Relevant bibliographies by topics / Genette, Gérard

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  2. Dissertations / Theses
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Academic literature on the topic 'Genette, Gérard'

Author: Grafiati
Published: 4 June 2021
Last updated: 15 February 2022

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Journal articles on the topic "Genette, Gérard"

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Compagnon, Antoine, Philippe Roger, and Sabrina Valy. "Gérard Genette." Critique 778, no. 3 (2012): 243. http://dx.doi.org/10.3917/criti.778.0243.

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Verrier, Jean. "Gérard Genette (1930-2018)." Le français aujourd'hui 201, no. 2 (2018): 195. http://dx.doi.org/10.3917/lfa.201.0195.

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Combe, Dominique. "Situation de Gérard Genette." Nouvelle revue d’esthétique 26, no. 2 (2020): 21. http://dx.doi.org/10.3917/nre.026.0021.

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Thiher, Allen. "Seuils by Gérard Genette." L'Esprit Créateur 27, no. 3 (1987): 100. http://dx.doi.org/10.1353/esp.1987.0007.

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Hanania, Cécile. "Codicille by Gérard Genette." French Review 84, no. 2 (2010): 395–96. http://dx.doi.org/10.1353/tfr.2010.0097.

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Motte, Warren. "Apostille by Gérard Genette." French Review 86, no. 4 (2013): 786–87. http://dx.doi.org/10.1353/tfr.2013.0302.

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Motte, Warren. "Épilogue par Gérard Genette." French Review 89, no. 3 (2016): 220–21. http://dx.doi.org/10.1353/tfr.2016.0363.

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Didipu, Herman. "TEORI NARATOLOGI GÉRARD GENETTE (TINJAUAN KONSEPTUAL)." TELAGA BAHASA 7, no. 2 (2020): 163–72. http://dx.doi.org/10.36843/tb.v7i2.58.

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Artikel ini bertujuan menguraikan pokok pemikiran konseptual teori naratologi Gérard Genette. Pokok pemikiran teori naratologi Gérard Genette dituangkan dalam bukunya yang berjudul Narrative Discourse: An Essay in Method. Genette mengusulkan untuk menggunakan tiga istilah yang berbeda. Pertama, kata story ‘cerita’ yang menjadi signified ‘petanda’ atau konten narasi. Istilah story ini sepadan dengan kata histoire (Prancis) dan geschichte (Jerman). Kedua, kata narrative ‘naratif atau penceritaan’ sebagai signifier atau penanda, pernyataan, wacana atau sebagai teks naratif itu sendiri. Istilah na
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Coelho, Ana Amelia Barros. "Bardradrac: ABC de Gérard Genette." Revista Criação & Crítica 2, no. 2 (2009): 83. http://dx.doi.org/10.11606/issn.1984-1124.v2i2p83-87.

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Pardo Jiménez, Pedro. "Gérard Genette de Bardadrac a Postscript." Anales de Filología Francesa 27, no. 1 (2019): 243–56. http://dx.doi.org/10.6018/analesff.365121.

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Conocido hasta entonces por sus estudios de poética y de estética, Gérard Genette publica en 2006 Bardadrac, una especie de diccionario informal en el que se recogen recuerdos de infancia y juventud, anécdotas de la vida profesional y personal, experiencias de viajes, reflexiones sobre la sociedad contemporánea, ideas sobre el arte y la literatura, opiniones sobre los temas más diversos, inventarios de usos lingüísticos peculiares, etc. Este libro inicia una serie auto(bio)gráfica que a lo largo del siguiente decenio se completa con cuatro volúmenes más –Codicille (2009), Apostille (2012), Épi
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Dissertations / Theses on the topic "Genette, Gérard"

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Racine, Sylvain. "En quoi la narration dans le romanL’Élégance du hérisson permet de bien rendre lamétaphore du « bocal à poissons »? : Une analyse narratologique." Thesis, Högskolan Dalarna, Franska, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:du-19523.

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Sur la base des travaux de Gérard Genette, en particulier Figures III, uneanalyse narratologique du roman L’Élégance du hérisson (2006) de l’auteur MurielBarbery a été effectuée afin de comprendre les liens qu’il y a entre les spécificités dumode narratif et leurs effets sur l’espace du récit, soit « le bocal à poissons », unemétaphore importante du roman. Ultimement nous répondons à la question suivante :En quoi la narration dans le roman L’Élégance du hérisson permet-elle de bien rendrela métaphore du « bocal à poissons »?<br>Based on Gérard Genette’s work, particularly Figures III, anarrato
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Johansson, Carl. "Berättelsens framhävda existens : En läsning av Patrick Rothfuss två romaner The Name of the Wind och Slow Regard of Silent Things." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49903.

