Books: 'Genre signs'

1

González, Inés. Gente de signos. Editorial Lector Cómplice, 2018.

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2

K, Gilbertson Michael, ed. Signs, genres, and communities in technical communication. Baywood Pub. Co., 1992.

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3

Barber, David W. When the fat lady sings. Sound and Vision, 1990.

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4

Lee, Christopher Alarie. Medieval Hermeneutic Pedagogy: Teaching with and about Signs in Several Didactic Genres. [publisher not identified], 2011.

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5

Lapin, Lawrence L. Super virus: Immortal sins. Breedwell Press, 2009.

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6

Piñeiro, Caridad. Sins of the flesh. Grand Central Publishing, 2009.

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7

Hamarneh, Walid. Traveling genres under the signs of modernity: Aesthetic transfer and the problems of the novel. P. Lang, 2001.

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8

C, Donald David, ed. When the fat lady sings: Opera history as it ought to be taught. Sound and Vision, 1990.

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9

Holiday, Billie. Lady sings the blues. Penguin Books, 1992.

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10

Gendt, Annemie de, and Wim Bals. Lof der zotheid: Hekeling van de menselijke dwaasheid : tentoonstellingszaal Zwijgershoek, Sint-Niklaas, 10 september-30 november 2006. Freddy Willockx, 2006.

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11

William, Dufty, ed. Lady sings the blues [book & CD]. 5th ed. Broadway Books, 2006.

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12

1951-, Hecht Peter, Museum Boijmans Van Beuningen (Rotterdam, Netherlands), and Städtische Galerie im Städelschen Kunstinstitut Frankfurt am Main., eds. Senses and sins: Dutch painters of daily life in the seventeenth century. Hatje Cantz, 2004.

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13

Toreno, Elisabetta. Netherlandish and Italian Female Portraiture in the Fifteenth Century. Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463728614.

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This book investigates the aesthetic and conceptual characteristics of fifteenth-century female portraiture on panel. Portraits of women increased substantially during this century. They formed part of a material and a visual culture borne out of the rapid rise of an oligarchy from entrepreneurial activities that was especially advanced in the urbanised territories of Italy and Flanders. For this reason, the portraits in this book are by Netherlandish and Italian painters. They are simultaneously illustrative of the emancipation of the genre from its medieval idiom, and of the responses to the matrix of patriarchy, under which society was organised. Patriarchy is an androcentric structure that places women in a paradoxical situation of legal and social disenfranchisement on the account of purported psychophysical inadequacy, whilst making them the catalysts, through arranged marriages, for the success of the spheres of power, which are controlled by men. Thus, these portraits are also a window into women’s lives in this structure. This book is the first systematic study of their sign-system and of the feminine experience of seeing and being seen, at the intersection of disciplines that include art history, anthropology, legal history, philosophy. The surprising results suggest new interpretations of form and function in female portraiture, women’s active role in the imaging process and the early instances of a pro-women ideology.

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14

Decker, Gregory J., and Matthew R. Shaftel, eds. Singing in Signs. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190620622.001.0001.

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Singing in Signs is a collection of essays from prominent opera scholars that explores the rich interplay of symbols in the operatic genre, while simultaneously providing perspective on the state of opera study. Each author, whether explicitly or implicitly, uses the powerful tools of semiotics (the study of signs) to construct interpretations and discover relationships among music, lyrics, and drama. Authors in this collection use a combination of traditional and emerging methodologies to engage composer-constructed and work-specific music-semiotic systems, broader sociocultural music codes, and narrative strategies. Many of the essays have implications for performance and staging. Singing in Signs answers the call—through the lens of semiotics—to embrace opera on its own terms and to engage all of its constituent elements in interpretation. The purpose of the present volume is to “resurrect” serious musical study of opera—not because it has not been taking place—but in a larger sense as a multifaceted, interpretive discipline, by collecting some of these efforts in one volume. The essays here focus on the musical, dramatic, cultural, and performative in opera and demonstrate how these modes can create an intertext that informs interpretation. Operas explored in this volume span the late Baroque period through the present day, including composers from Handel to Wagner to Britten.

