Готові списки джерел за темами / Genre canon

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Добірка наукової літератури з теми "Genre canon"

Автор: Grafiati

Опубліковано: 30 травня 2022

Оновлено: 31 травня 2022

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Статті в журналах з теми "Genre canon"

BANKAUSKAITĖ-SEREIKIENĖ, Gabija. "Genre: Canon or Transformation?" Respectus Philologicus 29(34) (April 25, 2016): 9–11. http://dx.doi.org/10.15388/respectus.2016.29.34.17.

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Esty, Jed. "The Genre that Ate the Canon." Novel 51, no. 1 (May 1, 2018): 151–55. http://dx.doi.org/10.1215/00295132-4357700.

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Korzheva, Alina Evgenievna. "Genre-based tradition of happy ending in Ye. Zamyatin’s Tales." SHS Web of Conferences 122 (2021): 02003. http://dx.doi.org/10.1051/shsconf/202112202003.

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The article deals with Ye.I. Zamyatin tales from the perspective of their compliance with the genre canons of a fairytale. The authors explore the Tales of Fita cycle as well as the tales “The Devourer” and “The Church of God” included in the collection “Big Kids’ Fairytales”. Special attention is paid to the endings of tales; the authors analyze their correspondence to the canons of folklore and literary fairytales formulated by the researchers of this genre: V.Ya. Propp, V.P. Anikin, and I.P. Lupanova. There is a mixture of the fairytale genre with the genre of socio-political satire in Ye.I. Zamyatin’s analyzed works. The authors analyze the plot and stylistic means used by the writer, their compliance with the standard canon. Within the study, the authors rely on the results of existing research in this area and attempt to explore the writer’s work in a new context. Traditionally works in the field of literary research into Ye.I. Zamyatin’s work focus on the dystopian motives and the analysis of political overtones in the writer’s satirical works. At the same time, the genre-related features of Ye.I. Zamyatin’s early works remain poorly understood and require particular academic attention. The novelty of this study consists in the fact that the study is focused on the analysis of the genre structure of Zamyatin’s “tales”. The authors use the method of comparative analysis, problem-logical, functional and systemic methods. The study allows one to determine the degree to which Ye.I. Zamyatin’s tales correspond to traditional plot-related and “formulaic” devices used in the endings of folk and literary fairy tales as well as study the specific features of mixing the genres of fairytale and satire in the famous Russian writer’s works.

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Heelan, Patrick. "Comments and Critique." Science in Context 3, no. 2 (1989): 477–88. http://dx.doi.org/10.1017/s0269889700000910.

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The ArgumentIn this rejoinder to Gyorgy Markus (Science in Context 1:5–51), I argue that although there are nonphilosophical hermeneutical studies of communication among scientists (a “weak” hermeneutics) from which much can be learned about scientific practices, there is also the philosophical genre of a hermeneutics of natural science (a “strong” hermeneutics), with which this paper is concerned. The former is the nonphilosophical use of hermeneutics in the study of texts and historical sources; the latter is a philosophy pursued within a working canon of philosophical works defined principally by the writings of Heidegger and Husserl. There is also a hermeneutically sensitive analytic philosophy of science, such as in the work of Kuhn, Toulmin, and Elkana. These genres are distinguished by their literary canons and their basic phenomenologies or critical experiential givens; each genre comprises an exemplary phenomenology as understood with the help of a characteristic fundamental literary canon.I argue that analytic philosophy is pursued within a canon that makes it difficult to raise hermeneutical questions about natural science, and that it assumes a generally positivistic phenomenology. I argue that hermeneutical phenomenology currently defines itself in dialectical opposition to “science” as understood (positivistically) by analytic philosophy, and has failed to exploit the opportunity of making its own positive contribution to the philosophy of science by examining for itself the phenomenology of laboratory work, especially data production, and the transformation of the language of theory into a descriptive language of scientific phenomena. A “strong” hermeneutical philosophy of natural science, then, challenges both analytic philosophy and the existing tradition of hermeneutical phenomenology.

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Dunin-Dudkowska, Anna. "The cover letter as a genre of speech in teaching Polish as a foreign language." Acta Universitatis Lodziensis. Kształcenie Polonistyczne Cudzoziemców 26 (December 19, 2019): 231–43. http://dx.doi.org/10.18778/0860-6587.26.16.

