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Books on the topic 'Genre de texte'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Congress, International Comparative Literature Association. Fiction, narratologie, texte, genre. New York: P. Lang, 1989.

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2

1950-, Cousineau Anne-Marie, ed. Le malade imaginaire: Comédie mêlée de musique et de danses : texte intégral. Saint-Laurent, Québec: Éditions du Renouveau pédagogique, 2007.

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3

Daniel, Bergez, ed. L' analyse du texte de théâtre. Paris: Armand Colin, 2005.

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4

L' analyse du texte de théâtre. Paris: Dunod, 1998.

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5

Evelyne, Amon, ed. Les fourberies de Scapin: Texte intégral : groupement de textes, la farce, hier et aujourd'hui : un genre, la farce. Paris: Hatier, 1995.

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6

Quand le délit est dans le texte: Le genre policier, une littérature de l'excès? Bruxelles: Peter Lang, 2011.

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7

Pearce, Sharyn, and Kerry Mallan. Seriously playful: Genre, performance and text. Flaxton, Qld: Post Pressed, 2004.

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8

Tremblay, Yolaine. L' essai: Unicité du genre, pluralité des textes. [Sainte-Foy, Qué.]: Le Griffon d'argile, 1994.

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9

Les mystères: Studies in genre, text and theatricality. Amsterdam: Rodopi, 2012.

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10

Siebold, Oliver. Wort-Genre-Text: Wortneubildungen in der Science Fiction. Tübingen: Narr, 2000.

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11

Popular culture genres: Theories and texts. Newbury Park: Sage Publications, 1992.

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12

Den medeltida skriftkulturen i Sverige: Genrer och texter. Stockholm: Sällskapet Runica et Mediævalia och Stockholms universitet, 2010.

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13

Harold, Bloom. A map of misreading. 2nd ed. New York: Oxford University Press, 2003.

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14

1936-, Ferrante Joan M., and Hanning Robert W, eds. The challenge of the medieval text: Studies in genre and interpretation. New York: Columbia University Press, 1985.

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15

The genre and development of the Didache: A text-linguistic analysis. Tübingen: Mohr Siebeck, 2012.

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16

Stainton, Caroline Elaine. Metadiscourse and the analytical text: A genre-based approach to children's writtendiscourse. Manchester: University of Manchester, 1993.

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17

Esteban, María Hernández. El texto en el texto: Lecturas de géneros literarios. [Málaga]: Servicio de Publicaciones de la Ciudad de Málaga, 2001.

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18

Esteban, María Hernández. El texto en el texto: Lecturas de géneros literarios. [Málaga]: Servicio de Publicaciones de la Ciudad de Málaga, 2001.

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19

Fang, Alex Chengyu, and Jing Cao. Text Genres and Registers: The Computation of Linguistic Features. Berlin, Heidelberg: Springer Berlin Heidelberg, 2015. http://dx.doi.org/10.1007/978-3-662-45100-7.

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20

Academic writing in a foreign language: An extended genre analysis of student texts. Frankfurt am Main: P. Lang, 2007.

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21

Nadine, Gordimer. La gente de July. México: Grijalbo, 1991.

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22

Capdevila-Argüelles, Nuria. Challenging gender and genre in the literary text: The works of Nuria Amat. New Orleans: University Press of the South, 2002.

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23

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

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24

Surprising text pairs and lessons for reading and writing across genres. Portsmouth, NH: Heinemann, 2008.

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25

Helmut, Gruber, ed. Genre, Habitus und wissenschaftliches Schreiben: Eine empirische Untersuchung studentischer Texte. Wien: Lit, 2006.

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26

Fiction, Narratologie, Texte, Genre: Actes Du Symposium De L'Association Internationale De Litterature Comparee Xieme Congres Intertional Paris 1985 (Proceedings ... International Congress, Paris, August 1985). Peter Lang Pub Inc, 1989.

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27

Gotti, Maurizio. Text And Genre. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199572120.013.0005.

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28

Allen, William. 1. History, genre, text. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199665457.003.0001.