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15

The field of drama: How the signs of drama create meaning on stage and screen. Methuen, 1987.

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16

Virginás, Andrea. Film Genres in Hungarian and Romanian Cinema. The Rowman & Littlefield Publishing Group, 2021. https://doi.org/10.5040/9781666990324.

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Film Genres in Hungarian and Romanian Cinema: History, Theory, and Reception discusses how the Hungarian and Romanian film industries show signs of becoming a regional hub within the Eastern European canon, a process occasionally facilitated by the cultural overlap through the historical province of Transylvania. Andrea Virginás employs a film historical overview to merge the study of small national cinemas with film genre theory and cultural theory and posits that Hollywood-originated classical film genres have been important fields of reference for the development of these Eastern European cinemas. Furthermore, Virginás argues that Hungarian and Romanian genre films demonstrate a valid evolution within the given genre’s standards, and thus need to be incorporated into the global discourse on this subject. Scholars of film studies, Eastern European studies, cultural studies, and history will find this book particularly useful.

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17

Gente de Signos. Independently Published, 2021.

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18

Killingsworth, M. Jimmie, and Michael K. Gilbertson. Signs, Genres, and Communities in Technical Communication. Routledge, 2018. http://dx.doi.org/10.4324/9781315223728.

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19

Killingsworth, M. Jimmie, and Michael K. Gilbertson. Signs, Genres, and Communities in Technical Communication. Taylor & Francis Group, 2018.

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20

Killingsworth, M. Jimmie, and Michael K. Gilbertson. Signs, Genres, and Communities in Technical Communication. Taylor & Francis Group, 2019.

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21

Killingsworth, M. Jimmie, and Michael K. Gilbertson. Signs, Genres, and Communities in Technical Communication. Taylor & Francis Group, 2018.

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22

Killingsworth, M. Jimmie, and Michael K. Gilbertson. Signs, Genres, and Communities in Technical Communication. Taylor & Francis Group, 2018.

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23

Killingsworth, M. Jimmie, and Michael K. Gilbertson. Signs, Genres, and Communities in Technical Communication. Taylor & Francis Group, 2018.

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24

Ryan, Jennifer D. Diversity and Divergence in the Improvisational Evolution of Literary Genres. Edited by Benjamin Piekut and George E. Lewis. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199892921.013.010.

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This chapter examines the evolution of three types of improvisation: a mode of literary composition, a method through which to advocate social change, and a theoretical practice. The theory that attempts to account for such improvisational strategies both simulates the material activity of improvisation and identifies the presence of improvisation itself as indicative of the first stage in an emerging literary genre. The chapter demonstrates the interrelated operations of these strategies through applied analyses of two texts, Mark Z. Danielewski’s experimental haunted-house novel House of Leaves (2000) and Edward P. Jones’s neo-slave narrative The Known World (2003). The argument locates improvisatory techniques in these two novels; examines the ways in which they diverge from preexisting theoretical trends in the fields of improvisation studies, postmodernist fiction, and the neo-slave narrative; and identifies these new improvisatory modes as signs of hitherto uncategorized literary forms.

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25

Gente En El Cine (Signo E Imagen). Catedra, 2004.

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26

Signes de vie: Le pacte autobiographique, 2. Seuil, 2005.

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27

Nuovo, Victor. The Philosophy of a Christian Virtuoso i. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198800552.003.0006.

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An Essay concerning Human Understanding is, with respect to its genre, a system of logic, consisting of signs, or words and ideas, and the use the mind makes of them to achieve an understanding of things and to convey them without ambiguity to others. Words and ideas are combined in definitions and causal statements. One of the main goals of the Essay is to determine the nature and limits of knowledge and belief. Locke concludes that a science of nature is impossible to us, because human understanding cannot gain access into the essence or inner constitution of things, material or spiritual, but that a science of morality is possible, because the objects of moral reflection, moral ideas, are fully comprehensible to us. With regard to other things, material or spiritual, the mind must be content with probable belief. Locke concludes the Essay claiming that morality is the proper business of mankind in this life.

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28

Lowry, Joseph E., and Shawkat M. Toorawa, eds. Arabic Belles Lettres. Lockwood Press, 2019. http://dx.doi.org/10.5913/2019105.

