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1
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.
Повний текст джерелаАнотація:
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.
4
Heelan, Patrick. "Comments and Critique." Science in Context 3, no. 2 (1989): 477–88. http://dx.doi.org/10.1017/s0269889700000910.
Повний текст джерелаАнотація:
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.
5
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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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Pecherskykh, L. O. "Living canonicity: a possible example of modernity (on the material of the novel "Radio Night" by Yu. Andrukhovych)." Bulletin of Luhansk Taras Shevchenko National University, no. 7 (345) (2021): 125–34. http://dx.doi.org/10.12958/2227-2844-2021-7(345)-125-134.
Повний текст джерелаАнотація:
The article states that the entire creative path of Yu. Andrukhovych is connected with the process of creating the canon of the postmodern novel in Ukrainian literature. The work systematises updated by the writer in his novels of the 1990s — 2000s components of the genre canon, such as parodying the flaws and contradictions of modern civilization, the multiplicity of choices in every life situation, performativity as a means of communication, openness and no boundaries to depict any aspect life, programmatic violation of stereotypes and taboos, demonstration of linguistic and stylistic virtuosity, polygenre and genre pastisation, buffoonery of the genre, fragmentary and collage of structure, the widest cultural erudition and free play of tradition, scriptness (theatricality or cinematography) of life, multi-layeredness and diversity of narrative deployment. The article clarifies which aspects of postmodern poetics are actualized and developed by Yu. Andrukhovych in the novel „Radio Night”. Traditional and innovative genre-creating strategies are identified, which testify to the transformation and continuation of the modern canon of the postmodern novel, namely: interludes-recordings of radio broadcasts, reportage, musical fragments as a semantic element, cultural codes with hidden meaning, elements of utopia, anti-utopia, the use of intergeneric synthesis. The range of new themes and motives for Yu. Andrukhovych's novels is outlined, among which are the theme of political persecution and physical violence with irreversible consequences, the theme of big unexpected money, the esoteric understanding of existence as a sequence of earthly incarnations, the reception of the Gydnosty Revolution in the West, the theme of prison life, hybrid war as well. It was found that in the novel „Radio Night” by Yu. Andrukhovych, despite allegations of limited poetic features, secondary to himself, a number of new topics were developed, a range of new text-creating and genre-creating tools were used, that proves the consonance of the work with current events in modern life.
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Codeso, Patricia Varona. "In search of a Byzantine narrative canon: the Vita Basilii as an uncanonical work." Byzantine and Modern Greek Studies 39, no. 2 (2015): 173–90. http://dx.doi.org/10.1017/s0307013100015330.
Повний текст джерелаАнотація:
The problem of the literary genre of Vita Basilii and, by extension, of the lack of Byzantine examples of purely secular biography is one of the most well known literary controversies of Byzantine studies. With respect to this problem a revision of the usual parameters involved in the definition of literary genres will be suggested, one which will cover not only formal aspects but also contextual and functional ones. This study will propose that the features related to these parameters could be classified as more or less prototypical, thus laying the foundation for an approach to canonical narrative patterns and enabling further progress in our understanding of this unique work.
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Faria, Luís. "Luís Alberto de Abreu e a peça "Um dia ouvi a Lua": a poética aristotélica como cânone." Cadernos de Literatura Comparada, no. 43 (2020): 175–91. http://dx.doi.org/10.21747/21832242/litcomp43a11.
Повний текст джерелаАнотація:
This article discusses how the use of Brazilian colloquial language and the epic theatrical elements in the play One day I saw the moon (Um dia ouvi a Lua), written by Luís Alberto de Abreu, compose the work’s mechanisms of this Brazilian playwright. These mechanisms allow the author to build his own dramatic poetic works based on storytelling. Abreu dialogues with the Aristotle’s Poetics, or the Aristotelian canon. The playwright attempts to know how the epic genre works according to Aristotle and he brings this idea to the Brazilian reality. Abreu makes a contemporary form of theatrical art. This art does not deny the canon and it does not accept the canon like an untouchable form.
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Pace, Barbara G. "The Textbook Canon: Genre, Gender, and Race in US Literature Anthologies." English Journal 81, no. 5 (September 1992): 33. http://dx.doi.org/10.2307/819892.
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Brown, Tamara Lizette. "Expanding the Black Film Canon: Race and Genre across Six Decades." Journal of American History 108, no. 2 (September 1, 2021): 412–13. http://dx.doi.org/10.1093/jahist/jaab202.
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Karivets', Ihor. "Richard Rorty and the Expediency of History of Philosophy (Foreword to the Ukrainian translation of Richard Rorty’s article “The Historiography of Philosophy: Four Genres”)." Humanitarian vision 7, no. 1 (June 1, 2021): 54–57. http://dx.doi.org/10.23939/shv2021.01.054.
Повний текст джерелаАнотація:
For readers of the journal, we propose the first Ukrainian translation of the article "Historiography of Philosophy: Four Genres" by the American postmodernist philosopher Richard Rorty, in which he considers possible strategies of historic-philosophical researches and their role in the development of philosophical thinking. Richard Rorty claims that the main task of historic-philosophical researches is to constantly change the philosophical canon, not to allow it to catch in certain stereotypical views of well-known philosophers who are part of it, for instance, Plato, Aristotle, Kant, Hegel and others. Therefore, he accused doxography in the mummification of “famous philosophers” and neglect of those philosophers who worked on the border of philosophy, science, politics, economics, morality, medicine and even criminology. The involvement of such “non-philosophers”, as they are considered by historians-doxographers, in the philosophical canon expands the philosophical issues and stimulates the formulation of new philosophical questions, which are not on the agenda of the stiffened philosophical canon. Therefore, Richard Rorty rejects doxography as a genre of historic-philosophical researches, but instead of it proposed to use historical reconstruction, rational reconstruction and intellectual history as genres of historic-philosophical researches. Combining them, we will be able to see a vivid picture of the development of philosophy, not just certain canonical figures that cover another history of philosophy, which consists of research on the border of philosophy and other humanities, social sciences and natural sciences.
