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Journal articles on the topic 'Genre literature'
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1
Xinzhu, Zhao, and Tian Shi Shun. "Russian literary awards and the development of modern literature." OOO "Zhurnal "Voprosy Istorii" 2023, no. 3-2 (March 1, 2023): 166–69. http://dx.doi.org/10.31166/voprosyistorii202303statyi68.
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The end of the 20th century in the history of Russian literature was a time of changing aesthetic, ideological and moral guidelines. The picture of the development of literature of this period is striking, characterized by a variety of artistic trends, creative techniques, genre diversity, blurring of boundaries, thematic and stylistic enrichment of genres, a total change in the role of the writer, a change in the type of reader.
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Lecarme-Tabone, Éliane. "Genres et genre." Littérature 191, no. 3 (2018): 5. http://dx.doi.org/10.3917/litt.191.0005.
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Goan Gunawan, Hin, and AINANI TAJRIYANI HS. "SUB-GENRES MILITARY LITERATURE IN CHINESE LITERATURE." Bambuti 3, no. 1 (May 1, 2021): 1–28. http://dx.doi.org/10.53744/bambuti.v3i1.20.
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Chinese literature has various genres, one of which is Military Literature. The short story entitled Sabuk Tentara Rusia by Ma Xiaoli is a text that tells about the relationship between the Russian Army and the Chinese Army and shows the cultural differences between the two countries. The analysis with the modern semiotic approach used in this study succeeded in mapping the elements of the Military Literature sub-genre in Ma Xiaoli's Sabuk Tentara Rusia in detail and comprehensively, and was able to confirm that the text is part of the Military Literature sub-genre in Chinese literature.
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Turobiddinovna Komilova, Shaxnoza. "The Development of Drama as a Genre in Chinese Literature." International Journal of Multicultural and Multireligious Understanding 8, no. 4 (April 3, 2021): 99. http://dx.doi.org/10.18415/ijmmu.v8i4.2565.
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The article discusses the emergence and development factors of the drama genre in Chinese literature. There is also information about the genre of drama and its development in Uzbek and world literature. In Chinese literature, the first drama genres in the development of the drama genre were called "siven" (戏文) or "nansiven" (南戏). During the Yuan Dynasty in the 13th and 14th centuries, a genre based on strict law, zaju (杂剧), flourished. In the XIII-XIV centuries, playwrights Guan Han Qing (关汉卿), Wang Shi Fu (王实甫), Bai Pu (白朴), Ma Zhi Yuan (马致远) played a role in the development of the above-mentioned dramatic genres. By the seventeenth and eighteenth centuries, the Chuanzi genre had emerged in dramaturgy. This article also discusses in detail the creative work of playwrights such as writers Li Yu, Hong Shen, Kun Shan Jen in the development of this genre.
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Kolesnyk, Olena, and Maryna Stoliar. "HISTORICAL AND PARA-HISTORICAL GENRES OF LITERATURE." Doxa, no. 1(41) (June 27, 2024): 70–78. https://doi.org/10.18524/2410-2601.2024.1(41).316160.
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The article examines the specifics of the historical genre of literature, as well as genre variants that combine interest in historical figures, events, entourage with an effort to move away from following purely scientific data and widely use the author's fiction. In a number of cases, there is a departure from the boundaries of the actual historical genre, which we propose to designate as a "parahistorical" approach. Alternative history in its various forms, historical fantasy, cryptohistory, historiographical metafiction, etc. can be attributed to such parahistorical genres. At the same time, historical and para-historical subgenres can interact with such genres as science fiction, fantasy, detective, military prose, romance, etc. With all the diversity of the resulting texts, it seems possible to classify them according to the principle of approach to historical material: 1) as the main object of reproduction and representation, 2) as a starting point for intellectual speculation. This is the main difference between historical and parahistorical genres and subgenres.
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Kuzmina, Marina D. "The most “personal” genre of Old Russian literature." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 59 (2021): 161–73. http://dx.doi.org/10.37816/2073-9567-2021-59-161-173.
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The paper attempts to identify the originality of epistolary genre against the background of other genres of Old Russian literature, which, as is known, was characterized by the interaction of genres, genre synthesis. The message stands out against the general background as the most “personal” genre. It articulates quite clearly the situation of communication of, as a rule, two specific personalities — addresser and addressee. It is thereby very targeted and situational, focused on the needs and goals of participants in the epistolary dialogue. It more or less actualizes the images of both communicants. The author of the letter enjoys freedom in choosing the self-characteristics and characteristics of the addressee, in choosing the forms of addressing the latter as well as choosing the composition of the text, etc. However in reality the “personality” of the epistolary genre is reserved and rather arbitrary. Addressers to addressees, widely varying in the whole body of messages, differ, in essence, only in form. In content, they are synonymous. They carry not so much personal as depersonalized, transpersonal characteristics, usual for ancient Russian literature, reflecting social situation, spiritual relations of the participants in correspondence (spiritual father / spiritual child, etc.), etc. They reflected in their own way the requirement of etiquette of epistolary communication established in the era of antiquity and involving complementarity of appeals to the addressee. Thus, the “personality” of the message, on the one hand, ensured its organic inclusion in the system of genres of ancient Russian literature. On the other hand, it allowed him to preserve and develop characteristic features that distinguished the epistolary genre from antiquity and could provide him with a future at a time when the genre system would lose its synthetics, each of them would have to defend its right to autonomy; but at the same time, “personality” was fraught with a danger of exclusion of the epistolary genre from literature.
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Russell, Alisa. "Toward Genre Access: A Micro-level Analytical Approach." Written Communication 41, no. 2 (February 24, 2024): 319–51. http://dx.doi.org/10.1177/07410883231222953.