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Arabic Belles Lettres brings together ten studies that shed light on important questions in the study of Arabic language, literature, literary history, and writerly culture. The volume is divided into three sections. Early Narratives comprises: Joseph Lowry on the Qur'an’s allusive legal language; Abed el-Rahman Tayyara on matrilineal lineages in the context of Badr and Uhud; Ruqayya Khan on the ramifications of public courtship in 'Udhrī romances; and Philip Kennedy on firāsah (reading for signs and traces) in medieval narrative. Medieval Authors comprises: Shawkat Toorawa on ͑Ubaydallāh ibn Ahmad ibn Abī Tāhir’s History of Baghdād; Maurice Pomerantz and Bilal Orfali on Ibn Fāris and the origins of the maqāmah genre; Everett Rowson on al-Tawhīdī and his predecessors; and Ghayde Ghraowi on al-Khafājī and his Rayhānat al-alibbā'. Modern Egypt comprises: Roger Allen on a cultural controversy in the Cairo newspapers of 1902; and Devin Stewart on preposterous boasting and ingenuity in modern Egyptian Arabic. This illuminating collection is a must read for anyone interested in Arabic literature.

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29

Barber, David W. WHEN THE FAT LADY SINGS: Opera History As It Ought To Be Taught. Sound And Vision, 2000.

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30

Barber, David W. When the Fat Lady Sings: Opera History As It Ought To Be Taught. Sound And Vision, 1990.

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31

Sins of the Flesh (Sin #1). Grand Central Publishing, 2009.

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32

La séduction policière: Signes de croissance d'un genre réputé mineur : Pierre Magnan, Daniel Pennac et quelques autres. Summa, 1999.

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33

Shenton, Andrew. Olivier Messiaen's System of Signs: Notes Towards Understanding His Music. Taylor & Francis Group, 2017.

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34

Shenton, Andrew. Olivier Messiaen's System of Signs: Notes Towards Understanding His Music. Taylor & Francis Group, 2016.

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35

Olivier Messiaen's System of Signs: Notes Towards Understanding His Music. Ashgate Pub Co, 2008.

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36

Theatre as Sign System: A Semiotics of Text and Performance. Routledge, 2013.

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37

Sedel, Frédéric. Krabbe Disease in Adults. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780199972135.003.0051.

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Krabbe disease (globoid cell leukodystrophy) is an autosomal recessive lysosomal storage disease caused by mutations in the lysosomal galactocerebrosidase (galactosyl ceramidase) gene. Krabbe disease usually presents as a severe leukodystrophy in early infancy and childhood. In contrast, adult patients usually present with progressive spastic paraparesis. Other signs of the disease include peripheral neuropathy, dysarthria, cerebellar ataxia, pes cavus deep sensory signs, tongue atrophy, optic neuropathy, cognitive decline. Cerebrospinal fluid protein concentration is moderately increased in adults. High signals of cortico-spinal tracts on brain MRI are highly suggestive and this typical aspect may be associated with hyper-intensities of optic radiations, and of the posterior part of the corpus callosum.

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38

Jules-Rosette, Bennetta, and J. R. Osborn. African Art Reframed. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043277.001.0001.

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This book approaches the reframing of African art through dialogues with collectors, curators, and artists on three continents. It explores museum exhibitions, storerooms, artists’ studios, and venues for community outreach. Part One (Chapters 1-3) addresses the history of ethnographic and art museums, ranging from curiosity cabinets to modernist edifices and virtual websites. Museums are considered in terms of five transformational nodes, which contrast ways in which museums are organized and reach out to their audiences. Diverse groups of artists interact with museums at each node. Part Two (Chapters 4-5) addresses museum practices and art worlds through dialogues with curators and artists examining museums as ecosystems and communities within communities. Processes of display and memory work used by curators and artists are analyzed with semiotic methods to investigate images, signs, and symbols drawn from curating the curators and exploring artists’ experiences. Part Three (Chapters 6-8) introduces new strategies for displaying, disseminating, and reclaiming African art. Approaches include the innovative technology of unmixing and the reframing of art for museums of the future. The book addresses building exchanges through studies of curatorial networks, south-north connections, genre classifications, archives, collections, databases, and learning strategies. These discussions open up new avenues of connectivity that range from local museums to global art markets and environments. In conclusion, the book proposes new methods for interpreting African art inside and outside of museums and remixing the results.