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ELLIOT, MICHAEL D. "New Evidence for the Influence of Gallic Canon Law in Anglo-Saxon England." Journal of Ecclesiastical History 64, no. 4 (September 9, 2013): 700–730. http://dx.doi.org/10.1017/s002204691300153x.
Повний текст джерелаАнотація:
The importance of canon law collections to Anglo-Saxon legal culture has long been thought negligible, especially in comparison to the considerable importance of an alternative genre of canonical literature known as the penitential handbook. Over the past several decades, however, evidence for the use and circulation of continental canon law collections in pre-Conquest England has been mounting, to the extent that it could challenge traditional notions about the dominance of penitential law in the early English Church. This study presents new evidence for the reception in Anglo-Saxon England of a major continental collection known as theCollectio vetus Gallica.
18
Heim, Lea Laura. "Rewriting the Nation: German-Turkish Transformations of the Bildungsroman." Journal of Frontier Studies 6, no. 2 (June 24, 2021): 37–67. http://dx.doi.org/10.46539/jfs.v6i2.291.
Повний текст джерелаАнотація:
Literatures arising in the context of migration and cultural contact are known to provoke the nationally confined canonisation of literature. While the view that so-called ‘migrant literature’ does belong to German literature and culture is widely established within recent scholarship, the literary means of claiming space in the national canon are still an under-researched topic. The purpose of the study is to analyse the literary means of claiming space in the national canon and thereby investigate the permeability of its boundaries. By rewriting a canonical genre of German literature, which is historically linked to the emergence of a sense of a national identity, the analysed German-Turkish texts are using the Bildungsroman as a frame of reference to articulate pluralistic national identities. They further inscribe historical representations that have been omitted from dominant historical discourse into the national cultural memory. While rewriting the genre, the texts participate in the actualisation of the Bildungsroman and thereby reposition its traditional boundaries. Finally, the novels express the need to renegotiate the concept of the nation as well as its demand for homogeneity.
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Strub, Whitney. "Trans Porn Genealogy beyond the Queer Canon." TSQ: Transgender Studies Quarterly 7, no. 2 (May 1, 2020): 174–91. http://dx.doi.org/10.1215/23289252-8143336.
Повний текст джерелаАнотація:
Abstract While placing transgender pornography under the sign of queerness has been a necessary feature of queer politics, much of the genealogy of trans porn falls more within the orbit of heteronormative capitalism and was enacted through the problematic figure of the “she-male.” Queer and trans scholars have been eager to seize on the work of queer trans culture workers but less attentive to the pioneering efforts of Kim Christy and Joey Silvera, who occupy complicated positions not entirely commensurate with queerness. Christy emerged out of 1970s transfeminine culture to shape “she-male” pornography as a genre, and longtime straight cisgender hardcore performer Silvera moved to directing in the mid-1990s largely by locating transsexuality within an entirely heteronormative market context. Vexed as they are, these works occupy important places within the genealogy of trans porn, even if often by embodying what queer trans porn imagines itself against.
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Акматалиева, Нурзат. "ЭССЕ ЖАНРЫНЫН ТАБИЯТЫ ЖАНА ИЗИЛДЕНИШ ТАРЫХЫ". Vestnik Bishkek Humanities University, Issue 54 (21 грудня 2020): 23–26. http://dx.doi.org/10.35254/bhu.2021.54.9.
Повний текст джерелаАнотація:
Бул макала эссе жанрына жана кененирээк жалпысынан эссеизм феноменине арналган, ошондой эле эссе жанрынын калыптаныш тарыхына арналган. Макала академиялык эссе жанрынын теориясына жана практикасына арналган. Автор бул жанрдын концепциясы, өнүгүү тарыхы, анын түрлөрү жана моделдери менен тааныштырат. Эссе жанрынын эки түрүн - батыш жана чыгыш жагы каралган, эссенин интер- претациясынын улуттук өзгөчөлөнгөн түрлөрүнөн жанрдын моделдерин жарыялоого чейинки канондун пайда болушунун ырааттуулугун жөнгө салат. Эссе изилдөөчүлөрүнүн, ушул жанрдын мыкты үлгүлөрүнүн ой-пикирлерин талдоо менен, автор өзүнүн эссени түшүнүү концепциясынын алкагында, анын маңызын, жанрдык өзгөчөлүктөрүн, түрлөрүн жана композициялык курулушун жөнөкөй жана так түшүндүрүп берет. Жанрдын так илимий аныктамасы берилген. Статья посвящена жанру эссе и, шире, феномену эссеизма в целом, а также истории становления жанра эссе. Статья посвящена теории и практике жанра академического эссе. Автор вводит понятие этого жанра, историю его развития, его виды и модели. Он регулирует последовательность возникновения канона двух типов эссе-жанров - западного и восточного, от национально-специфических форм интерпретации эссе до публикации образцов жанра. Анализируя взгляды исследователей эссе, лучшие образцы этого жанра, автор в рамках своей концепции понимания эссе просто и понятно объясняет его сущность, жанровые особенности, виды и композиционную структуру. Есть четкое научное определение жанра. This article is devoted to the genre of essays and, more broadly, to the phenomenon of essayism in general, as well as to the history of the formation of the essay genre. The article is devoted to the theory and practice of the academic essay genre. The author introduces the concept of this genre, the history of its development, its types and models. It regulates the sequence of the emergence of the canon of two types of essay genres - western and eastern, from nationally distinctive forms of interpretation of the essay to the publication of models of the genre. Analyzing the views of essay researchers, the best examples of this genre, the author, within the framework of his concept of understanding the essay, explains its essence, genre features, types and compositional structure in a simple and clear way. There is a clear scientific definition of the genre.
21
Sacerdoti, Yaakova. "A Transtextual Hermeneutic Journey." European Comic Art 12, no. 1 (June 1, 2019): 21–40. http://dx.doi.org/10.3167/eca.2019.120103.
Повний текст джерелаАнотація:
Gérard Genette’s transtextuality theory serves as the basis for a hermeneutic inquiry into Horst Rosenthal’s Mickey au camp de Gurs. Multiple levels of meaning emerge from transtextual links to other literary genres and works of Western culture, from Disney’s early animations to fairy tales and satire, concluding with Dante’s Inferno. This article analyses Rosenthal’s transtextual discourse and shows how his use of the comic genre to depict the horrors of the Gurs internment camp involves readers in what happened there and produces a text that speaks to all. Using Mickey Mouse, the international cartoon hero, alongside referencing the Inferno, a cornerstone of the Western canon, turns Rosenthal’s experience into a universal one and permits author and reader to focus on the emotional level that transcends all rationality.
