Relevant bibliographies by topics / Gérard Genette

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Gérard Genette'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Gérard Genette"

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

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

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

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

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

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

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

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Didipu, Herman. "TEORI NARATOLOGI GÉRARD GENETTE (TINJAUAN KONSEPTUAL)." TELAGA BAHASA 7, no. 2 (January 15, 2020): 163–72. http://dx.doi.org/10.36843/tb.v7i2.58.

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Artikel ini bertujuan menguraikan pokok pemikiran konseptual teori naratologi Gérard Genette. Pokok pemikiran teori naratologi Gérard Genette dituangkan dalam bukunya yang berjudul Narrative Discourse: An Essay in Method. Genette mengusulkan untuk menggunakan tiga istilah yang berbeda. Pertama, kata story ‘cerita’ yang menjadi signified ‘petanda’ atau konten narasi. Istilah story ini sepadan dengan kata histoire (Prancis) dan geschichte (Jerman). Kedua, kata narrative ‘naratif atau penceritaan’ sebagai signifier atau penanda, pernyataan, wacana atau sebagai teks naratif itu sendiri. Istilah narrative sejajar dengan kata récit (Prancis) dan discourse (Inggris). Ketiga, istilah narrating ‘menceritakan‘sebagai aksi atau tindakan memproduksi naratif, atau dalam pengertian yang lebih luas, sebagai keseluruhan situasi nyata atau fiksi di mana aksi terjadi. Genette mengemukakan tiga kategori struktur naratif sebagai dasar pemikirannya, yaitu tense, mood, dan voice. Dalam pembahasan bukunya, selanjutnya Genette membagi unsur tense menjadi tiga bagian, yaitu order, duration, dan frequency. Dengan demikian, pokok bahasan struktur naratif/penceritaan Gérard Genette terdiri atas lima kategori utama, yaitu (1) urutan naratif (order), (2) durasi naratif (duration), (3) frekuensi naratif (frequency), (4) modus naratif (mood), dan (5) suara naratif (voice).Kata kunci: naratologi, Gérard Genette, urutan, durasi, frekuensi, modus, suara naratif Gérard Genette Narratology Theory (Conceptual Review) Abstract This article aims to describe the main conceptual thinking of the narratology theory of Gerard Genette. The main idea of the Gérard Genette narratology theory is outlined in his book entitled Narrative Discourse: An Essay in Method. Genette proposed to use three different terms. First, said the 'story' which became signified or narrative content. The term story is commensurate with the words histoire (French) and geschichte (Germany). Second, the narrative word as a signifier, statement, discourse or narrative text itself. The term narrative is parallel to the word récit (French) and discourse (English). Third, the term narrating as an action or action to produce a narrative, or in a broader sense, as a whole real situation or fiction where the action takes place. Genette presents three categories of narrative structure as the basis for thinking, namely tense, mood, and voice. In the discussion of his book, Genette then divides tense elements into three parts, namely order, duration, and frequency. Thus, the subject matter of the Gérard Genette narrative structure consists of five main categories, namely (1) order, (2) duration, (3) frequency, (4) mood, and (5) voice. Keywords: narratology, Gérard Genette, order, duration, frequency, mood, voice
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Coelho, Ana Amelia Barros. "Bardradrac: ABC de Gérard Genette." Revista Criação & Crítica 2, no. 2 (April 15, 2009): 83. http://dx.doi.org/10.11606/issn.1984-1124.v2i2p83-87.

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Pardo Jiménez, Pedro. "Gérard Genette de Bardadrac a Postscript." Anales de Filología Francesa 27, no. 1 (November 15, 2019): 243–56. http://dx.doi.org/10.6018/analesff.365121.