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Many genre scholars have focused on how individuals might build genre knowledge, generally understood as the enculturation processes, gradual stages, or ingredients that lead to one’s facility with a genre in context. While genre knowledge describes whether people can engage genres, it does not describe the various factors that shape how people may engage genres. By consolidating scholarship across Rhetorical Genre Studies (RGS), this article characterizes genre access as the power, opportunity, permission, and/or right to engage genre. Furthermore, this article integrates Network Gatekeeping Theory to develop a micro-level analytical approach for explicitly describing genre access. The author demonstrates and develops genre access as a concept and analytical approach with an illustrative example from a larger ethnographic project. Specifically, this illustrative example explores genre access for the Staff Report, a common genre in local government that proposes recommendations from individual departments to their elected City Commissioners for voted approval. Overall, the purpose of this article is (1) to consolidate and extend RGS’s exploration of the power, opportunity, permission, and/or right to engage genres; (2) to identify and name genre access as a fundamental aspect of how genres work; and (3) to provide a micro-level analytical language for researchers to tease out the various factors the shape genre access.
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Nasriddinov, Dilshod. "Fantasy genre and its scientific interpretation in theoretical views." Зарубежная лингвистика и лингводидактика 1, no. 2 (March 6, 2023): 56–62. http://dx.doi.org/10.47689/2181-3701-vol1-iss2-pp56-62.
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The aim of this study is to provide an academic analysis of the fantasy genre emerging in literature as a new literary term. Each country introduces new terms and literary genres into its own literature, recognizes its essence, and then tries to reconcile it with its own culture. Fantasy as a literary genre cannot be compared with its status in world literature today. This study identifies fantasy as the most important fictional genre in literature and analyzes its importance with several scientific approaches. It also examines the characteristics of the ongoing fiction and fantasy genres. Then, determine their relationship based on scientific evidence.
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S., Abdunabiev. "FEATURES OF THE GENRE «RIHLA» (TRAVEL STORY) IN ARABIC PROSE AND IT’S ROLE IN WORLD LITERATURE." Current Research Journal of Philological Sciences 5, no. 4 (April 1, 2024): 28–34. http://dx.doi.org/10.37547/philological-crjps-05-04-06.
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Genre Rihla attracted writers from almost all literary genres. The rihla describes the material and spiritual life of the peoples of different countries, reflects the author’s views on the history and culture of these countries, the customs and rituals of the peoples. It was this feature of the genre that attracted realist writers. The importance of the genre rihla is very great in the education of a spiritually developed person, since people who have read many works in this genre can obtain valuable information about other lands and peoples, about their history and nowadays, about geography, nature, everyday life and cultural and historical heritage, and try to appropriate their positive qualities.
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Malkina, Victoria Ya. "GENRE CANON AND INTERIOR MEASURE OF THE GENRE IN THE POPULAR LITERATURE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 6 (2022): 12–26. http://dx.doi.org/10.28995/2686-7249-2022-6-12-26.
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The article offers one possible option for distinguishing between mass and high literature namely by relying on the specific features of the genre poetics. The definition of the genre by Mikhail Bakhtin is used as a methodological basis. Having regard to the historical poetics and evolution of the genre category that has been described in the works of Sergey Averintsev, Samson Broitman and others, the article substantiates the following hypothesis: in European literature, starting from the second half of the 18th century, we can see two main genre-forming principles that are existing in parallel: the genre canon and the interior measure of the genre. The interior measure of a genre that is the direction (vector) of its possible development, and it can be used as a characteristic feature of the high literature. The interior measure determines the artistic possibilities of a particular genre. The genre canon becomes a genreforming principle for mass literature. It forms, consolidates and replicates stable (repeating) genre features. As an example, the article considers genres of the novel in verse, the Gothic novel and the historical novel. On their basis, various possible ways of correlating the genre canon and the interior measure of the genre are shown
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Ulfat Qizi, Abdurahmanova Mukhlisa. "COMPARISON OF THE ESSAY GENRE IN UZBEK LITERATURE AND THE ESSAY GENRE IN ENGLISH LITERATURE." American Journal Of Philological Sciences 03, no. 02 (February 1, 2023): 1–4. http://dx.doi.org/10.37547/ajps/volume03issue01-01.
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Trofymenko, Anastasija. "Geneza horroru jako gatunku." Tematy i Konteksty 12, no. 17 (2022): 228–39. http://dx.doi.org/10.15584/tik.2022.16.
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This article examines the origin of horror as a genre within the cluster of all horror literature genres. The structure of genological-typological evolution of these genres has been analysed. It has been proven that horror, due to its specificity, should be referred to this group of genres which are realized in literature on the basis of genre memory.
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Ford, Andrew. "The Genre of Genres." Poetica 38, no. 3-4 (December 18, 2006): 277–95. http://dx.doi.org/10.30965/25890530-038-03-04-90000004.
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Ford, Andrew. "The Genre of Genres." Poetica 38, no. 3-4 (June 27, 2006): 277–95. http://dx.doi.org/10.30965/25890530-0380304004.
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Urdolotova, Ch A. "STATE OF FABLE GENRE RESEARCH." Herald of KSUCTA n a N Isanov, no. 2-2020 (July 6, 2020): 258–63. http://dx.doi.org/10.35803/1694-5298.2020.2.258-263.
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In literature, which has always been a branch of art, works of different genres and trends have been created and presented to the reader. If readers can recognize different values through works, it becomes clear that they are the object of research of researchers and are in constant flux. One of such interesting genres, which has great educational, moral significance in the growth of mankind, is the genre of fable. Fable is one of the oldest and most widespread genres in literature. The article examines the origin, development and formation of a fable in world literature, including in Kyrgyz literature. The history of the study of the genre of fable and the work of previous researchers is also examined in detail.
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Tri Dung, DINH, and HA Thi Kim Phuong. "INNOVATING THE TEACHING OF ESSAY GENRE IN MIDDLE AND HIGH SCHOOLS ACCORDING TO THE 2018 LITERATURE CURRICULUM." Vinh University Journal of Science 53, Special Issue 1 (July 30, 2024): 329–37. http://dx.doi.org/10.56824/vujs.2024.htkhgd144.