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Kruse, Adam J., and Donna J. Gallo. "Rethinking the Elementary “Canon”: Ideas, Inspirations, and Innovations from Hip-Hop." Music Educators Journal 107, no. 2 (December 2020): 58–65. http://dx.doi.org/10.1177/0027432120975089.
Повний текст джерелаАнотація:
This article offers perspectives on disrupting the typical elementary school “canon” through providing considerations and pedagogical orientations for including hip-hop. Three issues of critical importance in elementary music education are addressed: decentering Whiteness in elementary music, understanding hip-hop in relation to culturally responsive teaching, and establishing new pathways for musical creativity through hip-hop. Engaging with hip-hop both as a genre and the product of a culture offers music educators opportunities to meaningfully reconsider their practices.
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Burnett, Lucy. "Firing the climate canon—a literary critique of the genre of climate change." Green Letters 22, no. 2 (April 3, 2018): 161–80. http://dx.doi.org/10.1080/14688417.2018.1472027.
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Murzina, Ol'ga Viktorovna, and Anastasiya Gennad'evna Gotovtseva. "Neo-Quintilian paradigm of modern youth media." Litera, no. 4 (April 2021): 33–41. http://dx.doi.org/10.25136/2409-8698.2021.4.35318.
Повний текст джерелаАнотація:
The subject of this research is the transformation of classical ancient rhetoric in modern media, namely of such a mandatory part of the classical presentation of speech according to Marcus Fabius Quintilianus, as rebuttal to an opponent's argument. The article employs posts of the authors of various blogs on the entertainment portals and their interaction with users’ commentaries. Response to an objection was an important element of the canon of presentation of speech in antiquity: by doing so, the speaker demonstrated a confident command of the topic, and at the same time, that the topic is objectionable and requires argumentation. The reduction of competitive eloquence turned this part of the canon into a ritual weakened its ties with the actual speech practice. In modernity, we can observe the return of rebuttal to an opponent's arguments as an independent genre – the author in his publications counts on rebuttal and prepares in advance. The novelty of this research consists in the fact that the Neo-Quintilian paradigm of modern youth media is analyzed for the first time. The main conclusions lies in revelation of transformation and deformation of the classical canon: being the so-called cultural constant, the classical canon of ancient rhetoric is conveyed to modern users through interaction with accepted patterns. The modern young audience perceives the canon indirectly, through approved or criticized examples of eloquence, eliciting rfagments thereof – thus, the semantic connection of argument and rebuttal is one of the versions of the deformed, but recognizable canon.
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Kokhan, Olga N. "The Genre of New-Gate Novel in the Artistic Conception of Sarah Waters." Proceedings of Southern Federal University. Philology 2020, no. 3 (September 30, 2020): 139–50. http://dx.doi.org/10.18522/1995-0640-2020-3-139-150.
Повний текст джерелаАнотація:
The article explores Sarah Waters ‘Neo-Victorian novels «Affinity»(1999) and «Fingersmith» (2002) as an original genre textures which include a sensational subgenre – the «Newgate» novel. The article considers the documentary evidences of the «Newgate Calendar» and its significance in the formation of a separate tradition of criminal sensational literature (plots, motives, narrative modes, etc.). The established Newgate literary canon is reproduced in Water’s novels with elements of genre self-reflection, generally characteristic for contemporary stylizations. Water’s innovation is in demonstrating her own position as a writer-historiographer, who carefully recreates the criminal world of Victorian England and configures the complex of emotional and social relations of the era in a new way.
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Van Gorp, Jasmijn, and Rosita Kiewik. "What Is Not in the Archive." Many Lives of Europe’s Audiovisual Heritage 7, no. 13 (May 16, 2018): 129. http://dx.doi.org/10.18146/2213-0969.2018.jethc147.
Повний текст джерелаАнотація:
This article discusses the pedagogy and outcome of a new assignment we introduced in the course ‘Television History Online’ at Utrecht University. We assigned the students the task to build a canon of a genre of Dutch television and create a video poster on the EUscreen portal consisting of clips that represent part of their canon. In our pedagogy, we argue that it is important to draw students’ attention to what is missing in the archive. Therefore, we offered the students the possibility to replace illegal clips with blue videos and clips of non-digital or lost television programmes with black videos in their video poster. We found evidence for an availability paradox: students let not only their selection of programmes and clips, but also the demarcation of their entire canon, be reliant on the digital, online availability of audiovisual material. At the same time, they explicitly did not want to be restricted by unavailability. In this article we stress the need for more open data and the importance of training digital literacy skills.
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Llamas, Regina. "Wang Guowei and the Establishment of Chinese Drama in the Modern Canon of Classical Literature." T'oung Pao 96, no. 1 (2010): 165–201. http://dx.doi.org/10.1163/156853210x515675.
Повний текст джерелаАнотація:
AbstractThis essay examines the process by which Wang Guowei placed Chinese dramatic history into the modern Chinese literary canon. It explores how Wang formed his ideas on literature, drawing on Western aesthetics to explain, through the notions of leisure and play, the impetus for art creation, and on the Chinese notions of the genesis of literature to explain the psychology of literary creation. In order to establish the literary value of Chinese drama, Wang applied these ideas to the first playwrights of the Yuan dynasty, arguing that theirs was a literature created under the right aesthetic and creative circumstances, and that it embodied the value of "naturalness" which he considered a universal standard for good literature. By producing a scholarly critical history of the origins and nature of Chinese drama, Wang placed drama on a par with other literary genres of past dynasties, thus giving it a renewed status and creating at the same time a new discipline of research. Drama had now become an established literary genre.
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Vasilieva, T. "Features of the Japanese genre of hokku in the works by K. Utkin." SHS Web of Conferences 134 (2022): 00086. http://dx.doi.org/10.1051/shsconf/202213400086.