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39

Traveling Genres Under the Signs of Modernity: Aesthetic Transfer and the Problems of the Novel (New Studies in Aesthetics). Peter Lang Publishing, 2007.

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40

Vermeer, Johannes, Jan Steen, Peter Hecht, et al. Senses And Sins. Hatje Cantz Publishers, 2005.

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41

Holiday, Billie. Lady Sings The Blues. Tusquets, 2002.

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42

Holiday, Billie. Lady Sings The Blues. Tusquets Editor, 2002.

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43

Holiday, Billie. Lady Sings the Blues. Tusquets, 1998.

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44

Baumann, Nicole, and Jean-Claude Turpin. Metachromatic Leukodystrophy. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780199972135.003.0052.

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Metachromatic leukodystrophy can be observed in infantile, juvenile, and adult cases. It is due to deficiency of the enzyme sulfatide sulfatase arylsulfase A. The adult form includes two types—one characterized by predominantly central nervous system motor signs (mainly pyramidal and/or cerebellar) and a peripheral neuropathy, and the other presenting with behavioral abnormalities and progressive mental deterioration. Homozygosity for the P426L mutation is very frequent in motor forms of adult MLD and heterozygosity for the I179S is very frequently found in psychiatric forms. Hematopoietic stem cell transplantation or bone marrow transplantation is the only presently available therapy that attempts to treat the primary central nervous system manifestation of MLD, but substantial risk is involved and long-term effects are not clear. Potential therapeutic application of hematopoietic stem cell gene therapy and intracerebral gene transfer (brain gene therapy) are explored in infantile forms of patients with MLD.

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45

Megna-Wallace, Joanne. Understanding I Know Why the Caged Bird Sings. Greenwood, 1998. http://dx.doi.org/10.5040/9798216029502.

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Maya Angelou's autobiographyI Know Why the Caged Bird Singswas nominated for a National Book Award, yet in 1995 it topped the list of books most frequently challenged in schools and libraries. This interdisciplinary collection of documents and commentary explores the historical and social context, as well as the contemporary issues and controversies raised by Angelou's autobiography. A rich resource for teachers and students, it will help to enhance the reader's understanding of the historical and social forces that shaped Maya Angelou's experience—race relations in the pre-civil rights South, segregated schools, the African American church, and the African American family. It also examines the issue of childhood sexual abuse, the inclusion of which has been the basis of most of the challenges to the autobiography, and the issue of the work's censorship since its publication. This rich resource begins with a literary analysis of the structure and dramatic elements of Angelou's autobiography, as well as discussion of the genre of autobiography. Subsequent chapters include introductions and documents that provide insight into the topics of race relations, lynchings, and racial etiquette; the education of African Americans in the South in the 1930s (particularly county training schools like the one Angelou attended); the otherworldliness, emotion, and music of the African American church; African American women as nurturers, and the effect of frequent migration on children such as Angelou; information from the National Center on Child Abuse and Neglect which puts the sexual abuse Angelou experiences in a broader context; and many news stories regarding censorship attempts onI Know Why the Caged Bird Sings. Documents in the work include newspaper articles, interviews and first-person narratives, government documents, excerpts from books and journals, and legal statutes. Study questions, ideas for project topics, and suggested readings conclude each chapter and further enhance the usefulness of this interdisciplinary research tool for students and teachers.

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46

Miklitsch, Robert. Periodizing Classic Noir. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038594.003.0011.

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This concluding chapter traces the history of classic noir by reflecting on the way in which the genre has been discursively constituted through its beginnings and endings, an act of periodization that typically entails nominating particular films as the first and last noir in order to differentiate the intervening films from, respectively, proto- and neo-noir. While the recent interest in Stranger on the Third Floor (1940) is one sign that Boris Ingster's film has supplanted The Maltese Falcon (1941) as the first, titular American noir, recent transnational readings of the genre have problematized the reflexive determination of classic noir as a strictly American phenomenon. In fact, the impact of Odds against Tomorrow (1959) on transnational neo-noir indicates that the end or terminus of the classical era is just as provisional—just as open to interpretation and therefore, revision—as its origin.