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Conocido hasta entonces por sus estudios de poética y de estética, Gérard Genette publica en 2006 Bardadrac, una especie de diccionario informal en el que se recogen recuerdos de infancia y juventud, anécdotas de la vida profesional y personal, experiencias de viajes, reflexiones sobre la sociedad contemporánea, ideas sobre el arte y la literatura, opiniones sobre los temas más diversos, inventarios de usos lingüísticos peculiares, etc. Este libro inicia una serie auto(bio)gráfica que a lo largo del siguiente decenio se completa con cuatro volúmenes más –Codicille (2009), Apostille (2012), Épilogue (2014) y Postscript (2016)– en los que el escritor, recientemente fallecido, y a modo pues de testamento, nos da a conocer su lado más desconocido en un brillante ejercicio de memoria, inteligencia y sensibilidad.
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Dissertations / Theses on the topic "Gérard Genette"

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

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Sur la base des travaux de Gérard Genette, en particulier Figures III, uneanalyse narratologique du roman L’Élégance du hérisson (2006) de l’auteur MurielBarbery a été effectuée afin de comprendre les liens qu’il y a entre les spécificités dumode narratif et leurs effets sur l’espace du récit, soit « le bocal à poissons », unemétaphore importante du roman. Ultimement nous répondons à la question suivante :En quoi la narration dans le roman L’Élégance du hérisson permet-elle de bien rendrela métaphore du « bocal à poissons »?
Based on Gérard Genette’s work, particularly Figures III, anarratological analysis of Muriel Barbery’s L’Élégance du hérisson (2006) is conductedin order to understand the links between the specificities of the narrative mode andtheir effects on the space of the story, the "fish bowl". Ultimately, we answer thisquestion: In which way the narrative in the novel L’Élégance du hérisson allows toproperly render the metaphor of the "fish bowl".
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Johansson, Carl. "Berättelsens framhävda existens : En läsning av Patrick Rothfuss två romaner The Name of the Wind och Slow Regard of Silent Things." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49903.

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

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

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

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

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Syftet med denna uppsats är att undersöka berättarna och narraterna i Rick Riordans The Lightning Thief (2005) och The Lost Hero (2010), samt att se vilka implikationer de har på berättandet i sig självt. Uppsatsen fokuserar på en komparativ undersökning av romanerna i fråga, och gör allt detta från en narratologisk utgångspunkt. Det narratologiska perspektivet kommer framför allt ifrån Gérard Genettes Narrative discourse och hans termer extra-, intra-, hetero- och homodiegetiskt berättande. Studien av narraten gör detsamma men med Gerald Prince artikel ”Introduction to the Study of the Narratee” i Reader-response criticism: from formalism to post-structuralism. För ett bredare perspektiv på flera, både nyare och äldre, narratologiska studier använder uppsatsen också Manfred Jahns ”Narratology 2.1: A Guide to the Theory of Narrative”. Genom analysen kan man utläsa att The Lightning Thief antar ett homo- och extradiegetiskt berättande med en specifik grupp av narrater. Detta kontrasteras med The Lost Heros hetero- och extradiegetiska berättande med en grundnarrat utan uppenbara kännetecken. I förlängningen kan man också upptäcka att det finns en skillnad mellan berättarens och narratens förhållande till en verklig läsare och hur, speciellt i The Lightning Thief, läsaren är tvingad att fundera på hur den relaterar till både narraten och berättaren.
This paper aims to study the narrators and the narratees in Rick Riordan's The Lightning Thief (2005) and The Lost Hero (2010), and to see what implications they have on the narrative itself. The paper focuses on a comparative examination of the novels in question and does all this from a narratological standpoint. The narratological perspective first and foremost comes from Gérard Genette's Narrative discourse and his terms extra-, intra-, hetero-, and homodiegetic narrative. The study of the narratee does the same but with Gerald Prince's article "Introduction to the Study of the Narratee" in Reader-response criticism: from formalism to post-structuralism. For a wider perspective of several, both new and old, narratological studies the paper also uses Manfred Jahn's "Narratology 2.1: A Guide to the Theory of Narrative". Through the analysis, one can gather that The Lightning Thief takes on a homo- and extradiegetic narrative with a specific group of narratees. This is contrasted with The Lost Hero's hetero- and extradiegetic narrative with a "zero-degree narratee" that has no apparent characteristics. By extension, one can also notice that a difference lies with the narrator's and narratee's relationship to an actual reader and how, especially in The Lightning Thief, the reader is forced to figure out how it relates to both the narratee and the narrator.
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Eklöf, Fredrik. "Med tiden på sin sida : Narratologi, retorik, och moral i Julian Barnes The sense of an Ending." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-225293.