Повний текст джерелаАнотація:
The paper presents the study of the poetics of the Japanese genre of hokku in the works by the famous Yakut poet, philosopher and culture expert Ksenophont Dmitrievich Utkin. The features of compliance with the canons of Japanese poetry have been identified: adherence to the basic rules and traditions (stylistic, stanza and compositional criteria), aesthetic principles and categories, semantic structure. The national specifics of mastering the genre, which is manifested in the disclosure of the image, sound pattern, and the desire to express the national perception of the world. The study yielded the conclusion that mastering of hokku in Yakut poetry is primarily based on traditional features. The studied examples are close to the typology of the original in terms of formal and compositional principles: the two-part structure of the work, the stanza and syllabic canon. The poet adheres to the thematic features associated with the description of nature, the world and the state of mind of the lyric hero. A typological similarity between the studied hokku and Japanese poetics is observed in adherence to aesthetic principles (yugen, shiori, engo), the use of seasonal words, vagueness, allegory and symbolism. The need for knowledge of the traditional culture brings the works closer to Japanese poetry. Yakut works are characterized by a special rhyme, the role of alliteration and national interpretation of images, and the material and spiritual components of the Yakut worldview.
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MATHEWS, MARK D. "The Genre of 2 Peter: A Comparison with Jewish and Early Christian Testaments." Bulletin for Biblical Research 21, no. 1 (January 1, 2011): 51–64. http://dx.doi.org/10.2307/26424414.
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Abstract Commentators frequently default to the thesis that 2 Peter belongs to the testament genre and would have been readily received as a pseudepigraphical writing by the early church. It is also argued that later framers of the NT canon would not have recognized the Jewish nature of the convention and thus, after much debate, received it as genuine. This essay compares the so-called testamentary features of 2 Peter with Jewish and early Christian testaments and demonstrates that it is unlikely that either of these positions is sustainable.
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Fernández Jiménez, Mónica. "Defying Absolutes and Essentialism in Derek Walcott’s Omeros: An Epic of Traces." Miscelánea: A Journal of English and American Studies 62 (January 25, 2021): 29–47. http://dx.doi.org/10.26754/ojs_misc/mj.20205150.
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Using poststructuralist and postmodern theory, this article analyses the postcolonial epic poem Omeros (1990) by the author Derek Walcott. In using such a genre, Derek Walcott opens up a discussion on the literary canon and the role of epics. The authority of canonical genres is established through the use of some of the epic’s formal conventions in order to be subsequently questioned through the subversion of some others relating to register and perspective. In this way, Walcott establishes a poststructuralist approach to identity which is perceived as fluid, heterogeneous, and subject to transformations. The intertextuality and parody at work in the text bring to light postmodern concerns about history and the past, which are presented as non-absolute traces. In the end, the epic recovery of roots becomes in this poem an invocation of anti-essentialism.
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Lozhkina, Anastasiya V. "Kathāvatthu (“Points of Controversy”) as a Primary Source of Early Buddhist Philosophy." Russian Journal of Philosophical Sciences 63, no. 12 (March 25, 2021): 81–101. http://dx.doi.org/10.30727/0235-1188-2020-63-12-81-101.
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This article focuses on the under-researched Buddhist text Kathāvatthu (“Points of Controversy”) and aims to better determine its place within Indian philosophy. We consider how the text was compiled, its contents, and main characteristics (such as its genre, its classification lists – mātika). To understand some of those characteristics, we suggest viewing them as shared with the whole Pali Canon (a large body of heterogeneous texts, of which the Kathāvatthu is part). This article also illustrates the issues of translating religious and philosophical texts from the Pāli language. Particularly, we highlight that the Kathāvatthu belongs to the part of Pāli Canon known as the Abhidhamma Piṭaka, and consider how this influences the philosophical discourse presented in this text. We analyze the historical and philosophical content of the Kathāvatthu. We argue that such content of this work is consistently revealed in the discussion of issues controversial for the schools of Early Buddhism. At the beginning of the text, there are the most significant questions for Early Buddhism (about the subject (pudgala), about the one who has reached perfection – arhat). As we get closer to the end of the text, the importance of the issues discussed diminishes. Its final part contains the latest questions. The discussion in each question depends on the logical method of the eight refutations, the use of lists (mātika), and the position of the Theravada school to which the final version of the text belongs. In the article, special attention is paid to the determination of the Kathāvatthu genre. We conclude that the genre of this work can be considered as a unique example of religious and philosophical dialogue in Early Buddhist literature.
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Virginás, Andrea. "Film genre patterns and complex narrative strategies in the service of authorship." Literatura i Kultura Popularna 24 (April 18, 2019): 25–37. http://dx.doi.org/10.19195/0867-7441.24.3.
Повний текст джерелаАнотація:
Film genre patterns and complex narrative strategies in the service of authorshipFrom the Euro-American canon of contemporary filmmaking a selection of films has been made, the directors of which transition from low-budget, arthouse, regional first features made in the years 1997–1998 mainly Cube and Pi, with occasional references to Run, Lola, Run and Following to big-budget, Hollywood-funded blockbusters presented in the years 2009–2010 Splice and Black Swan, occasionally referring to The International and Inception. Within this framework the issue of how generic patterns are used by these directors fond of narrative complexity is discussed. While in the debut features narrative complexity is the main issue, leading to a revisionist usage of sci-fi Natali and psychological thriller/horror Aronofsky, as well as action film Tykwer and noir detection film Nolan, in the 2009–2010 blockbusters narrative complexity is hidden behind apparently sincere generic imitation. This latter procedure, on closer inspection, reveals the allegorical recreation of genres as types as defined by Laetz and McIver Lopes in The Routledge Companion to Film and Philosophy. The aim is to examine narratively complex designs as tools in establishing the authorial names of these directors, based on their first features, with attention paid to the consistency of film genres referenced.
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Holquist, Michael. "Presidential Address 2007: The Scandal of Literacy." PMLA/Publications of the Modern Language Association of America 123, no. 3 (May 2008): 568–79. http://dx.doi.org/10.1632/pmla.2008.123.3.568.