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‘History, genre, text’ introduces this overview of classical literature, a period spanning over 1,200 years (c.750 bc to ad 500) and explains how these texts survived to this day. The conventional periodization of classical literature — archaic, classical, Hellenistic, and imperial for Greek literature; Republican and imperial for Latin — mirrors the familiar chunks of ancient history. A striking aspect of classical literature is its highly developed sense of genre. But what is genre? Classical literature is characterized by a hierarchy of genres, from ‘high’ forms such as epic, tragedy, and history to ‘low’ forms such as comedy, satire, mime, and epigram.

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29

Kynes, Will. The Universe of Texts. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198777373.003.0005.

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This chapter proposes a new approach for addressing the question of genre, setting aside the long-reigning realist, taxonomic understanding in biblical scholarship. To understand the complex process through which they develop, this chapter builds on recent insights from the study of intertextuality, networks, emergence, and conceptual blending. It then re-envisions them as constellations in three-dimensional space, which gain their significance from the cultural perspectives from which they are viewed. As readers view texts from different perspectives, they notice different similarities between them that have a particular cultural resonance. Any given text may contribute to multiple genres, and only through recognizing those multiple genres, viewing the text’s interactions with others from multiple perspectives, is its full meaning, its true location in the vast textual network, evident. This also addresses several tensions at the heart of genre theory.

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30

Rascaroli, Laura. Genre. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190238247.003.0004.

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The taxonomic difficulties generated by the essay film are rooted in its in-between positioning vis-à-vis genres, which facilitates the subversion of their conventions and the uncovering of their ideological underpinnings. The chapter works through these ideas by engaging with a particular type of essayistic ethnofiction, as represented by Luis Buñuel’s Las Hurdes (Land without Bread, 1933), Werner Herzog’s Fata Morgana (1971), and Ben Rivers’s Slow Action (2011). Located somewhere between documentary and fiction, surrealism and ethnography, science fiction and anthropology, these texts create generic interstices from within which the project of ethnography is satirized and deconstructed—and discourses of otherness, nature, culture, power, imperialism, ecology, and sustainability are both foregrounded and called into question.

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31

Monte, Michèle, and Gilles Philippe, eds. Genres & textes. Presses universitaires de Lyon, 2014. http://dx.doi.org/10.4000/books.pul.2988.

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32

Fries, Almut, and Dimitrios Kanellakis. Ancient Greek Comedy: Genre - Texts - Reception. de Gruyter GmbH, Walter, 2020.

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33

Fries, Almut, and Dimitrios Kanellakis. Ancient Greek Comedy: Genre - Texts - Reception. de Gruyter GmbH, Walter, 2020.

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34

Kynes, Will. The Intertextual Network of Ecclesiastes and the Self-Reflective Nature of Genre. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198777373.003.0007.

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The numerous, often contrasting interpretations Ecclesiastes has inspired across history provide a clear example of the self-reflective character of genres. Rather than dismissing these readings completely, Wisdom included, because of their subjectivity, it is more profitable to understand each as a partial and selective perspective responding to some potential of the text. Whether inspired by the traditional collections before Wisdom Literature, intertextual links to other canonical genres, parallels to texts from across the ancient Near East, or comparisons based on the book’s literary features, such as form, tone, or content, each genre proposal reveals something about the nature of the text while falling short of comprehending the whole. Illuminating all the contours of the text’s rugged terrain while dispelling the “misleading shadows” of self-interested exegesis will require engaging with more rather than less of the subjective perspectives on its meaning.

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35

Green, Barbara. Genre Criticism and the Prophets. Edited by Carolyn J. Sharp. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199859559.013.15.

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This chapter offers a current explanation of the term “genre,” to distinguish it from form, and then proposes twenty-five genres that are found typically and frequently in the Latter Prophets. For each genre, a definition is offered, and a biblical text is instanced, with the shape, function, and effect of the genre suggested. The genres include the following: allegory; argumenta minori ad maius; call/commission; day of the Lord saying; dialogue; dirge; discourse ascribed; disputation; doxology/hymn; exhortation/admonition; lament; metaphor; metonymy; parable; parodic speech; personification; prayer; pronouncement; question; root metaphor; satire/taunt; symbolic action report; theophany report; uncreation saying; and vision report.