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Genres are products of cultures, reflecting the needs and practices of communities that have created them. Teaching the Polish language to foreigners, we should make them familiar with numerous Polish genres of speech, recommended in programmes of teaching Polish as a foreign language. The cover letter is a relatively new genre in the Polish continuum of speech, adopted from the Anglo-Saxon culture after the transition in 1989. It is a complex genre, deriving from others, such as the official letter, application, advertisement letter, and CV. The article presents a description of the genre, according to the genre pattern by Maria Wojtak, including four aspects: structural, pragmatic, ontological and linguistic. The dynamics of the genre resulted in the creation of a canon model, alternative variants and adaptive variants of this type of letter. The definition of the cover letter in terms of genre studies states that it is a short text (maximum one page) with a strictly defined structure, aiming at making the recipient (potential employer) hire the sender, it shows the sphere of life related to the world of labour and education, and is usually expressed in a schematic and clichéd manner (usage patterns are often copies of normative patterns). Foreigners should learn all four aspects of description of this genre of speech for effective communication in the environment of the Polish language and culture.

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Richter, David H., and Michael Gamer. "Romanticism and the Gothic: Genre, Reception, and Canon-Formation." Studies in Romanticism 42, no. 4 (2003): 587. http://dx.doi.org/10.2307/25601651.

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Agnihotri, Indu. "Book review: Shobna Nijhawan, Hindi Publishing in Colonial Lucknow: Gender, Genre, and Visuality in the Creation of a Literary ‘Canon’." Indian Journal of Gender Studies 28, no. 1 (February 2021): 138–41. http://dx.doi.org/10.1177/0971521520980864.

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Trubetskova, Elena G. "Doctors as heroes of our time: On the ‘resuscitation’ of the occupational novel in modern mass literature." Izvestiya of Saratov University. Philology. Journalism 21, no. 4 (November 22, 2021): 477–82. http://dx.doi.org/10.18500/1817-7115-2021-21-4-477-482.

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The article proposes an approach to consider modern mass literature portraying doctors in line with the revival of the tradition of the occupational novel. There are traces of similarities with the genre canon at the plot-compositional, figurative and stylistic levels of the text. The differences between contemporary works and the established Soviet model of the genre are also highlighted.

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Radeljković, Ivan. "Canon et genre littéraire au regard de la poésie moderne." Littérature N°196, no. 4 (2019): 79. http://dx.doi.org/10.3917/litt.196.0079.

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Karpychev, Mikhail. "On Art Contents of Maqam." Ideas and Ideals 13, no. 4-2 (December 27, 2021): 384–99. http://dx.doi.org/10.17212/2075-0862-2021-13.4.2-384-399.

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The article is devoted to researching Islamic professional oral music. Maqam is the most high form of this, its conception is spiritual catharsis. Maqam is a chain of ascending parts, each of them elaborating on the main theme of the music. It progresses to a culmination and then descends to the cuitial stage. Maqam’s spiritual contents are the sorrow of love in the form of improvisation first of all, but also songs and dances. Maqam unites dramatic and lyrical characters. Every maqam has its own semantic canon, which is actualized by means of the deepest research of human feelings. Semantic and structure canons connect with the performer’s liberty in emotional detail. Maqam represents a peculiar type of authority (not in absolute form of composer’s art) and is based on classical orient poetry. The highest form of maqam is instrumental (without singing), which expresses the character of its singing-instrumental “parent”. The maqam’s performers must have a special complement of musical abilities and study in music empirient schools. It is necessary to mark particular antithesises, which illustrate a “emotion–ratio” relation in macam’s dramaturgy: passionate contents and strict verified form; originality and canon; euphoria and self-control of a performer; melody and polyphony (instruments imitate singing). Maqam represents a penetrating, “endless” melody with its ability to develop. The elite character of maqam’s genesis and contemporary democracy of the genre are explored, as well as the relations between two forms of maqam: maqam-tune and maqam-genre.

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Більше джерел

Дисертації з теми "Genre canon"

Semenenko, Aleksei. "Hamlet the Sign : Russian Translations of Hamlet and Literary Canon Formation." Doctoral thesis, Stockholms universitet, Slaviska institutionen, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7148.