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As I was preparing to leave for Chicago, I read the latest PMLA special-topic issue, Remapping Genre, coordinated by Wai Chee Dimock and Bruce Robbins. So, impressed once again by the power of the concept of genre, I begin by remarking the form of what I am doing here tonight. That genre is, of course, something called an MLA presidential address. There have been 116 such addresses since 1883, when forty professors met at Columbia to found the MLA. As the 117th president in this long line, I prepared for this evening by doing a small study of what my predecessors have written for the occasion over more than a century. Such a study, I might add, is very much part of the genre. Certain features of the canon are persistent enough to catch the eye of even the most casual student of the form. The dominant structure of an MLA presidential address is an arrangement that goes back at least to the Sophists: it is an argument arranged as a contest between two antitheses. Over the years, the dichotomies have changed, but the template of binary opposition has remained improbably constant.
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Hughes, Aaron. "Presenting the Past: The Genre of Commentary in Theoretical Perspective." Method & Theory in the Study of Religion 15, no. 2 (2003): 148–68. http://dx.doi.org/10.1163/157006803765218227.
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AbstractThis article provides a theoretical discussion of the genre of commentary writing. Rather than examining the role of commentary in a specific religion, it attempts to articulate a set of useful questions to begin the process of rethinking what this genre is and, in the process, help create a theoretical vocabulary and conceptual framework for an analysis of commentary from the history of religions. The article is divided into three parts. The first broadens the traditional concept of a "canon", ostensibly the raw data upon which the commentary imposes a taxonomy. The second argues that the human condition, what Heidegger calls the way in which we are thrown into the world, demands that we interpret it. Finally, it is suggested that commentary is fundamentally about location or space, thereby providing the classificatory schema that is necessary for contextualizing both past and present. The main goal of this article is to problematize the current discussion of commentary in a theoretical way.
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Bolshakova, Alla. "THE SHEPHERD AND THE SHEPHERDESS: V. Р. ASTAFIEV’S MODERN PASTORAL IN THE CONTEXT OF GENRE TRADITIONS". Проблемы исторической поэтики 19, № 1 (лютий 2021): 375–407. http://dx.doi.org/10.15393/j9.art.2021.9122.
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The purpose of this article was to consider the movement of literature through the genre metamorphoses as a category that transforms in its immutability. Consequently, the author’s task was to study the modifications of the genre of love idyll using the example of Modern Pastoral ву V. P. Astafiev’s (The Shepherd and the Shepherdess) in the context of works about love that had emerged in Antiquity and the Middle Ages. This task is carried out using the example of the initial samples of the love idyll genre in prose, as well as a theoretical justification of the unity of love idyll and pastoral as its main type (M. M. Bakhtin), which make up a single line of genre tradition. The article demonstrates the productivity of genre splices, i. e. the initial actualization of the love idyll genre in combination with the novel (Daphnis and Chloe, The Romance of Tristan and Iseult) and the story (The Tale of Peter and Fevronia, The Shepherd and the Shepherdess). The correlation between the ancient pastoral and Astafiev’s Modern Pastoral was noted in literary studies, albeit poorly justified, while the implementation of the traditions of the love idyll set by the above-mentioned medieval models remained beyond the scope of research. The study tested the typological resemblance of genre models, their similarities in themes, plot, and imagery, which allowed to include characters in the range of enamoured couples that have largely determined the development of world literature. The article focused on the debated question of the validity of the writer’s definition: Modern Pastoral. As a result, the study tested the productivity of Astafiev’s update to the genre canon; the validity of the genre naming by the writer, with regard to the modification made by him.
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Thelwall, Mike, and Karen Bourrier. "The reading background of Goodreads book club members: a female fiction canon?" Journal of Documentation 75, no. 5 (September 9, 2019): 1139–61. http://dx.doi.org/10.1108/jd-10-2018-0172.
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Purpose Despite the social, educational and therapeutic benefits of book clubs, little is known about which books participants are likely to have read. In response, the purpose of this paper is to investigate the public bookshelves of those that have joined a group within the Goodreads social network site. Design/methodology/approach Books listed as read by members of 50 large English-language Goodreads groups – with a genre focus or other theme – were compiled by author and title. Findings Recent and youth-oriented fiction dominate the 50 books most read by book club members, whilst almost half are works of literature frequently taught at the secondary and postsecondary level (literary classics). Whilst J.K. Rowling is almost ubiquitous (at least 63 per cent as frequently listed as other authors in any group, including groups for other genres), most authors, including Shakespeare (15 per cent), Goulding (6 per cent) and Hemmingway (9 per cent), are little read by some groups. Nor are individual recent literary prize winners or works in languages other than English frequently read. Research limitations/implications Although these results are derived from a single popular website, knowing more about what book club members are likely to have read should help participants, organisers and moderators. For example, recent literary prize winners might be a good choice, given that few members may have read them. Originality/value This is the first large scale study of book group members’ reading patterns. Whilst typical reading is likely to vary by group theme and average age, there seems to be a mainly female canon of about 14 authors and 19 books that Goodreads book club members are likely to have read.
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Siekiera, Rafał. "Reportorial or Essayistic Paradigm? – a Few Remarks about the Sports Report." Acta Universitatis Lodziensis. Folia Litteraria Polonica 35, no. 5 (April 27, 2017): 103–13. http://dx.doi.org/10.18778/1505-9057.35.08.
Повний текст джерелаАнотація:
The article attempts to decide whether the sports report is more about the information or the commentary. On the basis of an analysis of press material, the author examines different characteristics of the genre and tries to determine their compatibility with the news canon. As the analysis shows, the contemporary sports report is less about news and more about commentary, interpretation and evaluation. Journalists tend to summarize the competition and briefly describe the course of events. It makes the sports report similar to press comment and review.
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Hołobut, Agata, and Olga Hołownia. "Vestibules to the “world of topsyturvydom” – paratexts in nonsense anthologies." European Journal of Humour Research 5, no. 3 (November 21, 2017): 4. http://dx.doi.org/10.7592/ejhr2017.5.3.holownia.