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In the 2018 Literature Curriculum, literary works belonging to the essay genre are taught at both school levels: middle school and high school. The essay genre includes various genres/sub-genres, which are incorporated into textbooks at different levels as follows: travel essays (grade 6); personal essays, prose pieces, narrative essays (grades 7 and 11); reportage, memoirs, diaries (grade 12). Related concepts are frequently mentioned, such as narrative essays, lyrical essays, lyrical quality, fiction and non-fiction, authorial voice, etc. This article delves into the characteristics of the 2018 Literature Curriculum in general, and the essay genre teaching program in particular, examining the teaching of essays in schools, identifying principles, and suggesting directions for innovating and improving the quality of teaching essay works included in the 2018 Literature Curriculum. Keywords: Essay eenre; 2018 Literature Curriculum; teaching essay genre; high schools.
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Eshonboboyev, Abdurasul. "ALISHER NAVOI AS A THEORIST OF NORTH EASTERN LITERATURE." Golden scripts 1, no. 2 (June 10, 2019): 7–11. http://dx.doi.org/10.52773/tsuull.gold.2019.2/apcq1832.
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This article deals with the poetic work and the critical literary genre created by Alisher Navai of the XX century in Herat. Navai’s creation on the literary critique genre has presented a new tendency in analyzing the literary works of his contemporaries.For instance, Navai’s “Majalis un-nafais” is a critical literary work devoted mostly to analyzing of scholars’ works written in Persian. The great poet invents two types of critical genre in the Islamic literary world. The author further examines Navai’s critical method-ology as a unique work of art presenting traditional themes and genres. As a result, he became a pioneer of the creative methodology in the Persian literary world.
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Ahmadova, Rugiyya. "Comedy genre and ıts development hıstory." Scientific Works 18, no. 1 (April 22, 2024): 195–99. http://dx.doi.org/10.62706/bqiz.2024.v18i1.127.
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The article examines the comedy genre and its development history. During this research, the opinions of a number of theorists in both world literature and Azerbaijani literature were referred to and analyzed. It has been established that comedy has a very ancient history as one of the main genres of dramaturgy, it was one of the working genres in every era and many artists used this genre. Aristophanes founded the comedy genre, which criticizes the vices of society through laughter. The article also provides information about the emergence of comedy in Azerbaijani literature. Thus, research was conducted on the issues raised in the article.
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Qutbuddin, Tahera. "Is Oration Literature?" Journal of Arabic Literature 55, no. 2-3 (October 16, 2024): 213–37. http://dx.doi.org/10.1163/1570064x-12341516.
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Abstract Is oration literature? More specifically, can we read the multi-functional Arabic oration (khuṭbah) of the 1st/7th and 2nd/8th centuries as part of the classical prose canon? In this article, I argue that if our definition of literature includes beautiful language, admiration expressed by literary theorists, and masterful articulation of themes to evoke audience response, early Arabic oration is most certainly literature. I demonstrate this claim by analyzing the rhythmic and graphic oral aesthetics of early Arabic oration, the views of medieval theorists regarding its distinguished place and literary nature, and its crucial influence on the development of the chancery epistle (risālah), the first written genre of Arabic literary prose. I contend that khuṭbah is the foundational prose genre of Arabic and it has materially influenced the major genres of risālah and maqāmāt that followed. The history of Arabic literature cannot be written without oration.
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Ebrahim, Ebrahim Mohammed, and Sirwan Jabar Amin. "Ahmadi Khani's epic "Mam u Zin" based on Epic Characteristics." Twejer 4, no. 1 (May 2021): 193–244. http://dx.doi.org/10.31918/twejer.2141.5.
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Epic is one of the oldest genres in many nations' literature and has occupied an excellent area of world literature. From birth to the middle ages, one of the first genres of literature of many nations It was epic that became the primary genre of the era from Sumerians to Greeks and Romans, and later in the middle centuries. This genre has its specific characteristics and principles that have become the genre's identity for all of the texts under this genre. These characteristics have created the basis for similarities and differences for the literary texts placed under this literary genre. Epic has occupied a special place and states in the literature of the Kurdish nation. Although the Kurdish sample of epic was not like the global model, it still possesses many global epic criteria and assumptions. From this perspective, this research attempts to show how Ahmadi Khani's epic "Mam u Zin" is committed to the characteristics and principles of this genre. In this context, an explanation and analysis have been made for the epic
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Khartayev, Vladimir. "SPECIFICITY OF TIBETAN HISTORICAL LITERATURE OF THE CHOS-BYUNG GENRE." Culture of Central Asia: written sources 13 (December 16, 2020): 32–45. http://dx.doi.org/10.30792/2304-1838-2020-13-32-45.
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The article is devoted to one of the genres of Tibetan literature – the chos-byung genre (history of Buddhism). This genre became widespread in Tibet since the XI century and developed until the XX century. The article attempts to determine the specifics of the of chos-byung texts based on the study of the structure and content of the most famous Tibetan works of this genre such as “History of Buddhism” by Budon Rinpoche, “Blue Annals” by Goi-lotsava Shonnubal, “History of Buddhism in India” by Taranatha and others, as well as on the researches by A. I. Vostrikov, R. E. Pubaev, Leonard van der Kuijp, who dealt with the problem.
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Dahlan, Hadi Akbar. "Perbandingan Penerbitan dan Harga Buku Mengikut Genre di Malaysia dan Jepun Menggunakan Data Akses Terbuka dan Simulasi Monte Carlo." Kajian Malaysia 39, no. 2 (October 29, 2021): 179–202. http://dx.doi.org/10.21315/km2021.39.2.8.