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This work is an attempt to answer one simple question: What is Hamlet? Based on the material of Hamlet translations into Russian, the dissertation scrutinizes the problems of literary canon formation, translation and textuality proceeding in two parallel directions: the historical analysis of canon formation in translation and the conceptualization of Hamlet’s textuality. The methodological framework is defined in the context of Jurij Lotman’s semiotics of culture, which is invaluable for an understanding of the mechanisms of literary evolution, the theory of translation and literary canon formation. The study examines the history of Hamlet in Russia from 1748 until the present with special attention to analysis of the canonical translations, theater productions of the Shakespearean classic and the phenomenon of Hamletism. The case study of the 1964 film by Grigorij Kozincev focuses on the problem of the cinematographic canon of Hamlet. Further, the work scrutinizes various types of representation of Hamlet in such semiotic systems as the theater, the cinema, and the pictorial arts, and also examines how Hamlet functions as a specific type of sign. The final section returns to the question of canon formation and textuality. The results of the research show that 1) the literary canon appears to be closely associated with the concepts of genre and myth, 2) in order to become canonical it is imperative for a literary text to function on the level of microcanon and to be represented in modes other than the written.

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Michaels, Cindy Sheffield. "Determining Quality through Audience, Genre, and the Rhetorical Canon: Imagining a Biography of Eudora Welty for Children." unrestricted, 2005. http://etd.gsu.edu/theses/available/etd-04222005-134328/.

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Thesis (M.A.)--Georgia State University, 2005.
Title from title screen. Elizabeth Sanders Lopez, committee chair; Pearl A. McHaney, Mary E. Hocks, committee members. Electronic text (167 p.) : digital, PDF file. Description based on contents viewed July 17, 2007. Includes bibliographical references (p. 147-159).

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Barrau, Julie. "Ille sermo vivus et efficax. Usages de la Bible dans les correspondances de l’espace Plantagenêt (1150-1200)." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040001.

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La Bible est présente dans bien des textes médiévaux, mais les modes de ce tissage scripturaire sont encore une terra largement incognita. Nous avons voulu ici montrer comment elle était utilisée et mobilisée dans les collections épistolaires de l’espace Plantagenêt (deuxième moitié du XIIe siècle), durant laquelle des « causes célèbres », au premier rang desquelles le conflit entre Thomas Becket et le roi Henri II, virent s’affronter des clercs « maîtres de la Parole ». Il ressort de cette étude que citer l’Écriture était un choix et non une évidence, et que ceux qui faisaient ce choix utilisaient ces références, et les ressources offertes par l’exégèse, dans leurs relations sociales et leurs prises de position politiques, avec parfois une grande sophistication. Il est également apparu que, durant la décennie où l’affaire Becket eut lieu, les textes de référence en matière droit canon qui devinrent dans les années qui suivirent des auctoritates absolues, le Décret de Gratien et les décrétales pontificales, n’avaient pas encore acquis ce statut ; la Bible pouvait donc, de façon inhabituelle, être prise comme autorité juridique à part entière
The Bible is everywhere in medieval texts, but the ways it was precisely involved in the writing of those texts are still very much to be investigated. This dissertation sheds light on its uses in letter-collections composed within the “Angevin empire” in the second half of the 12th century. A few “causes celebres” led clerics, the “masters of the Word”, to fight one another; the conflict between Thomas Becket and Henry II is the most famous of those. Referring to Scripture was a choice, and not a reflex; those who made that choice used their biblical references, and the exegesis that illuminated their meaning, to foster their social position and relationhips and to fight their political battles, sometimes in rather sophisticated ways. The texts that would soon become the utmost authorities for canon law, Gratian’s Decretum and popes’ decretals, had not yet acquired such status, making possible for Becket and his companion to use the Bible, in an unusual and striking way, as their main legal auctoritas

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Cunha, Paula Cristina Ribeiro da rocha de Morais. "Novas Cartas Portuguesas: o gênero epistolar e a releitura do cânone literário português." Universidade Federal da Paraíba, 2015. http://tede.biblioteca.ufpb.br:8080/handle/tede/8234.