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47

Gruen, Erich. Jewish Literature. Edited by Daniel S. Richter and William A. Johnson. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199837472.013.44.

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This chapter explores a central tension in Jewish writings of the era broadly defined as Second Sophistic. Many Jewish authors were deeply immersed in and regularly employed the genres, forms, and themes that long had characterized Greek literature and thrived once more (or still) in the age of the Roman Empire. At the same time, however, the homage paid to Jewish traditions and the sense of distinctiveness, even exceptionalism, retained a strong hold. The chapter discusses four very different authors or texts, Philo, 4 Maccabees, Pseudo-Phocylides, and Joseph and Aseneth, illustrating philosophy, history, gnomic poetry, and the novel. In each case, the author utilizes the Hellenic genres that were an ingrained part of his cultural makeup while conveying the sense of his people’s own distinctive character and contribution. And in each case the blend, smooth on the surface, betrays the signs of strain beneath it.

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48

Dalvi, Arif, Kelly E. Lyons, and Rajesh Pahwa. Essential Tremor. Oxford University Press, 2017. http://dx.doi.org/10.1093/med/9780199937837.003.0009.

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Essential tremor (ET) is the most common cause of tremor. Most studies suggest that the cerebellum is involved in the pathophysiology of ET and that it is an autosomal dominant disorder; however, the actual cause and a gene responsible for the majority of cases have not been identified. The diagnosis of ET is based on evaluation of clinical signs and symptoms. Pharmacological treatment is effective in 30% to 50% of casesm, with primidone and propranolol being first line therapies. Some benefit has also been reported with gabapentin, topiramate, and benzodiazepines. Deep brain stimulation effectively reduces medication-resistant ET in appropriate cases.

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49

Ng, Dominic S. Tangier Disease. Oxford University Press, 2016. http://dx.doi.org/10.1093/med/9780199972135.003.0035.

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Tangier disease is characterized by profound high-density lipoprotein (HDL) deficiency in association with accumulation of cholesterol esters in tissues, especially those of the reticuloendothelial system. Clinical signs include hyperplastic, yellow-orange colored tonsils, peripheral neuropathies, and hepatosplenomegaly. The disease is caused by two mutant alleles of the ABCA1 gene encoding ATP-binding cassette subfamily A member 1. Despite severe HDL deficiency, predisposition to accelerated coronary heart disease is highly variable in affected individuals. With the exception of tonsillectomy for severe hyperplastic tonsils and corneal transplantation in rare cases of severe corneal opacification, treatments for specific manifestations are largely ineffective.

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50

Maler, Anabel. Seeing Voices. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197601976.001.0001.

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Abstract We often think of music in terms of sounds intentionally organized into patterns, but music performed in signed languages poses considerable challenges to this fundamental definition. How can we analyze and understand sign language music? And what can sign language music tell us about how humans engage with music more broadly? Seeing Voices argues that music is best understood as culturally defined, intentionally organized movement, rather than organized sound. This redefinition of music means that sign language music, rather than being peripheral or marginal to histories and theories about music, is in fact central and crucial to our understanding of all musical expression and perception. Sign language music teaches us a great deal about how, when, and why movement becomes musical in a cultural context, and urges us to think about music as a multisensory experience that goes beyond the sense of hearing. Using a blend of tools from music theory, cognitive science, musicology, and ethnography, this book examines the history, cultural context, and analysis of a wide variety of genres of sign language music. It aims to center the musical experience and knowledge of Deaf persons, to bring the long and rich history of sign language music to the attention of music scholars and lovers, and to challenge the notion that music is transmitted exclusively from the hearing to the Deaf. Finally, Seeing Voices proposes that voice, rhythm, melody, and emotion are properties of music that are resilient across visual, kinesthetic, and aural modalities.

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Books on the topic 'Genre signs'

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