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Reading habits are often associated with an increased cognitive level. However, book genre can also affect the cognitive level. This is because different book genres can be attributed to different types of knowledge and tendency towards a specific book genre can be viewed as a preference towards a specific type of knowledge. Research on Malaysians’ interest and the tendency towards book genre and type of knowledge can be investigated using the publication data of each book genre and its prices. The objective of this research is to analyse and compare the book publications and the average price of each book’s genre in Malaysia with those of Japan. Comparison was done based on book categorisation genre strategy to 12 book genres. Based on Monte Carlo simulation method data, Malaysians are attracted to book genres on language, literature and science. While the Japanese are more interested in the book genres of social sciences and hobbies/art. The similarity between Malaysian and Japanese societies are that both societies also favour book genre of literature. However, it is possible that the themes of literary genre in Japan and Malaysia are very different. The result of this study can be used to identify the differences between Malaysian and Japanese reading habits as well as for formulating strategies to change Malaysian reading habits towards the style of Japanese reading habits.
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Doody, Sara, and Natasha Artemeva. "“Everything Is in the Lab Book”: Multimodal Writing, Activity, and Genre Analysis of Symbolic Mediation in Medical Physics." Written Communication 39, no. 1 (November 4, 2021): 3–43. http://dx.doi.org/10.1177/07410883211051634.
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Writing and genre scholarship has become increasingly attuned to how various nontextual features of written genres contribute to the kinds of social actions that the genres perform and to the activities that they mediate. Even though scholars have proposed different ways to account for nontextual features of genres, such attempts often remain undertheorized. By bringing together Writing, Activity, and Genre Research, and Multimodal Interaction Analysis, the authors propose a conceptual framework for multimodal activity-based analysis of genres, or Multimodal Writing, Activity, and Genre (MWAG) analysis. Furthermore, by drawing on previous studies of the laboratory notebook (lab book) genre, the article discusses the rhetorical action the genre performs and its role in mediating knowledge construction activities in science. The authors provide an illustrative example of the MWAG analysis of an emergent scientist’s lab book and discuss its contributions to his increasing participation in medical physics. The study contributes to the development of a theoretically informed analytical framework for integrative multimodal and rhetorical genre analysis, while illustrating how the proposed framework can lead to the insights into the sociorhetorical roles multimodal genres play in mediating such activities as knowledge construction and disciplinary enculturation.
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Belogortsev, Andrei D. "AUTOFICTION OR PSEUDO-AUTOBIOGRAPHY. GENRE SPECIFICS IN MODERN RUSSIAN LITERATURE." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2023): 23–33. http://dx.doi.org/10.28995/2686-7249-2023-3-23-33.
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The article is about the emergence of autofiction (pseudo-autobiography) as a new genre in modern Russian literature on the example of the works by Andrei Astvatsaturov, Sergei Dovlatov, Roman Senchin, Eduard Limonov, Zakhar Prilepin, Dmitry Danilov, Alexander Khristoforov, as well as the works by Sylvia Plath, Janet Winterson and Carl Ove Knausgor as modern foreign literature representatives of the autofiction genre in the Russian book market. The article discusses the history of the autofiction emergence from the point of view of the genre origin abroad, and from the standpoint of home literary criticism. It describes the representatives of modern Russian literature whose works are in the autofiction genre analyzes the specifics and unique features of autofiction like stylistic, contextual and other typical characteristics that make it possible to single out this genre as an independent one, are analyzed in the article. The author presents results of a comparative analysis of diaries and autobiographies as literary genres according to the criteria of completeness, usage purpose, attitude to publications, dating and facts reliability, and identifies the elements that determine autofiction specifics. Particular attention is paid to Andrey Astvatsaturov’ literature as he analytically proves his autofiction genre choice to create his works.
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Lanovyk, M., and Z. Lanovyk. "INTERACTION OF GENRE SYSTEMS AS A PROBLEM OF LITERARY STUDY." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(104) (April 23, 2025): 18–28. https://doi.org/10.35433/philology.1(104).2025.18-28.
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The article raises the conceptual problem of a genre system and the interaction of genre systems in literature. Based on the analysis of educational and reference publications in literary studies, the authors state the necessity of a clearer definition of the term "genre system" and the separation of this term from the concept of "genre classification". Using the concept of genre systems of Nonna Kopystyanska, the authors propose to make clarifications, in particular to supplement it with one more component – the genre system of national literature. " The goal of the study is the understanding of the interaction of genre systems at different levels: the genre system of the author, the genre system of the movement / era, national literature and on a global scale – of the West and the East in their interaction. Using examples from different national literatures and cultural-historical eras, the processes of influence of the author’s system of genres on genre systems of a higher level are considered – within one national culture and in an international context. At the same time, not only literary peculiarities are taken into consideration, but also cultural, ideological, etc. The use of a hermeneutic approach with the involvement of wider contexts, cultural-historical, psychological methods, as well as induction and deduction makes it possible to consider the problem from smaller findings to broader phenomena and generalizations and vice versa – from the general to the singular; the involvement of methods of system analysis enables to present this problem multifacetedly and taking into account broad cultural and temporal strata. The conclusions state that examples of numerous interactions, bring research to a higher level – between spheres of greater generalization outside the boundaries of literature, which in the future can be the subject of a separate scientific investigation.
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Khabibullina, Alsu Z. "Small Genres of Russian and Tatar Literature: Comparative Poetics." Polylinguality and Transcultural Practices 16, no. 2 (December 15, 2019): 239–51. http://dx.doi.org/10.22363/2618-897x-2019-16-2-239-251.