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

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

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

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La "difficulté" n'est pas une notion spécifique à la didactique des langues, pourtant elle est omniprésente dans les discours tenus sur l'enseignement apprentissage. L'objectif de cette présente recherche est de cerner cette notion, de découvrir ce a quoi elle s'applique dans l'acte d'enseignement apprentissage et d'appréhender la place et les valeurs qui lui sont attribuées à l'intérieur du champ du f. L. E. De 1980 a 1990. La revue le francais dans le monde, symbole de la constitution de ce champ, a été systématiquement dépouillée, pour les numéros 150 a 237, de manière à relever les réalisations de la notion. Ce travail s'inscrit donc a la croisée de deux disciplines: la didactique des langues (qui constitue l'objet d'étude) et l'analyse de discours (qui fournit un modèle de description). Une première partie retrace les choix théoriques et méthodologiques opérés : une première approche lexico-notionnelle a abouti à la constitution d'une liste de mots-pivots, fondement de la recherche. La grammaire des cas de Fillmore et les théories énonciatives ont ensuite été empruntées dans le but d'affiner la vision, d'autoriser une multiplication des réseaux et donc d'appréhender ce discours sur la notion de difficulté selon différents points de vue. Dans la seconde partie, les résultats de la recherche sont consignés dans un "portrait de la notion de difficulté", ou le dépouillement et le croisement des données permettent de mesurer la place faite a la notion, souvent dissimulée mais attribuée de manière non aléatoire selon les objets d'écriture et les types d'auteurs
The notion of "difficulty" is not specific to language didactics, nevertheless it is omnipresent in the discourse on teaching learning. The objective of the present work is to delimit this notion, to find out to what it applies in the act of teaching learning, and to understand the place and the values attributed to it in the context of french as a foreign language from 1980 to 1990. The journal le francais dans le monde, a paradigm of formulation in this field, was systematically examined (issues 150 to 237) with the intention of analysing the implementation of the notion. This work lies at the crossing of two fields of study: language didactics (which constitutes the object of study) and discourse analysis (which provides a model of description). The first part of the work retraces the theoretical and methodological choices used : firstly, as a basis for the research, a list of key words has been created through a lexical-notional approach. Next fillmore's case grammar as well as enunciative theories have been borrowed in order to sharpen the perspective, to permit a variety of systems and, thus, to apprehend the question on the notion of difficulty from different points of view
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Books on the topic "Gérard Genette"

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

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

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

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‘Metalepsis’ is a classical term. Ancient critics, however, only used it within the confines of rhetoric and stylistics to describe certain usages akin to metaphor and metonymy. In the twentieth century, metalepsis was then reframed much more broadly as a crossing of the boundaries that separate distinct narrative worlds. This modern notion of metalepsis, introduced by Gérard Genette, has proved highly insightful for exploring interactions between the worlds of author and text, such as scenarios in fiction—typically postmodern, typically novelistic or cinematic—where an author and a character enter into conversation. Yet metalepsis has a much greater potential to address all sorts of transgressions between ‘worlds’ or ‘levels’, not only in postmodern but also pre-modern literature. If metalepsis consists fundamentally in the breaking down of barriers, to what sort of barriers and what sort of transgressions can the concept be fruitfully applied? Can it be used within approaches other than narratology? Does metalepsis require recognizable levels of reality and fictionality, and if so, what role might be played by other planes, such as the past, the mythical, or the divine? What form does metalepsis take in less obviously ‘narrative’ genres (such as lyric poetry)? And how should it be understood in visual media (such as vase-painting)? As classicists begin to examine what metalepsis might mean in ancient literature, this volume uses such questions to consider where metalepsis can most productively join other critical concepts in classical research, and how explorations of ancient metalepsis might change, refine, or extend our understanding of the concept itself.
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Rydving, Håkan, and Konsta Kaikkonen, eds. Religions around the Arctic: Source Criticism and Comparisons. Stockholm University Press, 2022. http://dx.doi.org/10.16993/bbu.