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36

Lewis, James R., and Bengt-Ove Andreassen. Textbook Gods: Genre, Text and Teaching Religious Studies. Equinox Publishing Limited, 2014.

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37

Textbook Gods: Genre, Text and Teaching Religious Studies. Equinox Publishing Limited, 2014.

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38

Français : Textes, genres et registres, première. Delagrave, 2001.

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39

Genre Connections: Lessons to Launch Literary and Nonfiction Texts. Heinemann, 2013.

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40

Kerridge, Richard. Ecocritical Approaches to Literary Form and Genre. Edited by Greg Garrard. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199742929.013.020.

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This article examines the relationship among the issues of urgency, depth, provisionality, and temporality in ecocritical approaches to evaluating literary form and genre. It analyzes the criteria by which ecocritical judgments about texts are reached and suggests that ecocritics should evaluate texts from the viewpoint of environmental concern and be able to introduce environmental criteria into general cultural debate. It highlights the fact the many ecocritics feel that their work has an activist mission and cites the global warming issue as an example.

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41

Knapp, Peter, and Megan Watkins. Genre, Text, Grammar: Technologies for Teaching And Assessing Writing. UNSW Press, 2005.

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42

Koski, Kaarina, Frog, and Ulla Savolainen, eds. Genre - text - interpretation: Multidisciplinary perspectives on folklore and beyond. SKS Finnish Literature Society, 2016. http://dx.doi.org/10.21435/sff.22.

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43

Duszak, Anna, and Grzegorz Kowalski. Academic genres: Between Texts, Contexts and Identities. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2015.

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44

Duszak, Anna, and Grzegorz Kowalski. Academic genres: Between Texts, Contexts and Identities. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2015.

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45

Duszak, Anna, and Grzegorz Kowalski. Academic genres: Between Texts, Contexts and Identities. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2015.

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46

Duszak, Anna, and Grzegorz Kowalski. Academic genres: Between Texts, Contexts and Identities. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2015.

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47

Paszkiewicz, Katarzyna. Genre, Authorship and Contemporary Women Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474425261.001.0001.

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Genre, Authorship and Contemporary Women Filmmakers examines the significance of women’s contribution to genre cinema by highlighting the work of US filmmakers within and outside Hollywood – Kathryn Bigelow, Sofia Coppola, Nancy Meyers, Karyn Kusama and Kelly Reichardt, among others. Exploring genres as diverse as horror, the war movie, the Western, the costume biopic and the romantic comedy, Katarzyna Paszkiewicz interrogates questions of ‘genre’ authorship; the blurring of the borders between commercial and independent cinema and gendered discourses of (de)authorisation that operate within each sphere; ‘male’–‘female’ genre divisions; and the issue of authorial subversion in film and popular culture in a wider sense. With its focus on close analysis of the films themselves and the cultural and ideological meanings involved in the reception of genre texts authored by women, this book expands critical debates around women’s cinema and offers new perspectives on how contemporary filmmakers explore the aesthetic and imaginative power of genre.

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48

Hanning, Robert W., Joan M. Ferrante, and W. T. H. Jackson. Challenge of the Medieval Text: Studies in Genre and Interpretation. Columbia University Press, 1985.

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49

Hanning, Robert W., Joan M. Ferrante, and W. T. H. Jackson. Challenge of the Medieval Text: Studies in Genre and Interpretation. Columbia University Press, 1985.

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50

Tran, Anh Q. Text and Context. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190677602.003.0003.

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Chapter 2 first situates Errors of the Three Religions within the apologetic genre of Christian writings, tracing the history of Christian apologetics and catechism in Asia; Christian apologetics serves either a positive function of defending Church teachings or a negative role of critiquing alternate religions. Then the chapter introduces the text, including the genre, history of composition, structure, content, audience, and authorship of Errors of the Three Religions—making the case that the author is Hilario Costa—as well as its relationship to other Christian texts in Vietnam at that time, such as Matteo Ricci’s and Alexandre de Rhodes’s catechisms.

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