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The article is devoted to the study of small genres of Russian and Tatar literature in the aspect of comparative poetics. It is stated that comparative poetics is based on a comparative method which is in its’ turn based on the idea of preservation of national literature originality, involved in a dialogue. The sphere of the uniqueness actualizes the category of genre, that is the problem of genres correlation, their possible correlation in cross-literal space. The factual basis - are the genres of fable and masal in works by I.A. Krylov and G. Tukai. Their history, some aspects of poetics and correlation in multilingual cultures are revealed. It is concluded that, Tukay in his collection of translations of “Pearls” (1909) was the founder of new genre form, which, on the one hand, was close to a Russian fable, on the other hand, took the features of the masal, as well as the Oriental Proverbs, nasihats and other genres associated with the tradition of rhymed prose.
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Bui Linh, Hue. "APPLYING CULTURAL STUDIES IN STUDYING BIOGRAPHICAL GENRE." Journal of Science Social Science 65, no. 11 (November 2020): 64–71. http://dx.doi.org/10.18173/2354-1067.2020-0072.
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The acknowledgment of several nonfiction genres as literature along with the claim that genres are not pre–determined but socially constructed by cultural materialists suggests an approach to study biographical genres in general and Vietnamese kí in particular from the perspectives of cultural studies, a historical approach to genre. In this article, I will summarize the international and domestic scholarship of historical approach to biographical genre and kí to show the potential of applying this approach to conduct further research on this genre.
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Ouyang, Wen‐Chin. "Genres, ideologies, genre ideologies and narrative transformation." Middle Eastern Literatures 7, no. 2 (July 2004): 125–31. http://dx.doi.org/10.1080/1366616042000236824.
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Ahmed, Tanzina. "“Helping Me Learn New Things Every Day”: The Power of Community College Students’ Writing Across Genres." Written Communication 38, no. 1 (October 16, 2020): 31–76. http://dx.doi.org/10.1177/0741088320964766.
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Although community colleges are important entry points into higher education for many American students, few studies have investigated how community college students engage with different genres or develop genre knowledge. Even fewer have connected students’ genre knowledge to their academic performance. The present article discusses how 104 ethnically, culturally, and linguistically diverse students reported on classroom genre experiences and wrote stories about college across three narrative genres (Letter, Best Experience, Worst Experience). Findings suggest that students’ engagement with classroom genres in community college helped them develop rhetorical reading and writing skills. When students wrote about their college lives across narrative genres, they reflected on higher education in varied ways to achieve differing sociocultural goals with distinct audiences. Finally, students’ experience with classroom and narrative genres predicted their GPA, implying that students’ genre knowledge signals and influences their academic success. These findings demonstrate how diverse students attending community college can use genres as resources to further their social and academic development.
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Khorob, S. S. "OPINION JOURNALISM: THE GENRE OF LITERATURE OR JOURNALISM?" PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 364–70. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-364-370.
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The article raises the problem of genre and type definition of opinion journalism, its belonging to fiction and journalism. It proves that this creation, coming out of laws of creative work, characterizes activities of both writers and journalists to an equal extent, being on the border in works of belles-lettres and mass media. In addition, the analysis of manifestations of opinion journalism gives grounds to affirm that opinion journalism is not a separate type of literature and not a separate genre of journalism. It is rather the system of genres among major forms that are inherent in literary-fictional and journalistic creative work.
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Tardy, Christine M., Bruna Sommer-Farias, and Jeroen Gevers. "Teaching and Researching Genre Knowledge: Toward an Enhanced Theoretical Framework." Written Communication 37, no. 3 (May 22, 2020): 287–321. http://dx.doi.org/10.1177/0741088320916554.
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Increased attention to genre in writing studies has brought a proliferation of new terms and concepts for capturing the complexity of writers’ knowledge about genres, including genre knowledge, genre awareness, recontextualization, conditional knowledge, and metacognition. Definitions of these concepts have at times conflicted, and their interrelationships are often unclear. Furthermore, scholarship has tended to overlook the role of multiple languages in writers’ genre knowledge. In this article, we first trace the use of related terminology and demonstrate the need for theoretical clarity. We then propose a theoretical framework that articulates key layers of genre knowledge and their interrelations, presuming a multilingual writer. Finally, we share examples of how this proposed framework may be used in teaching and researching genre knowledge. Ultimately, we aim to contribute to ongoing theoretical, empirical, and pedagogical explorations and applications of knowing and learning genres.
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Muravyova, L. "A CRISIS OF HYBRID GENRES: PHILIPPE FOREST AND THE RETURN OF THE ‘I-NOVEL’ TO FRENCH LITERATURE." Voprosy literatury, no. 4 (October 2, 2018): 243–63. http://dx.doi.org/10.31425/0042-8795-2018-4-243-263.
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The article analyses the disintegration of hybrid genres, a major trend that has been taking shape in French literature in recent decades. Having exhausted the resources for hybridization of genres and survived the ‘death of the author’ period, French literature is searching for new ways to rejuvenate and refresh its genre forms. One option is convergence with other national literary tradition, in order to reconsider its own genre hierarchy and establish a new status of the writing individual between the autobiography and the novel. Particularly interesting in this regard is the attempt to overcome a genre crisis by the French writer Philippe Forest (born in 1962), who draws on the traditions of French avant-garde novels and the Japanese ‘I-novel’ (shôsetsu). The new genre distinguishes itself through special narration forms, the particular meaning of an event, and a certain balance between the imaginary and factual in Forest’s prose.
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Watson, Julia. "Is Relationality a Genre?" European Journal of Life Writing 5 (September 21, 2016): R16—R25. http://dx.doi.org/10.5463/ejlw.5.201.
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Review of Anne Rüggemeier, Die relationale Autobiographie: Ein Beitrag zur Theorie, Poetik und Gattungsgeschichte eines neuen Genres in der englischsprachigen Erzählliteratur [Relational Autobiography: A Contribution to the Theory, Poetics, and Genre History of a New Genre in English-language Narrative Literature] (Wissenschaftlicher Verlag Trier, 2014)
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Mbuthia, Evans M. "The Position of the Formal Essay in Kiswahili Literature in Kenya." International Journal of Research and Innovation in Social Science VIII, no. X (2024): 2217–24. http://dx.doi.org/10.47772/ijriss.2024.8100190.