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Sundman, Emil. ""Hora, men också kvinna" : En analys av hur mordoffret tecknas i Leif G.W. Perssons Profitörerna." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-35236.

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Olsson, Felicia. "The Flourishing Epiphany of “The Garden Party” : A Narratological Investigation of the Concept Epiphany in Katherine Mansfield’s Short Story “The Garden Party”." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49208.

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This essay examines the protagonist of Katherine Mansfield’s “The Garden Party” (1922), Laura, and her experiences of events that are made insignificant by the rest of the narrative. Gérard Genette’s narratological theory and the concept of epiphany is put forward in the theroertical framework in order to preform this investigation. Morris Beja’s and Liesl Olson’s studies of the epiphany in modernist literature assists the investigation. Thus, with the support of Genette’s narratological theory and the concept of epiphany, this essay examines epiphanic moments in “The Garden Party”. It will al
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Wells, Catherine. "Les métamorphoses narratologiques dans Chronique des sept misères et Solibo magnifique, une étude postclassique de Gérard Genette et de Patrick Chamoiseau." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ63470.pdf.

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Eriksson, Evelina. ""If you're a normal kid, reading this because you think it's fiction, great. Read on." : En komparativ narratologisk analys av berättare och narrat i Rick Riordans The Lightning Thief och The Lost Hero." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-179612.

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Syftet med denna uppsats är att undersöka berättarna och narraterna i Rick Riordans The Lightning Thief (2005) och The Lost Hero (2010), samt att se vilka implikationer de har på berättandet i sig självt. Uppsatsen fokuserar på en komparativ undersökning av romanerna i fråga, och gör allt detta från en narratologisk utgångspunkt. Det narratologiska perspektivet kommer framför allt ifrån Gérard Genettes Narrative discourse och hans termer extra-, intra-, hetero- och homodiegetiskt berättande. Studien av narraten gör detsamma men med Gerald Prince artikel ”Introduction to the Study of the Narrat
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Eklöf, Fredrik. "Med tiden på sin sida : Narratologi, retorik, och moral i Julian Barnes The sense of an Ending." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-225293.

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Jag vill i den här uppsatsen lyfta fram olika berättartekniska aspekter i romanen, och visa hur dessa samverkar med varandra samt ger extra dimensioner till idéinnehållet. För att uppnå det vill jag använda mig av flera ingångar – såväl narratologiska som retoriska – för att på det viset framhäva flera olika effekter.
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Näckdal, Anton. "Den berättande texten : En narratologisk studie av Toni Morrisons Beloved." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-37499.

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This essay is a close-reading study of Toni Morrison's novel Beloved. The purpose of this essay is to investigate and describe Gérard Genette's narratological theories and their function in the novel when looking at how the story is told. The questions that are being answered are how flashbacks actually affect the chronological order of events and who the narrator is that’s telling the story. The methods that are being used in the report are a close-reading of Beloved and making a selection of previous research. The selected research will show an overview of some examples of areas and theories
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Kallin, Marianne. "La función de los narradores en Cinco sombras de Eulalia Galvarriato." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-31469.

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Zakari, Amal. "La critique française et le roman arabe : étude comparative entre la théorie de Genette et la pratique de Mahfouz." Metz, 1996. http://docnum.univ-lorraine.fr/public/UPV-M/Theses/1996/Zakari.Amal.LMZ9601.pdf.

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La "difficulté" n'est pas une notion spécifique à la didactique des langues, pourtant elle est omniprésente dans les discours tenus sur l'enseignement apprentissage. L'objectif de cette présente recherche est de cerner cette notion, de découvrir ce a quoi elle s'applique dans l'acte d'enseignement apprentissage et d'appréhender la place et les valeurs qui lui sont attribuées à l'intérieur du champ du f. L. E. De 1980 a 1990. La revue le francais dans le monde, symbole de la constitution de ce champ, a été systématiquement dépouillée, pour les numéros 150 a 237, de manière à relever les réalisa
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Books on the topic "Genette, Gérard"

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Gérard Genette: Une poétique ouverte. Bertrand-Lacoste, 1998.

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Pouillaude, Frédéric. Identity: Two Regimes. Translated by Anna Pakes. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199314645.003.0010.