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Submitted by Maike Costa (maiksebas@gmail.com) on 2016-06-08T13:16:39Z No. of bitstreams: 1 arquivo total.pdf: 2477689 bytes, checksum: a9d728b9ec29faf923c3ae254210d0a7 (MD5)
Made available in DSpace on 2016-06-08T13:16:39Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 2477689 bytes, checksum: a9d728b9ec29faf923c3ae254210d0a7 (MD5) Previous issue date: 2015-09-28
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This research questions the canonical marginality of New Portuguese Letters (1972) and the inclusion of female authors in the Portuguese literary narrative, from the observation that the emergence of women authorship in Portugal was not the subject of critical readings that allowed grasping the literary procedures proposed by women's agency. The readings of the Portuguese literary canon that are guided by gynocritical methodologies of female works retrieval put New Portuguese letters as a literary milestone for the writers who start writing after 1972, paving the way for canon revisionist projects focused on gender category. Taking as its starting point the seventeenth-century letters of Mariana Alcoforado, the three Marias use a genre of autobiographical domain associated with the feminine expression to promote a dialogue with the society of the time. Sharing the credits for this collaborative work, they deliberately do not sign each text. Through these formal procedures, New Portuguese Letters implode categories of authorship and authority of the texts.
Esta pesquisa questiona a marginalidade canônica de Novas Cartas Portuguesas (1972) e a inserção da autoria feminina na narrativa literária portuguesa, a partir da observação de que a emergência da escrita de mulheres em Portugal não foi objeto de leituras críticas que permitissem apreender os procedimentos literários propostos pelo agenciamento feminino. As releituras do cânone literário português que se orientam por metodologias ginocríticas de resgate de obras de autoria feminina colocam Novas Cartas como um marco literário para as escritoras que começam a escrever depois de 1972, abrindo caminho para projetos revisionistas do cânone centradas na categoria de gênero. Tomando como ponto de partida as cartas seiscentistas de Mariana Alcoforado, as três Marias utilizam um gênero do domínio autobiográfico associado à expressão feminina para promoverem um diálogo com a sociedade da época. Repartindo a autoria da obra, abdicam de assinar individualmente os textos. Através desses procedimentos formais, Novas Cartas Portuguesas implode as categorias de autoria e de autoridade dos textos.

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Середа, Наталія Вікторівна. "Жанровий канон Православної Літургії (на матеріалі авторських Літургій українських та російських композиторів кінця XIX – початку ХХ століть)". Thesis, Національна музична академія України ім. П. І. Чайковського, 2004. http://repository.kpi.kharkov.ua/handle/KhPI-Press/17852.

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Дисертація на здобуття наукового ступеня кандидата мистецтвознавства за спеціальністю 17.00.03 – музичне мистецтво. – Національна музична академія України ім. П. І. Чайковського, Київ, 2004. В дисертації розглянуто Літургію як цілісне явище: вивчення Літургії як музичного жанру здійснюється з урахуванням основ православного віровчення, усього комплексу церковних дисциплін, а також сутності і структури текстової та обрядової сторін чинопослідування. В роботі запропоновано застосовувати до церковної музики термін "жанровий канон", дано визначення поняття "жанровий канон Літургії". Розглянуто ієрархічну багаторівневу структуру жанрового канону Літургії: текст і чинопослідування, трирівневу будову плану змісту (верхнього ярусу моделі жанрового канону), комплекс універсальних характеристик, властивих духовній музиці в цілому, і зокрема, Літургії, що складають над-рівень, метасмисл жанрового канону. Всі драматургічні рівні унаочнюються у розроблених в дисертації типологічних схемах, які дозволяють в подальшому при роботі з конкретними зразками жанру виявити міру збереження канонічних ознак. Аналіз Літургії монодичної традиції (знаменного і київського розспівів) визначив канонічні закономірності трьох рівнів плану вираження (нижнього ярусу моделі жанрового канону). Побудований таким чином повний жанровий канон Літургії використаний як своєрідна матриця для порівняння з ним авторських Літургій українських та російських композиторів рубежу XIX-XX століть. Міра співвідношення нормативних та анормативних рис є головним критерієм при класифікації зазначених творів.
The dissertation for the degree of Art Criticism Science Candidate on speciality 17.00.03 – Music Art. – Tchaikovsky National Music Academy of Ukraine, Kyiv, 2004. In the thesis the Liturgy is reviewed as a complete phenomenon: the analysis of Liturgy as a musical genre is based on the orthodox doctrinal statement, all complex of church disciplines, and also on the es-sence and structure of the text and rite parties. In the dissertation it is offered to apply in relation to church music a concept "a genre canon", the definition of the term "a genre canon of Liturgy" is given. The hier-archical all-level structure of a Liturgy genre canon pattern is reviewed: the text and rite, three-level con-stitution of the contents plan (upper circle of a genre canon model), a complex of the universal character-istics intrinsic to a sacred music as a whole, and in particular to Liturgy, which makes an above-level of a genre canon. All dramaturgy levels receive a visual expression in the designed typological schemes in the thesis. In further, by activity with concrete samples of a genre, the schemes allow to reveal a measure of preservation of canonical tags. The analysis of the monody tradition Liturgy (znamenniy and kyiv chants) has determined canonical legitimacies of three levels of the expression plan (lower circle of a genre canon model). The built thus full model of a genre canon of a Liturgy is utilised as a peculiar matrix for matching with it Ukrainian and Russian composers’ Liturgies of the boundary of the XIX-XXth centuries with the purpose of detection and ratio normative and unnormative features, that has submitted a capability to make classification of the indicated works.