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In this article we examine eighteen selected nonsense anthologies published in the UK since the 1920s, working on the assumption that they define, re-shape and visually reinterpret the genre for a general audience in parallel to scholarly approaches to nonsense. In the first part of our paper we look at the process of anthologising and its main functions, followed by an overview of key nonsense anthologies. In the second part, we inspect peritexts that influence the reception of these collections and, by extension, the perception of literary nonsense, looking specifically at book titles, cover designs, tables of contents, prefaces and postfaces. In doing so we hope to reveal the implied reader of the anthologies, comment on their coverage relative to the established Victorian canon and recognise the distinctive features of the genre, foregrounded by the anthologists’ editorial and aesthetic choices.
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Ivleva, Krasimira. "Horizon poétique/projet traductif." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 1 (June 29, 2017): 65–88. http://dx.doi.org/10.1075/babel.63.1.05ivl.
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Résumé Cet article examine comment le canon poétique et traductif dans la Bulgarie communiste a influencé non seulement la sélection des auteurs et des titres à traduire, mais aussi la manière dont on traduit. L’analyse s’appuie sur un recueil de poèmes de Paul Éluard traduits en bulgare en 1953. Lorsque l’œuvre d’Éluard fut publiée en Bulgarie, la poésie politiquement engagée était un genre qui existait déjà dans la littérature bulgare et qui était très apprécié par le canon. Cependant, il y avait une différence substantielle entre la manière dont les poèmes politiques étaient écrits en Bulgarie et l’expression poétique d’Éluard, ce qui a eu un impact sur la traduction. Les traducteurs s’écartaient de l’original de deux manières. Premièrement, ils intégraient une vision idéologique des poèmes d’Éluard en ajoutant ou en soulignant certaines images secondaires ou inexistantes dans l’original. En outre, ils réduisaient les métaphores complexes d’Éluard à des images standard à connotation révolutionnaire et militante. Deuxièmement, les traducteurs ajoutaient des nuances poétiques à l’écriture sobre de l’original. Des rythmes et des rimes étaient introduits, ainsi qu’un vocabulaire archaïque et des inversions poétiques. Ces écarts peuvent s’expliquer par l’impact que le canon littéraire au sens large et les projets du traducteur individuel exerçaient sur la pratique de la traduction dans la Bulgarie communiste.
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Neel, Carol. "Man‘s Restoration: Robert of Auxerre and the Writing of History in the Early Thirteenth Century." Traditio 44 (1988): 253–74. http://dx.doi.org/10.1017/s0362152900007078.
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The historical work of the Premonstratensian canon Robert of Auxerre († 1211) was one of the most influential of medieval chronicles. Vincent of Beauvais († 1264) borrowed heavily from it inSpeculum historiale, the final section of his great encyclopedia. The content of the Auxerre chronicle, extant in its independent version in relatively few manuscripts, thus contributed to an essential element in the textual foundation of later medieval education. The shape of Robert's narrative, however, differed from that of Vincent's treatment of history. The canon of Auxerre wrote in an old genre and for a traditional end. His was the kind of monastic chronicle that had for centuries affirmed for Benedictine and reform congregations their connection to venerable tradition, and traced for them the workings of providence in time. Vincent's work, on the other hand, set the record of human experience alongside compendia about the divine and natural worlds. It thus represented the historiographical fulfillment of the thirteenth century's ambition to systematize knowledge.
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Auken, Sune. "On Genre as Social Action, Uptake, and Modest Grand Theory." Canadian Journal for Studies in Discourse and Writing/Rédactologie 30 (August 20, 2020): 161–71. http://dx.doi.org/10.31468/cjsdwr.823.
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Carolyn Miller’s (1984) “Genre as Social Action,” the primary topic—or target—of Anne Freadman’s brilliant and thought-provoking article, holds a special place in genre research. If I pick up an unknown piece of research on genre, the first thing I do is look for Miller’s article in the bibliography. If it is not there, the text in my hand will probably be of little of value to my work for lack of orientation. Moreover, as Freadman (2012) notes, convention in genre research suggests that when you mention the article, it is in good form to add a positive qualifier. It will often be framed as having “formative influence” (MacNeil, 2012), as a “landmark essay” (Feinberg, 2015), or as “seminal” (Andersen, 2008; Devitt, 2009a; Motta-Roth & Herbele, 2015; Møller, 2018; Paré, 2014; Tachino, 2012), “groundbreaking” (Bawarshi, 2000; Smart, 2003; Winsor, 2000), or “oft-cited” (Devitt, 2009b). More than just paying lip service to the greats in the field, adding this qualifier demonstrates that the author knows her way around Rhetorical Genre Studies and is mindful of Miller’s central place within it. This status as a classic text is in itself an example of the bidirectionality of uptake that holds a central place in Freadman’s work. “Genre as Social Action” could not be canonical when it was first published. A canon had to form, and the article’s central place within it had to be recognized by later researchers, before Miller’s text could be taken as oft-cited, seminal, or groundbreaking.
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Lastovets, Mariia, Valentyna Myronova, Oksana Koshchii, and Nataliia Korolova. "Neo-Latin poetry of Ukraine: literary and stylistic syncretism." Revista Amazonia Investiga 10, no. 41 (June 29, 2021): 10–18. http://dx.doi.org/10.34069/ai/2021.41.05.1.
Повний текст джерелаАнотація:
The article considers the literary and stylistic peculiarities of Neo-Latin poetry in seventeenth to eighteenth-century Ukraine. Latin poetry of that time is marked by variability and diversity of genres, for it logically continued the classical traditions and at the same time was influenced by the aesthetics and poetics of the Baroque due to the interlingual contacts. The Latin language was supposed to be the main criterion of the high style in a poetry. As for the genre peculiarities, Neo-Latin poetry tended to panegyrics as the literature "fashion" of that epoch, when the poets expressed their gratitude and admiration to the philanthropists, whereas the elegic poems were the part of poetic courses to illustrate the genre. It explains the freedom and fantazy which are present in panegyric poetry and classical canon which served for writing elegies. The period of the seventeenth to the eighteenth century was an absolutely disparate one in both the political and social life of Ukraine. Rapid development of events, dramatically changing realia and values shaped very special attitudes to life with the contemporaries, in particular with Kyiv intellectual poets who wrote a significant number of works in Latin. Analysis of these works enables to characterize the development of the Latin language in Ukraine and consider Neo-Latin poetry of Ukraine as a part of the Western European literary and language unity.