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This chapter examines in detail the identity of the choreographic work, which has the peculiarity of being unwritten yet repeatable. In order to do so, the chapter constructs a theoretical framework and a minimal idea of what is more or less commonly understood by the term “work.” It borrows these concepts from Nelson Goodman (1976) and Gérard Genette (1997). From Goodman, the chapter retains the distinction between autographic and allographic works. This distinction enables two broad regimes of existence and identity to be delineated for art objects: that of the singular, material object (the
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Matzner, Sebastian, and Gail Trimble, eds. Metalepsis. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846987.001.0001.

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‘Metalepsis’ is a classical term. Ancient critics, however, only used it within the confines of rhetoric and stylistics to describe certain usages akin to metaphor and metonymy. In the twentieth century, metalepsis was then reframed much more broadly as a crossing of the boundaries that separate distinct narrative worlds. This modern notion of metalepsis, introduced by Gérard Genette, has proved highly insightful for exploring interactions between the worlds of author and text, such as scenarios in fiction—typically postmodern, typically novelistic or cinematic—where an author and a character
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Book chapters on the topic "Genette, Gérard"

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Newton, K. M. "Gérard Genette: ‘Structuralism and Literary Criticism’." In Twentieth-Century Literary Theory. Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-25934-2_19.

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"Gérard Genette, ‘Order in Narrative’." In The Narrative Reader. Routledge, 2002. http://dx.doi.org/10.4324/9780203459065-4.

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"III. La typologie de Gérard Genette." In Écriture et réécriture hagiographiques. Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.hag-eb.4.00075.

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de Castro, Paulo F. "Transtextuality according to Gérard Genette – and beyond." In Intertextuality in Music. Routledge, 2021. http://dx.doi.org/10.4324/9781003092834-12.

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Smyth, Patrick. "Ebooks and the Digital Paratext." In Advances in Human and Social Aspects of Technology. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6002-1.ch015.

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Since its publication in 1987, Gérard Genette's Paratexts has provided a productive means for engaging with those peripheral texts that frame, present, and bound a central work. However, advances in digital media and, in particular, the increasing prevalence of the ebook have altered or replaced many of the conventions outlined by Genette in Paratexts. This chapter explores these new paratextual conventions, employing case studies drawn from the “front lines” of the ebook revolution in concert with more recent scholarship in the field of paratextual studies. By examining the recent development of ebooks through the lens of the five paratextual dimensions outlined by Genette—spatial, temporal, substantial, pragmatic, and functional—this chapter argues that Paratexts continues to offer a crucial tool for the interpretation of texts in a new digital milieu.
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Gingrich, Brian. "Introduction." In The Pace of Fiction. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198858287.003.0001.

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We talk about pace. But how do we define it? This introduction suggests that one define it loosely, as something like large, forward, rhythmic, shifting, dynamic, temporal narrative movement, and then analyze it by tracking units of pacing as they move forward in literary history. As for finding the right narrative units, one may look to E. M. Forster, Viktor Shklovsky, Günther Müller, and others, but one does best to look to Gérard Genette and then trace his units backwards to the writers and critics who first developed them. Between Genette and his literary precursors, one discovers a significant literary tradition of pace. And, as for the pace of “fiction”: if pace is narrative’s most elaborate feature, fiction is narrative’s most elaborate form.
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Dervişcemaloğlu, Bahar, and Recep Yilmaz. "The Concept of Metalepsis and Classifications of Metaleptic Uses in TV Commercials." In Advances in Marketing, Customer Relationship Management, and E-Services. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-9790-2.ch007.

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Metalepsis is a term originated in ancient legal discourse and integrated into narrative theory by Gérard Genette to describe crossovers between narrative levels. Since Genette's definition, various typologies of metalepsis have been devised by narratologists and literary scholars. As a narrative tool which challenges the hierarchical organization and violates the boundaries between levels, metalepsis has different effects and functions depending on the contexts in which it occurs. The aim of the study is to determine the typology of the metaleptic uses in TV commercials. Metalepsis is consciously produced in the advertisement and gives it richness in terms of creativity; and the emergence as follows; interaction with voice over and character, the intervention of the voice over to the plot, the intervention of the character to the screen, the intervention of characters in different places, interaction with character and audience, and meta-fiction.
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Napolin, Julie Beth. "Elliptical Sound: Audibility and the Space of Reading1." In Sounding Modernism. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474416368.003.0008.