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Klonjkowski, Bernard. "Adenovirus canin type 2 et transfert de gene." Paris 6, 1997. http://www.theses.fr/1997PA066402.

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Un vecteur defectif pour la replication, exprimant le gene de la -galactosidase, a ete derive de l'adenovirus canin type 2 (cav2). Ce virus recombinant possede la capacite de transduire des cellules de mammiferes de diverses origines et en particulier des cellules primaires humaines. Malgre un systeme de production qu'il reste a optimiser, des experiences de transfert de gene in vivo dans l'embryon de poulet et dans le systeme nerveux central de rat ont ete conduites. Lors de l'infection de cellules humaines kb par l'adenovirus canin type 2, le cycle productif viral est bloque. Une reponse cellulaire de type apoptotique apparait 24 heures apres l'initiation de la replication virale. Un des transcrits majoritaires e1b n'est pas exprime apres infection de cellules kb par cav2. Ce defaut dans l'expression de e1b serait implique dans l'absence de controle, par le virus, de l'apoptose induite en reponse a l'infection par cav2. L'apoptose est proposee comme un des mecanismes regissant le maintien de la barriere d'espece au cours d'une infection par l'adenovirus.

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Coccimiglio, Carmela. "Absent Presence: Women in American Gangster Narrative." Thèse, Université d'Ottawa / University of Ottawa, 2013. http://hdl.handle.net/10393/26217.

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Absent Presence: Women in American Gangster Narrative investigates women characters in American gangster narratives through the principal roles accorded to them. It argues that women in these texts function as an “absent presence,” by which I mean that they are a convention of the patriarchal gangster landscape and often with little import while at the same time they cultivate resistant strategies from within this backgrounded positioning. Whereas previous scholarly work on gangster texts has identified how women are characterized as stereotypes, this dissertation argues that women characters frequently employ the marginal positions to which they are relegated for empowering effect. This dissertation begins by surveying existing gangster scholarship. There is a preoccupation with male characters in this work, as is the case in most gangster texts themselves. This preoccupation is a result of several factors, such as defining the genre upon criteria that exclude women, promoting a male-centred canon as a result, and making assumptions about audience composition and taste that overlook women’s (and some women characters’) interest in gangster texts. Consequently, although the past decade saw women scholars bringing attention to female characters, research on male characters continues to dominate the field. My project thus fills this gap by not only examining the methods by which women characters navigate the male-dominated underworld but also including female-centred gangster narratives. Subsequent chapters focus on women’s predominant roles as mothers, molls, and wives as well as their infrequent role as female gangsters. The mother chapter demonstrates how the gangster’s mother deploys her effacement as an idealized figure in order to disguise her transgressive machinations (White Heat, The Sopranos). The moll chapter examines how this character’s presence as a reforming influence for the male criminal is integral to the earliest narratives. However, a shift to male relationships in mid- to late-1920s gangster texts transforms the moll’s status to that of a moderator (Underworld, The Great Gatsby). On the other hand, subsequent non-canonical texts feature molls as protagonists and illustrate the potential appeal of the gangster figure to women spectators (Three on a Match). Subsequently, the wife chapter explores texts that show presence is manifested in the wife’s cultivation of a traditional family image, while absence is evident in her exposure of this image as a façade via her husband’s activities (The Godfather, Goodfellas). In the following female gangster chapter, I examine how gender functions to render this rare character a literal absent presence such that she is inconceivable as a subject (Lady Scarface, Lady Gangster). Expanding upon this examination of gender, a final chapter on the African-American female gangster (in Set It Off and The Wire) explores how sexuality, race, and female—as well as “gangsta”—masculinity intersect to create this character’s simultaneous hypervisibility and invisibility. By examining women’s roles that often are overlooked in a male-dominated textual type and academic field, this dissertation draws scholarly attention to the ways that peripheral status can offer a stealthy locus for self-assertion.