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This paper focuses on the position of the formal essay vis-a-vis other literary genres from the perspective of genre hierarchy. In order to get a clear picture of any literary genre it is advantageous and practical to conduct such a survey in institutions of learning because this is where there will be a concentration of consumers of reading materials. In Kenya the organization that decides the materials that will be consumed in Educational Institutions is called Kenya Institute of Curriculum Development. Decisions made by K.I.C.D. in regards to selection of texts that are used in institutions of learning has a serious ramification in terms of encouraging writing in the said genres or even competence in the same since learners cannot in the first place understand what they have not been exposed to. K.I.C.D. has a broad mandate to oversight curriculum at the level of Pre-School, Primary Schools, Secondary Schools and Technical Institutions. In regard to curriculum issues universities both public and private have their own mechanisms which are over sighted by the Commission for Higher Education. This paper posits that the Kiswahili Formal Essay should also be included in the curriculum at the secondary school level so as to expose learners to more diverse expressions from writers who have chosen to do so in a genre that has not been popularised by the regulating authorities. The Formal Essay in Kiswahili Language that has not had the advantage of being an examinable literary type in the Kenyan system. From the foregoing explanation this is what has led this genre to be less conspicuous than the other genres such as the novel. the play, the short story and poetry. The decision on what genres or texts will be used in the school curriculum has far reaching effects as we shall see in the discussion on this paper.
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Ternova, Tatiana. "The genre resource of the fable in the literature of Russian futurism." Przegląd Wschodnioeuropejski 9, no. 2 (November 30, 2018): 123–30. http://dx.doi.org/10.31648/pw.3089.
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The article deals with the artistic possibilities of the fable genre in the work of Russian futurists. Wanting to transform the principles of the world order in general, the representatives of the current naturally drew attention to the existing system of genres, which they perceived not only as an element of the culture of the past, but also as an expression of a worldview that lost its connection with reality. The genre of the fable is in demand among the futurists precisely because it lies almost outside the genre system of high literature. In the work of V. Khlebnikov, A. Kruchenykh, V. Mayakovsky, the fable is endowed with additional tasks, fulfilling the role of a parable (Khlebnikov), a pamphlet and an advertising text (Mayakovsky). The text of A. Kruchenykh “Sobasnya”, having an original title, exemplifies, inherent in the transitional era, of the idea of updating the genre.
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Mudrak, Maryna. "Polemical Literature and Carnival Culture: Aspects of (not) an Intersection." NaUKMA Research Papers. Literary Studies 3 (September 2, 2022): 8–18. http://dx.doi.org/10.18523/2618-0537.2022.3.8-18.
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Elements of culture of popular laughter (Mikhail Bakhtin) in the “Knyzhka” of the Ukrainian polemicist were the object of study in the works of Ivan Franko and Mykhailo Hrushevsky. Researchers have not yet distinguished between the concepts of humorous, ironic, and satirical. The third chapter of the “Knyzhka” is called by the Ukrainian historian the forerunner of Ukrainian comedy due to its humorous elements and simple language. However, Hrushevsky calls the descriptions of the image of a layman either ridicule or humor.Carnival elements are closely related to the nature of the genre. Polemical literature is mainly a synthesis of genres. Vyshensky’s texts were called syncretism (Igor Eremin) and the synthesis of genres (Petro Bilous). Bilous attributed most of the chapters of the “Knyzhka” to the genre of invective due to the dialogism and excessive expressiveness. According to Mikhail Bakhtin’s definition, a genre is representative of creative memory. Serio-comic genres, elements of which we explore in the “Knyzhka”, contain elements of carnival culture.In our opinion, such traces of carnival culture in the polemist’s texts include heterogeneous dialogic structures – “Socratic dialogue” and dialogue constructed on the type of catechism. And also these are methods of familiar everyday speech and vulgar common parlance (swearing, quarreling), active word-formation, considerable attention to the body, “grotesque realism” (according to Bakhtin’s definition). We trace in the “Knyzhka” the features of the ancient genres of diatribe (the genre of moral preaching) and mennipea. Similar techniques were used in medieval literature, for example in the works of Francois Rabelais.However, it is worth noting the complete difference between the goals set by the French writer and the Ukrainian polemicist. In Rabelais, artistic methods were aimed at restructuring the picture of the world, the liberation of the body. Instead, Vyshensky’s image of the body is no longer ambivalent, it belongs to a new canon, where the body has an individual character and is subject to church dogmas, and the connection with the universe is lost.Laughter’s elements in Vyshensky’s texts also lose its ambivalent character and become aspects of condemnation. Therefore, the archaic of seriously funny genres is preserved at the formal level, not at the semantic level.
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Malykh, Viacheslav Sergeyevich. "HYBRID SPECULATIVE FICTION AS A GENRE PHENOMENON IN MODERN LITERATURE OF THE U.S. AND RUSSIA." Russian Journal of Multilingualism and Education 14 (December 28, 2022): 79–85. http://dx.doi.org/10.35634/2500-0748-2022-14-79-85.