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Škvorc, Boris. "On Kim Young-ha and his Novels." Cross-cultural studies review 2, no. 3-4 (2021): 31–40. http://dx.doi.org/10.38003/ccsr.2.1-2.1.
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This article is based on the Foreword to the translation of the novel I Have Right to Kill Myself. It is focused on the notes about above mentioned novel, but also discusses the contemporary Korean novels, the opus of Kim Young Ha, and the place of this novelist and his work in contemporary world literature. It also provides some insight in cross cultural ties between tradition of what is called “western canon” and East Asian adaptation of the genre of novel, as developed in Modernism and Post-modern “condition” of Anthropocene.
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Zanotti, Pierantonio. "Playing the (International) Movie: Intermediality and the Appropriation of Symbolic Capital in Final Fight and the Beat ’em up Genre." Eludamos: Journal for Computer Game Culture 9, no. 1 (September 19, 2018): 47–74. http://dx.doi.org/10.7557/23.6165.
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Final Fight (Capcom 1989) is a famous example of a video game genre generally known as “beat ’em up” or “brawler,” a type of action game where the player character must fight a large number of enemies in unarmed combat or with melee weapons. The side-scrolling beat ’em up genre reached the peak of its global popularity in the late 1980s and early 1990s, a period sometimes referred to as the genre’s “golden age.” Set in a contemporary, urban setting, Final Fight has a storyline that revolves around three playable heroes who attempt to rescue a young woman from the clutches of a criminal gang. Although likely the most influential and among the best games in this genre, Final Fight did not found the beat ’em up genre by itself: it was produced within the context of a specific, albeit recent, textual tradition and canon. This canon consisted of texts produced within the same medium (i.e. other video games, mostly of Japanese production) but also drew from an intermedial corpus. In its design and narrative tropes, Final Fight inherited and incorporated a number of elements from Hollywood action cinema that had been translated into the newer digital medium of video game. To trace a history of the beat ’em up genre from its origins to Final Fight, I address in this paper questions on three levels. On the intertextual level, what are the textual antecedents of Final Fight? What were the formal and stylistic conditions of possibility for this game within the history of the genre and the medium? What are the game’s intermedial connections, especially with films? To answer these questions, I trace a tentative genealogy, focusing on the narrative and representational elements of the game. Specifically, I examine storylines, characters and settings and their relationship with the structural properties of beat ’em up gameplay. On the “(v)ideological” (Gottschalk 1995) level, what value systems are put into play in a classic beat ’em up game? In what ways are the player’s choices axiologised? What conduct is rewarded or sanctioned? Which actions can the player’s avatar perform, and for which purposes? In what contemporary discursive formations did Final Fight participate as a textual device for the actualisation of ideologically non-neutral fictional conduct? I attempt to map the value system inscribed in this video game genre that, in turn, articulates it as a game (i.e. as a system of stakes, rules, sanctions, and rewards). On the historical level, what were the industrial and commercial conditions entailed in the production of a game such as Final Fight? To the (actual or virtual) satisfaction of what demands, both material and symbolic, was it designed? Answering these questions calls for an analysis of the so-called “context,” which I consider to be a historical and social meta-narrative. In this respect, my research mostly focuses geographically and historically on the Japanese video game market of the 1980s and its transnational connections. Starting with the (mainly cinematic) dissemination of transnational imaginaries of “street violence” and “vigilantism” against the background of large, modern American cities during the 1970s and 1980s, I attempt to show that Final Fight is an instance of the incorporation of these imaginaries into video games. More generally, I argue that, with various degrees of success, the classic beat ’em up games produced in Japan carried out a function of symbolic appropriation and redistribution at a local level as they remediated a cinematic textual canon (which was, for a significant part, of foreign origin) into the video game medium. As video games, these texts shifted the focus of this appropriation from spectatorship to the forms of active agency prescribed in gameplay. The player thus appropriated control not only on a character in a game but also of an entire cinematic canon which, in the Japanese context, appeared rich in symbolic capital and marked by “American-ness.” The movies that inspired the classic beat ’em up came from Hollywood, one of the “Greenwich Meridians” (Casanova 2004) in the global cultural industry during the 1970s and 1980s, likely the last decades of what some scholars have called “the era of high Americanization” (Iwabuchi 2002). Video games were, in other words, the means by which a portion of the Japanese cultural industry could so successfully appropriate the symbolic capital of Hollywood products that these Japanese games transcended the borders of the Japanese national market and became big hits in the “West.”
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Zhirkova, Marina. "EASTER SHORT STORIES BY A. I. KUPRIN." Проблемы исторической поэтики 20, no. 1 (February 2022): 275–95. http://dx.doi.org/10.15393/j9.art.2022.10522.
Повний текст джерелаАнотація:
Easter motifs permeate all of Kuprin's work and reflect the trends characteristic of the development of the Easter genre in Russian literature as a whole. Early short stories point to the crisis of the genre: “Bonze” contradicts the Easter canon; irony appears in the short stories “By order”, “My passport”, “Family style”, “Grass.” They contain mandatory elements of the genre: are timed to Easter, possess a special festive mood, tenderness and emotion, and display a spiritual renewal of the characters. In some of the short stories written in 1911–1916 (“Easter Eggs”, “Holy Lies”, “Daddy”) a comic component appears: satire intensifies, and irony turns into sarcasm. Traditional Easter plots seem banal, and therefore fake and feigned, resembling a parody of the genre. In exile, the writer again turns to the Easter genre: he writes “Moscow Easter” and “Easter Bells.” The author himself craves the enlightenment and transformation that Easter brings, creativity becomes salvation, bringing light and joy to the writer who is longing far from his homeland. Memories of childhood or youth become the basis of most Easter story plots. After all, a naive and sincere belief in miracles persists in children for a long time, they very keenly experience the joy that this holiday brings with it, while adults eventually lose this childish faith in miracles, and their life-drained, hardened souls become cold and still. Memories can be different, they are not always joyful or happy, but it is the experience of these memories, the immersion in the past that creates a special festive mood and promotes spiritual purification and transformation.
