The Sacrament (West, 2013) as a case study, and uses this film to examine how the found footage horror subgenre negotiates the limits of traumatic representation. This chapter outlines several limitations of trauma theory in relation to genre cinema, and through use of Adam Lowenstein’s (2005) concept of the ‘allegorical moment’, investigates how allegory is complicated and then departed from within The Sacrament through its creation of a fictional visual accompaniment to a very real horror. Close analysis of selected scenes from The Sacrament and their relationship to the ‘Jonestown Death Tape’ feature in this chapter’s discussion of the film’s movement towards explicit, rather than implicit, representations of historical trauma, and how this eschewal of allegory may have impacted its critical reception. While advancing the idea of the ‘post-allegorical moment’, this chapter then highlights the importance of witnessing in found footage horror cinema, before detailing how The Sacrament recreates the specific video journalism aesthetic of Vice Media, and how this lends a sense of endangerment and immersion. This chapter closes with a discussion of the resonance of The Jonestown Massacre trauma and anxieties around it within contemporary America.
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Gilmore, Leigh. "Represent Yourself". En The Limits of Autobiography, 16–44. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501770760.003.0002.
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This chapter examines the current trend of memoirs. Autobiography as a genre has always been defined by formally experimental works, even when critics focused more on its formal and ideological coherence. However, writers of autobiographies carry the paradox of being unique and representative. The chapter also considers that the centrality of trauma in self-representation only intensifies the ongoing paradox. It explains that autobiography functions as a judicature wherein self-representation exists within a juridical frame through the mechanisms of judging and assessment, which inform its production of knowledge. In this context, testimony refers to a discursive demand for self-representation and the knot of resistance with which it contends.
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Gilmore, Leigh. "Without Names". En The Limits of Autobiography, 120–42. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501770760.003.0006.
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This chapter provides an overview of Jeanette Winterson's Written on the Body as a limit-case focused on sexed and gendered self-representation. The autobiography presents certain expectations about how and whether a lesbian author writes a lesbian text. However, Winterson rejects autobiography as the narrative account of a woman's subjection. The chapter describes Winterson's text as being in implicit dialogue with autobiography to highlight the way certain rhetorical conventions and cultural references or situations catalyze the expectations generated by autobiography. It also considers reading self-representation and trauma in sequences provides a trace of correlation between self-representational projects and the genre they rework.
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Rosenberg, Aaron. "“Infinitesimal Lives” Thomas Hardy’s Scale Effects". En Ecological Form, 182–200. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282128.003.0010.
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This essay demonstrates how inhuman scales—immense measurements of space and time—pose representational challenges for narrative forms. It focuses on Thomas Hardy’s efforts to represent scales that seemed outsized to the realist novel’s conventional focus on the daily lives of individuals. Narrating realities beyond the scope of realism, I argue, led Hardy to experiment with formal alternatives including romance and melodrama—genres associated with a mode of excess. Romances like Two on a Tower and A Pair of Blue Eyes accommodate the immense perspectives of scientific observation by shifting into a heightened mode of representation, producing distinctive “scale effects.” This essay ultimately proposes that questions of scale are key to rethinking the role of genre in Hardy’s works and Hardy’s status within the realist tradition.
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Marston, Kendra. "Aristocratic Whiteness, Body Trauma and the Market Logic of Melancholia in Black Swan". En Postfeminist Whiteness, 133–61. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430296.003.0006.
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The fifth chapter explores Darren Aronofsky’s Black Swan as an example of a film in which Hollywood’s historical treatment of classical ballet is referenced to provide a self-reflexive and critical commentary on the role of the melancholic white woman in artistic representation. The film provides a horrific take on the ethereal and melancholic Russian ballet Swan Lake, deploying a variety of genre tropes associated with melodrama, horror and film noir in order to convey the protagonist’s increasing levels of paranoia as she loses control of her disciplined ballerina body. In doing so, Black Swan critiques the culture of competitive individualism and bodily discipline associated with neoliberal postfeminism and works to collapse the distinction between mental illness and the romanticised cultural discourse of melancholia. The film’s politics, however, are frustrated by the insistence on framing gendered pathologies in terms of white burden and by its strategic self-reflexivity in relation to Hollywood image construction.
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McMurdo, Shellie. "Found footage horror, 9/11 and a culture of fear". En Blood on the Lens, 93–110. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474482080.003.0005.
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This chapter opens the second part of Blood on the Lens: Trauma and Anxiety in American Found Footage Horror Cinema and develops the argument that the subgenre can be read as a site of traumatic representation through a focus on the new visual language of fear that emerged in the wake of 9/11 and the War on Terror. After addressing criticisms of the allegorical model, this chapter outlines the palpable culture of fear and anxiety present in the United States following 9/11 and investigates how this was distilled both visually and narratively into cinema more broadly during this time, before moving to detail how the horror genre specifically responded to 9/11 trauma. With reference to different kinds of camerawork and visual motifs that become popular in the years following 9/11, this chapter discusses the specific aesthetic of ‘bystander footage’ and its centrality in both real-life coverage of world events and found footage horror cinema. This chapter then moves to address the unbelievability of continuing to record footage in the midst of destruction and death.
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Panaite, Oana. "Conclusion". En Necrofiction and The Politics of Literary Memory, 175–84. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781802077179.003.0007.
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The conclusions summarize the conclusions of each chapter highlighting the formal and symbolic features of necrofiction as instantiated in the works discussed in the book. It shows that the genre combines strategies of representation (fictionalization of history, characterization, reenactment of past events) with the critique of storytelling (fragmentation, generic heterogeneity, theorization) to overcome the negative aesthetics of trauma writing, or its dead letters, without falling into the trap of “capturing” (Butler) the limits of human existence that it seeks to convey. The literary tomb cultivates instead forms of “attentional activism” (Citton) that guide but do not overdetermine the readers’ understanding of necropolitics which defines the contemporary world. Moreover, it invites readers to overcome the totalitarian attraction for the myth of death as a sacrificial act for the salvation of any religious, ethnic, or political community. Neither complacently mimetical nor laboriously archival, neither locked in aphasia nor elegiacally loquacious, necrofiction does not imply a history of salvation or a symbolic teleology. It enables writers and readers to moves from the dead letters of trauma to the projective energy of the literary tomb.