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The article is devoted to theoretical exploration of modern hybrid speculative fiction. This term comprises a huge body of creative works which are written at the intersection of genres related to speculative prose. On the one hand, hybrid speculative fiction is rooted in post-modern epoch, on the other hand, it returns to the principles of hybrid genre genesis, which flourished at the beginning of the 20th century. The tendency to genre eclecticism is a common feature of a great number of modern creative works and seems to be an efficient way out of conceptual crisis emerged in speculative fiction at the close of the 20th century, that is why the future development of speculative fiction is expected to be closely connected with the expansion of hybrid genre forms. The overall goal of the article is to scientifically comprehend hybrid genres in modern speculative fiction of the United States and Russia. The investigation of hybrid speculative fiction as a genre and cultural phenomenon leads to setting three goals. Firstly, it is necessary to determine genre taxonomy of such genres of traditional speculative fiction as science fiction, fantasy, and horror. Secondly, it is necessary to investigate genre-forming models, which underlie modern hybrid works. Thirdly, it is important to understand common features of the works of hybrid speculative fiction. The study of the genre interaction in modern speculative fiction is based on the descriptive and functional methods. The comparison of Russian and American works involves the use of comparative, typological and cultural-historical methods. Using the genre blocks common for both literary criticism, readers’ expectations and publishing practice, it is possible to identify such genre-forming models of hybrid speculative fiction, as: science fiction+fantasy; science fiction+horror; fantasy+historical novel; fantasy+postmodernist novel. It is also possible to sum up such common features of the works of hybrid speculative fiction, as: irrational world outlook; distortion of the very structural basis of traditional science fiction; shift of sociocultural model of world outlook; polyphonic principle of narration and potentially an endless unravelling of the plot without a pronounced climax; postclassical narrative model; the complexity of storyline. To conclude, modern hybrid speculative fiction can be treated as a separate literary and sociocultural phenomenon in the literature of the U.S. and Russia. It destroys inner canons of traditional science fiction, it is deeply influenced by post-modern cultural paradigm, and could be described as a significant cultural movement, which is aligned with demands and values of modern society.
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Simsone, Bārbala. "Science Fiction In Latvian Literature." Interlitteraria 22, no. 2 (January 16, 2018): 397. http://dx.doi.org/10.12697/il.2017.22.2.16.
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The present paper is devoted to the overview of the beginnings and development of the genre of science fiction in Latvian literature. Similarly to other popular fiction genres, science fiction in Latvian literature has not been very popular due to social and historical reasons; however, during the course of the 20th century several authors have at least partially approached the genre and created either fully fledged science fiction works or literary works with science fiction elements in them. The paper looks at the first attempts to create science fiction-related works during the beginning of the 20th century; it then provides an insight into three epochs when the genre received comparatively wider attention: 1) the 1930s produced mainly adventure novels with elements of science fiction mirroring the correspondent world tendencies of that time period; 2) the period between the 1960s and 80s saw authors who had the courage to leave the strict platform of Soviet Social Realism, experimenting with a variety of science fiction elements in the postmodern literary context which allowed for a wide metaphoric interpretation. This epoch also saw the emergence of a specific phenomenon – humorous / satiric science fiction which the authors employed in order to offer social criticism of the Soviet lifestyle; 3) the beginning of the 21st century saw the emergence of several science fiction works by a new generation of writers: these works presently comprise the majority of newly published science fiction. The paper outlines the main tendencies of the newest Latvian science fiction such as authors experimenting with a variety of themes, the preference for dystopian future scenarios and humour. The paper offers brief conclusions as to the possible future of Latvian science fiction in context of the current developments in the genre.
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Robinson, Douglas. "What kind of literature is a literary translation?" Target. International Journal of Translation Studies 29, no. 3 (September 20, 2017): 440–63. http://dx.doi.org/10.1075/target.16064.rob.
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Abstract This paper is a kind of manifesto for a new conception of literary translation as a unique literary genre that is imitative but qualitatively different from, and not necessarily worse than, the model it imitates. It explores this possibility by first interrogating Gérard Genette’s model of literariness in Fiction and Diction – considering how literary translation as a unique genre might fit that model – and then considering what the literary translator imitates, and the relationship between translation and the novel as similar imitative genres. Key to this comparison is the novel’s early (and continuing) reliance on the “found-translation framing device,” which is effectively what Gideon Toury calls a pseudotranslation but is not (necessarily) designed to hide original creation – rather, to play with the illusion of reality. The paper ends with the suggestion that literature tout court might be reimagined in terms of its transformative energies – and that translation might come to be seen as one of literature’s most definitive genres.
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Sofieva, Gulchin. "Epistolary genre in Eastern classical literature." Golden Scripts 5, no. 4 (December 10, 2022): 65–76. http://dx.doi.org/10.52773/tsuull.gold.2022.4/hcxy5980.
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Epistolary genres (Greek epistole - letter) are a special form of lit-erature embodied in texts “in the form of letters, postcards, telegrams sent to an address to convey certain information.” Writing is an ancient popular epistolary genre. For people separated by a long distance, correspondence was the only means of communication. Over time, fixed etiquette formulas specific to certain types of letters (business, personal, etc.) were developed. Correspondence with relatives, acquaintances, friends, colleagues, etc. was conducted between Today, epistolary genres are experiencing hard times. This is primarily due to the development of scientific and technical prog-ress and the increasing importance of oral speech. The distance communi-cation function includes phone calls, correspondence on social networks, communication via e-mail, etc. took it upon himself. Paper letters in the usual format are used very rarely, in most cases as a business document. On the one hand, technical innovations expand the possibilities of commu-nicators: the processes of transmitting and receiving information are sig-nificantly accelerated, the interlocutors’ time is saved, it is possible to add photo, video and audio materials to the message, and conduct a dialogue.
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Trofymenko, Anastasiia. "GENRE FEATURES OF HORROR LITERATURE." LITERARY PROCESS: methodology, names, trends, no. 17 (2021): 72–80. http://dx.doi.org/10.28925/2412-2475.2021.17.9.
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The article is dedicated to the study of the genre features of horror literature, its plot matrices and principles of artistic modeling of pictures of the world. The article describes the genre-creating elements that have become basis for systematization of the genre composition of horror literature. Special attention is paid to the typology of characters, the specifics of the arranging artistic time and space, as well as the features of the emotional impact on the reader as one of leading principles of genre classification of this type of fiction. After all, much of the text of the works of representatives of horror literature is devoted to the construction of artistic space and time, in order to introduce the recipient into a certain range of components of the emotional state during reading, to achieve the goal of horror literature. Namely, to scare the reader. Considerable attention is paid by the authors of this type of literature to the modeling of characters as a genre component. The article describes a set of standardized elements and attributes describing the appearance and character of the characters, which creates a "horizon of expectations" for the reader's perception. It also acts as an element of genre differentiation within the cluster of horror literature. The definition of genre varieties of this type of fiction reveals a clear conditionality of the specifics of the reception, the orientation of the author's intentions to create a certain psychological effect. Established artistic constants, which show a fairly high level of variability, serve as a figurative and plot matrix for the authors, which provides a "recognizability" of the genre addressed to a certain readership.