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Grafton, Kathryn. "Paying attention to public readers of Canadian literature : popular genre systems, publics, and canons." Thesis, University of British Columbia, 2010. http://hdl.handle.net/2429/27707.

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Paying Attention to Public Readers of Canadian Literature examines contemporary moments when Canadian literature has been canonized in the context of popular reading programs. I investigate the canonical agency of public readers who participate in these programs: readers acting in a non-professional capacity who speak and write publicly about their reading experiences. I argue that contemporary popular canons are discursive spaces whose constitution depends upon public readers. My work resists the common critique that these reading programs and their canons produce a mass of readers who read the same work at the same time in the same way. To demonstrate that public readers are canon-makers, I offer a genre approach to contemporary canons that draws upon literary and new rhetorical genre theory. I contend in Chapter One that canons are discursive spaces comprised of public literary texts and public texts about literature, including those produced by readers. I study the intertextual dynamics of canons through Michael Warner’s theory of publics and Anne Freadman’s concept of “uptake.” Canons arise from genre systems that are constituted to respond to exigencies readily recognized by many readers, motivating some to participate. I argue that public readers’ agency lies in the contingent ways they select and interpret a literary work while taking up and instantiating a canonizing genre. Subsequent chapters examine the genre systems of three reading programs: One Book, One Vancouver, a public book club; Canada Reads, a celebrity “book brawl”; and The Complete Booker, an online reading challenge. Chapter Two explores how a reading public and canon are called forth by organizers and participants of the One Book, One Vancouver genre system. Chapter Three analyzes public readers’ collective literary selection within the canonizing genre of the Canada Reads brawl. Chapter Four investigates how participants in The Complete Booker genre system instantiate the canon of the Man Booker Prize in ways that construct distinct subject positions of public readers who can evaluate the Canadian Booker winners in meaningful ways for their imagined public. My conclusion proposes that paying attention to public readers offers us new insights into reading as shared practice and Canadian literature.

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Mérot, Guillemette. "Le « canon » des poètes grecs et latins de l’Institution oratoire. : Discours critique, traditions doctrinales, contexte culturel." Thesis, Sorbonne université, 2020. http://accesdistant.sorbonne-universite.fr/login?url=http://theses.paris-sorbonne.fr/2020SORUL084.pdf.

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La thèse porte sur le « canon » (au sens de « liste des auteurs considérés comme les meilleurs au sein d’un genre donné ») des poètes grecs et latins du chapitre 10.1 de l’Institution oratoire. Dans ce traité de rhétorique de l’époque flavienne, la liste-canon est issue d’une tradition littéraire et doctrinale qui sélectionne certains auteurs à inclure et les évalue les uns par rapport aux autres pour en faire des supports de lecture et des modèles d’éloquence. Le présent travail envisage la liste d’auteurs du chapitre 10.1 à la fois comme le point d’aboutissement d’un processus de constitution de « canons » effectué en diachronie et, en synchronie, comme une émanation du contexte culturel propre à la Rome flavienne. Il interroge sa dynamique de constitution en expliquant les motivations qui sous-tendent différentes opérations de « mise en liste » (sélection – ou exclusion – des auteurs, établissement entre eux de relations de hiérarchisation, et évaluation critique de leurs qualités). Il montre que les principales influences critiques qui s’exercent sur les différentes notices de la liste sont celles de Cicéron, d’Horace et de Denys d’Halicarnasse. Nous montrons notamment que cette dynamique de constitution de la liste est propre à chaque genre poétique. Notre travail entend s’inscrire ainsi au confluent de l’histoire de la rhétorique et de ses doctrines, de l’histoire de la philologie, de l’histoire littéraire et de l’histoire de la critique littéraire ancienne
This thesis deals with the "canon" (in the sense of "list of authors considered the best within a given genre") of Greek and Latin poets in chapter 10.1 of the Institutio oratoria. In this treatise on rhetoric from the Flavian period, the canon-list derives from a literary and doctrinal tradition that selects certain authors for inclusion and evaluates them in relation to each other as reading material and models of eloquence. The present work describes the list of authors in chapter 10.1 both as the culmination of a diachronous process of establishing "canons", and, in synchrony, as an emanation of the cultural context specific to Flavian Rome. It questions the dynamic of how the list was established by explaining the motivations behind different operations of "listing" (selection - or exclusion - of authors, establishment of hierarchical relations between them, and critical evaluation of their qualities). It shows that the main critical influences on the different entries in the list are those of Cicero, Horace and Denys of Halicarnassus. In particular, its show that the dynamics of how the list was established is specific to each poetic genre. Accordingly, the present work is located at the confluence of the history of rhetoric and its doctrines, the history of philology, literary history, and the history of ancient literary criticism