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SITBON, CLARA. "A pulizziesca : genèse du roman policier corse." Australian Journal of French Studies 59, no. 1 (January 1, 2022): 8–19. http://dx.doi.org/10.3828/ajfs.2022.02.
Повний текст джерелаАнотація:
The rise of regional detective novels in Europe has generated an expanding interest, as is evident in the proliferation of scholarship on works in this genre. One type of crime narrative, however, escapes this rule: Corsican crime fiction. Because it is part of unique editorial, literary, cultural, political, and linguistic dynamics, Corsican crime fiction raises important questions about the future of regional literature within a national, international, and transnational literary canon. This article proposes a genesis of the Corsican detective novel; through a recontextualization of the genre in both the literary context of the island and the generic context of the detective novel, it will demonstrate how the serialization effect typical of crime fiction, coupled with the intrinsic plurality of the notion of authenticity, allows Corsican crime fiction to redefine the codes of the traditional detective novel and bring a new facet to the broader notion of Mediterranean Noir in its insular form known as the pulizziesca.
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Byrne, Philippa. "Cutting out the camel-like knees of St. James: the de viris illustribus tradition in the twelfth-century renaissance." Historical Research 94, no. 264 (April 5, 2021): 191–212. http://dx.doi.org/10.1093/hisres/htab001.
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Abstract This article examines the revival of the de viris illustribus genre in the twelfth century. These catalogues of the most important Christian authors were modelled on a template created in late antiquity by Jerome, but adopted new attitudes to what constitutes distinguished Christian literary activity. They regard the editing, collecting, and re-ordering of texts as equal to the composition of new works, and recognize legal codification as a noteworthy activity. As such, they represent the broadening out of a Latin Christian literary canon. These texts complicate our ideas about the relationship between ‘authority’ and ‘amplification’ in the twelfth-century renaissance.
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Coletti, Fabien. "AUX ANTIPODES DE LA LITTÉRATURE ANTIPPUTANESCA VÉNITIENNE." Revista Internacional de Culturas y Literaturas, no. 15 (2014): 200–221. http://dx.doi.org/10.12795/ricl.2014.i15.17.
Повний текст джерелаАнотація:
Cet article est l´édition critique des Stanze in lode delle più famose cortigiane di Venegia par Marco Bandirini, publiés à Vénice à 1540, dont l´exemplaire est part de la collection de la British Library. Comme ses oeuvres montrent, l´auteur, partisan d´Ariosto, est plus intéressant pour comprendre les modes littéraires du temps que par son valeur poétique. En suivant le genre de las Stanze in lode di nobildonne, il loue ainsi les courtisanes plus célèbres de Vénice comme modéles de vertu et honnêteté, loin des canon de la poésie pornographique par Pietro Aretino ou Lorenzo Venier.
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Antsyferova, Olga. "Rethinking the biographical canon: Silences and gaps in Colm Tóibín’s "The Master"." Beyond Philology An International Journal of Linguistics, Literary Studies and English Language Teaching, no. 16/2 (June 20, 2019): 7–23. http://dx.doi.org/10.26881/bp.2019.2.01.
Повний текст джерелаАнотація:
Over the last number of decades, the biographical canon has become the focus of scholarly attention for several reasons: revision of the essential concepts of (self)-identity, keen interest in liminal literary forms, searches for new forms of assessment of the artist’s creative output and new interpretive methodologies. Biofiction as a genre encompassing both documentary and fictional elements represents not only the biographical subject proper but also the author’s subjective orientation. The case study of a recent biofiction about Henry James (“The Master” by the Irish gay writer Colm Tóibín) suggests that silence as a semiotic practice and cognitive failure plays an important role in this particular example of the numerous biographies of James and functions not to uncover the sites of suppression of a presumably gay protagonist but acquires a universal, ontological meaning, signifying the fatal solitude of the artist, which is very close to the main credo of James’ own writing.
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Navetnaya, Anna P. "The Traditional and the Innovative in the Dramaturgy and Composition of Béla Bartók’s Ballets." Observatory of Culture 17, no. 6 (February 10, 2021): 626–37. http://dx.doi.org/10.25281/2072-3156-2020-17-6-626-637.
Повний текст джерелаАнотація:
This article investigates the development of the 20th century ballet genre on the example of the Hungarian composer Béla Bartók (1881—1945). The study aims to reveal the features of B. Bartók’s ballets in the context of trends in Western European art of the 20th century and to show the composer’s innovative techniques. The article identifies specific musical formative means that reflect the genre definition of “pantomime”, and emphasizes his innovation. The early 20th century ballet art is an extremely bright phenomenon associated with the active search for new ways of developing the genre, which took place at the turn of the 19th and 20th centuries. Classical ballet, which had reached its peak in the works of the Russian ballet school and the works of M. Petipa, was suddenly recognized as outdated and unviable. The new generation of choreographers sought to refute, to a certain extent, the genre’s old laws. The idea of searching for new means of expression became the leading one, and the canon of classical choreography was replaced by pantomime and a new unusual dance technique, which later became known as modern dance. B. Bartók’s ballets “The Wooden Prince” (1917) and “The Miraculous Mandarin” (1919) are examples of the new type of ballet performance of the early 20th century. The article shows that the composer focused on creating a symphonic score corresponding to the ideas of pantomime. His appeal to this had been primarily dictated by the librettos themselves, in which B. Balázs and M. Lengyel had defined the work character in this way. Naturally, the rejection of classical ballet’s traditional forms influenced the works’ compositional features. The article demonstrates that the scores of “The Wooden Prince” and “The Miraculous Mandarin” are distinguished by a new approach to the musical structure, in which the principles of instrumental forms play a significant role. At the same time, each of the ballets expresses the dialectical pair of “canon and heuristic” in its own way: “The Wooden Prince” retains to a certain extent the flair of classical ballet; in “The Miraculous Mandarin”, this genre pattern is violated almost ostentatiously. In this work, B. Bartók’s appeal to such an anti-classical subject reflects the era’s new trends associated with the artistic movement of expressionism. In the Hungarian composer’s ballets, the dualism of the traditional and the innovative gives rise to a different type of ballet score itself.