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Taehoon, Roh, Ju-Chan Bruce, and Ju-Chan Fulton. "Genre Fiction in Korean Literature." Azalea: Journal of Korean Literature & Culture 14, no. 14 (2021): 13–23. http://dx.doi.org/10.1353/aza.2021.0003.
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Chartier, R. "Genre between Literature and History." Modern Language Quarterly 67, no. 1 (March 1, 2006): 129–39. http://dx.doi.org/10.1215/00267929-67-1-129.
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Futas, Elizabeth. "Collection Development of Genre Literature." Collection Building 12, no. 3/4 (February 1993): 39–44. http://dx.doi.org/10.1108/eb023342.
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Akhmetova, A. M., and N. B. Akysh. "GENRE CATEGORY OF CYBER LITERATURE." SERIES OF SOCIAL AND HUMAN SCIENCES 4, no. 332 (August 15, 2020): 277–88. http://dx.doi.org/10.32014/2020.2224-5294.129.
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Xayrulloyevna, Shamamedova Zinnat. "DEVELOPMENT OF THE DETECTIVE GENRE IN AMERICAN LITERATURE." International Journal Of Literature And Languages 03, no. 03 (March 1, 2023): 24–33. http://dx.doi.org/10.37547/ijll/volume03issue03-06.
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The article is devoted to the historical aspect of the development of the American detective genre. Various approaches to the formulation of the rules for creating works in the detective genre are also considered. The plot of the crime and the role of law enforcement agencies in the disclosure and elimination of criminal cases in the modern detective genre are studied in detail.
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GRGIĆ, Jelena. "THE EIGHTIES IN CROATIAN LITERATURE AND FILM FROM A SOCIO-POLITICAL AND GENRE ASPECT." Lingua Montenegrina 31, no. 1 (June 1, 2023): 195–214. https://doi.org/10.46584/lm.v31i1.980.
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In the 1980s, Croatian literature and cinema were significantly influenced by European and American (postmodern) movements which reevaluated the notion of genre. Until that period, genre was often marginalized and considered a product of commercial usage and, therefore, inferior to „serious“ works of art. In this decade, Croatian writers and film directors embraced a new attitude towards genre by exploring various marginalized genres such as science-fiction, horror and melodrama. The works of some authors were strongly influenced by postmodern strategies, while others, despite the exploitation of some of the postmodern features, also accentuated relation to social and political context. Writers like P. Pavličić and G. Tribuson or directors like Z. Tadić, Ž. Tomić and D. Šorak were amongst those authors who made a notable career as genre authors whether using a socio-political context or an escapist approach in their works.
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Qian, Zonglin. "Study of Literature Review Writing in English Academic Papers from the Perspective of Move-structure and Generic Theory." Journal of Education and Educational Research 3, no. 2 (May 31, 2023): 229–32. http://dx.doi.org/10.54097/jeer.v3i2.9310.
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In English academic writing, genres play an important role, and move analysis is rooted in genre analysis. This study comprehensively discusses the three-move model of literature review and a six-step Genre-Based Instruction (GBI) approach. In the first study, 55 master's theses of a university majoring in foreign linguistics and applied linguistics were used as the corpus to study the moves of literature review. The results showed that students were not familiar enough with the moves and strategies of literature review, so they needed to strengthen their knowledge of the corpus. The second study guided junior English majors in a university to conduct English academic writing training. The results showed that under the guidance of GBI approach, the students' genre awareness was enhanced and the ability to use genre structure was improved.
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Drew, Christopher. "Educational podcasts: A genre analysis." E-Learning and Digital Media 14, no. 4 (July 2017): 201–11. http://dx.doi.org/10.1177/2042753017736177.
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Academic attention to educational podcasts has grown significantly in recent years. However, to date, the concept of genres in podcasting is yet to gain scholarly attention. By examining genres emergent from a corpus of educational podcasts available online, this paper introduces the value of genre analysis to educational podcast research. It proposes three genres, named ‘The Quick Burst’, ‘The Narrative’ and ‘The Chat Show’. The three genres show both the versatility of podcasting for education and how genre analysis could introduce new ideas to the educational podcasting literature, including ideas about supporting deep learning in e-learning environments.
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Mihurko Poniž, Katja. "Prispevki slovenskih pripovednic k žanrski podobi proze 19. stoletja." Jezik in slovstvo 55, no. 1-2 (January 4, 2024): 47–59. http://dx.doi.org/10.4312/jis.55.1-2.47-59.
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The article deals with the genre features brought to narrative prose in the 19th century by Luiza Pesjak, Pavlina Pajk and Zofka Kveder. A narratological analysis based on the findings of the narratology of social gender shows that all three of these writers chose approaches that represented innovations in the literature of the time. Luiza Pesjak and Pavlina Pajk selected the genre novel and upgraded it with their own innovations, introducing narrative strategies that had been developed by their contemporaries in other European literatures. Another interesting contribution to the development of genres is represented by the collection of short prose Misterij žene (The Mystery of a Woman) by Zofka Kveder, as with the sketches in this collection the author contributed to the modification of the traditional model of short narrative. The concluding finding of the article is that the authors met with sharp rejection whenever the genre in which they were writing was a privileged genre of a specific group or era, into which they were attempting to introduce innovations that departed from the accepted guidelines of Slovene literature in the 19th century.