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SKELTON, MATTHEW RYAN. "EFFECTS OF NEONATAL 3,4-METHYLENEDIOXYMETHAMPHETAMINE ON HIPPOCAMPAL GENE EXPRESSION, SPATIAL LEARNING AND LONG-TERM POTENTIATION." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1148067008.

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Книги з теми "Genre canon"

Romanticism and the Gothic: Genre, reception, and canon formation. Cambridge [England]: Cambridge University Press, 2000.

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Lindenberger, Herbert. The historyin literature: On value, genre, institutions. New York: Columbia University Press, 1990.

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Lindenberger, Herbert. The history in literature: On value, genre, institutions. New York: Columbia U.P., 1992.

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Lindenberger, Herbert Samuel. The history in literature: On value, genre, institutions. New York: Columbia University Press, 1990.

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Gabriel, Daniel. Hart Crane and the Modernist Epic: Canon and Genre Formation in Crane, Pound, Eliot, and Williams. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-12207-0.

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Interpretation and genre: The role of generic perception in the study of narrative texts. Lewisburg [Pa.]: Bucknell University press, 1986.

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Studying the Old Testament from tradition to canon. Edinburgh: T. & T. Clark, 1985.

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De Zordo, Ornella, and Fiorenzo Fantaccini, eds. altri canoni / canoni altri. Florence: Firenze University Press, 2011. http://dx.doi.org/10.36253/978-88-6453-012-3.

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The concept of the literary canon is one of the most debated and controversial in the western intellectual tradition. This book offers ten contributions by Italian scholars of Anglo-American culture addressing the way in which the concept of the literary canon holds out against areas traditionally considered as external or extraneous to it. The essays range over different topics: the etymological analysis of the term "canon"; the relations between canon and performativity; paraliterature – a universe populated by non-hierarchic genres; the relations between post-colonial literature and the canon; postmodern biofiction; studies on translation and finally gay and lesbian literature. The book ends with a meditation on the innovations wrought on the Anglo-American canon by the virtual world of Internet and with a reading proposal originating from a different area of literary studies. Taken as a whole, the intention of the book is to pave the way to democratisation and pluralism in literary studies, going beyond the limitations set by the traditional scale of values of the "western canon". It proposes a frequentation of the geographical and cultural borderlines and hence of the areas of resistance that such borderlines pose to the dominant conceptual hierarchies within and around us, enabling us to glimpse an original future for literature and for western culture in a broader sense.

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Iraida, Vargas Arenas, ed. Gente de la canoa: Economía política de la antigua sociedad apropiadora del noreste de Venezuela. Caracas: Fondo Editorial Tropykos, 1995.

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Leimgruber, Walter. Il confine e la gente: Interrelazioni spaziali, sociali e politiche fra la Lombardia e il Canton Ticino. Varese: Edizioni Lativa, 1987.

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Vinograd, Richard. "Classification, Canon, and Genre." In A Companion to Chinese Art, 254–76. Hoboken, NJ, USA: John Wiley & Sons, Inc., 2015. http://dx.doi.org/10.1002/9781118885215.ch12.