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This chapter takes up the central categories of narrative theory to ask how they can be “sonified” through an attention to racial signifiers in text. The chapter argues that, in eliding the experience of sound in reading, Gérard Genette and other literary theorists often presume a racially neutral reader and narrative space. Though narrative voices cannot be physically heard, racially marked voices nonetheless borrow from writer’s and reader’s implicit hypotheses and memories of listening. A reading of Jean Toomer, Ralph Ellison, and Ernest Hemingway addresses how these hypotheses of listening closely collaborate with the invisible bodies of narrators and characters to produce a sense of “race.” Traditionally, an ellipsis is a quality of narrative temporality (a gap or elision in chronology). The chapter instead turns to typographical ellipses in text to show how reading itself generates an elliptical space between a text’s inaudible voices and invisible bodies. The chapter reveals the elliptical narrative acoustics that indirectly mediate and reinforce the sounds of racially marked speech.
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Rockenberger, Annika. "Video Game Framings." In Advances in Human and Social Aspects of Technology. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6002-1.ch013.

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This chapter discusses the applicability of the concept of ‘paratext' (as coined by Gérard Genette) to audio-visual media in general and to video games in particular. In the first section, some potential elements of a video game's ‘paratext' are singled out by means of ‘auto-ethnographic' description of the introductory sequence(s) of the first-person shooter game BioShock Infinite. Several segments of the game's ‘threshold' are differentiated employing a rather tentative ad-hoc terminology. In the second section, Genette's definitional stipulations, posing the point of reference for everyone actually using the term ‘paratext,' are reconstructed, clarified and constructively criticized. Here, the author also discusses potential objections to Genette's definitional criteria and briefly touches upon some media-theoretical constraints of his approach. Ensuing from these meta-terminological considerations, the author turns to the questionable use of ‘paratext' in video game studies. As critical examination reveals, the terminology in this field of research is rather vaguely connected to, and sometimes even completely detached from, Genette's definition. As an objection to such redefinitions of the term, the chapter suggests (1) that its use be restricted to communicative signals meeting the following criteria only: (a) functionally subservient to (which obviously implies specifically referring to) ‘the game proper,' (b) authorized by entitled members of the game's production collective, (c) verbal, (d) (at least partly) extra-diegetic. Additionally, (2) the chapter proposes supplementing ‘paratext' as an analytical tool with the higher-order umbrella term ‘framings' (as coined by Werner Wolf).
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Rockenberger, Annika. "Video Game Framings." In Gamification. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8200-9.ch004.

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This chapter discusses the applicability of the concept of ‘paratext' (as coined by Gérard Genette) to audio-visual media in general and to video games in particular. In the first section, some potential elements of a video game's ‘paratext' are singled out by means of ‘auto-ethnographic' description of the introductory sequence(s) of the first-person shooter game BioShock Infinite. Several segments of the game's ‘threshold' are differentiated employing a rather tentative ad-hoc terminology. In the second section, Genette's definitional stipulations, posing the point of reference for everyone actually using the term ‘paratext,' are reconstructed, clarified and constructively criticized. Here, the author also discusses potential objections to Genette's definitional criteria and briefly touches upon some media-theoretical constraints of his approach. Ensuing from these meta-terminological considerations, the author turns to the questionable use of ‘paratext' in video game studies. As critical examination reveals, the terminology in this field of research is rather vaguely connected to, and sometimes even completely detached from, Genette's definition. As an objection to such redefinitions of the term, the chapter suggests (1) that its use be restricted to communicative signals meeting the following criteria only: (a) functionally subservient to (which obviously implies specifically referring to) ‘the game proper,' (b) authorized by entitled members of the game's production collective, (c) verbal, (d) (at least partly) extra-diegetic. Additionally, (2) the chapter proposes supplementing ‘paratext' as an analytical tool with the higher-order umbrella term ‘framings' (as coined by Werner Wolf).
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Conference papers on the topic "Genette, Gérard"

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Marcaletti, Livio. "»Strafspiel« und satirische Stilmittel in musikdramatischen Gattungen des frühen 18. Jahrhunderts." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.63.

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The tendency of today’s historiography to portray early 18th-century Italian opera as a dichotomy between opera seria and opera buffa takes too little account of the existence of genera mixta. However, contemporary composers and authors sometimes referred to a tripartiton. In his treatise Der vollkommene Capellmeister (1739), Johann Mattheson distinguishes between tragedy, comedy and satire. His description of the melodies from a satirical opera is limited to the statement that they are “ridiculous, poseuristic and prickly”. This definition can be applied to the analysis of dramatic vocal work
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