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Christinidis, Georgia. "Genre, Canon-Formation, and Bildung: Transformations of a Critical Category." In The Institution of English Literature, 295–310. Göttingen: V&R unipress, 2016. http://dx.doi.org/10.14220/9783737006293.295.

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Flach, Sabine. "Moving is in Every Direction." In Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.

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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.

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Gabriel, Daniel. "Introduction Hart Crane, Bridging, and History." In Hart Crane and the Modernist Epic: Canon and Genre Formation in Crane, Pound, Eliot, and Williams, 1–27. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-12207-0_1.

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Gabriel, Daniel. "The Lyric Mode of The Bridge: The I and the Other." In Hart Crane and the Modernist Epic: Canon and Genre Formation in Crane, Pound, Eliot, and Williams, 29–80. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-12207-0_2.

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Gabriel, Daniel. "The Epic Mode of The Bridge: The Other and the I." In Hart Crane and the Modernist Epic: Canon and Genre Formation in Crane, Pound, Eliot, and Williams, 81–175. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-12207-0_3.

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Gabriel, Daniel. "Conclusion Historical Necessity and the Modernist Epic." In Hart Crane and the Modernist Epic: Canon and Genre Formation in Crane, Pound, Eliot, and Williams, 177–84. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1007/978-1-137-12207-0_4.

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King, Nicole. "Teaching Crime Fiction and the African American Literary Canon." In Teaching 21st Century Genres, 47–65. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-55391-1_3.

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Pérez Bowie, José Antonio, and Fernando González García. "Notes on the cinematographic canon and its relation to the theory of genres in a Spanish and Portuguese context." In Comparative History of Literatures in European Languages, 531–49. Amsterdam: John Benjamins Publishing Company, 2016. http://dx.doi.org/10.1075/chlel.xxix.43per.

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Palis, Eleni. "Quoting Genre and Creating Canon." In Classical Projections, 16–32. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197558171.003.0002.

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Chapter 1 interrogates the (incorrect) popular and scholarly assumption that both allusion in general and film quotation in particular is unique to or revolutionized by the “film generation,” the first major cohort of film school–educated filmmakers. Peter Bogdanovich’s Targets (1968) and Martin Scorsese’s Mean Streets (1973) both reflect the ongoing transition between classical and post-classical industry and style; therein film quotation provides strategic authorial and authenticating presences, through which Bogdanovich and Scorsese assemble and then insert themselves into a classical “canon.” Bogdanovich and Scorsese’s strategic, selective film quotational practice positions classical Hollywood as their patrilineal “inheritance,” as young white, straight men breaking into a historically white, straight, male-dominated industry. These demographic claims to a “classical” art-historical and industrial inheritance appear in their classical Hollywood quotations, which emphasize male spectacle, especially in the Western and film noir genres, to validate masculine genealogy, ownership, and power during Hollywood’s post-classical period.

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Тези доповідей конференцій з теми "Genre canon"

Antonova, Olena, and Olena Korchova. "Articulation of the Genre Canon in the Piano Concerto by Samuel Barber." In The 5th International Conference on Art Studies: Research, Experience, Education (ICASSEE 2021). Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789048557240/icassee.2021.026.

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Agafita, Mihail. "Concierto de Aranjuez for modern classical guitar and symphony orchestra by Joaquín Rodrigo Vidre: stylistic and genre features." In Patrimoniul cultural: cercetare, valorificare, promovare. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975351379.02.

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Concierto de Aranjuez for classical guitar and symphony orchestra written by the Spanish composer Joaquín Rodrigo Vidre in 1939 is in the author’s spotlight. The traditional tripartite structure with the tempo correlation Allegro con spirito-Adagio-Allegro gentile fits perfectly into the genre canons of a classical concert: not coincidentally this concert is considered an eloquent example of Spanish Neoclassicism. The particular significance is the sound concept of the second movement based on the melodic legitimacy of saelta, a religious song appeared as an imitation of the psalmody of the canonical religious service. The texts of saelta reflect events and emotions of the Holy Week. Thanks to the fact that a genre of secular music involves the concepts and means of musical expression of a religious genre, adds to the second part an enormous depth and sensitivity, provoking a very strong emotional reaction of the listener. We mention in parentheses that Concierto de Aranjues is one of the most performed concerts for modern classical guitar in the world, while the second part is very often performed as an autonomous creation.

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