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At a seminar at the University of Bergen, Norway, in September 2018, scholars from Denmark, Finland, Norway, and Sweden presented and discussed various forms of source criticism and comparison with examples from the Arctic and Sub-Arctic regions of Eurasia and North America. A selection of the papers read at the seminar are published in this volume. Each of the chapters in the first part compares local phenomena from two or more cultural contexts: a Swedish, a Karelian, an Estonian and an Irish place name that include words for hostage (Stefan Olsson), Old Icelandic and Sami ancestor mountains (Eldar Heide), and Finno-Karelian bear incantations and Ob-Ugrian bear songs (Vesa Matteo Piludu). The second part gives examples of different forms of source criticism in the analysis of indigenous Sami religion. The functions of a newly found ritual drum is discussed in relation to contemporary written sources (Dikka Storm & Trude Fonneland), the court proceedings from a witchcraft trial in 1692 is discussed with the help of Gérard Genette’s category ‘voice’ (Liv Helene Willumsen), and a content analysis of an introduction to indigenous Sami religion shows that the editor added text of his own to the original manuscript (Konsta Kaikkonen). In the third part, the area is widened to other parts of the Arctic. Here, a selection of theoretical perspectives is used to illuminate local empirical material. They give examples of how Native North American bear rituals and sweat bath traditions can be analysed with the help of an ecology of religion model and ritual theories, respectively (Riku Hämäläinen), of how Soviet researchers used the concepts of ‘spirits’ and ‘gods’ when they analysed the world view of the Nganasan (Olle Sundström), and of how representatives of academia have been instrumental in the ‘finding, claiming, and authorizing’ of Sakha religions (Liudmila Nikanorova). Although the papers only deal with a few of the peoples living in the Arctic and Sub-Arctic regions, the examples of source critical and comparative problems they discuss are of great general relevance.
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Book chapters on the topic "Gérard Genette"

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Newton, K. M. "Gérard Genette: ‘Structuralism and Literary Criticism’." In Twentieth-Century Literary Theory, 89–93. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-25934-2_19.

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"Gérard Genette, ‘Order in Narrative’." In The Narrative Reader, 104–11. Routledge, 2002. http://dx.doi.org/10.4324/9780203459065-4.

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"III. La typologie de Gérard Genette." In Écriture et réécriture hagiographiques, 91–101. Turnhout: Brepols Publishers, 2005. http://dx.doi.org/10.1484/m.hag-eb.4.00075.

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"Dans un texte de Gérard Genette." In Pastiches et parodies, 145–47. Éditions Rue d’Ulm, 2016. http://dx.doi.org/10.4000/books.editionsulm.7690.

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de Castro, Paulo F. "Transtextuality according to Gérard Genette – and beyond." In Intertextuality in Music, 131–44. Routledge, 2021. http://dx.doi.org/10.4324/9781003092834-12.

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Smyth, Patrick. "Ebooks and the Digital Paratext." In Advances in Human and Social Aspects of Technology, 314–33. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-6002-1.ch015.

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Since its publication in 1987, Gérard Genette's Paratexts has provided a productive means for engaging with those peripheral texts that frame, present, and bound a central work. However, advances in digital media and, in particular, the increasing prevalence of the ebook have altered or replaced many of the conventions outlined by Genette in Paratexts. This chapter explores these new paratextual conventions, employing case studies drawn from the “front lines” of the ebook revolution in concert with more recent scholarship in the field of paratextual studies. By examining the recent development of ebooks through the lens of the five paratextual dimensions outlined by Genette—spatial, temporal, substantial, pragmatic, and functional—this chapter argues that Paratexts continues to offer a crucial tool for the interpretation of texts in a new digital milieu.
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Gingrich, Brian. "Introduction." In The Pace of Fiction, 1–8. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198858287.003.0001.

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We talk about pace. But how do we define it? This introduction suggests that one define it loosely, as something like large, forward, rhythmic, shifting, dynamic, temporal narrative movement, and then analyze it by tracking units of pacing as they move forward in literary history. As for finding the right narrative units, one may look to E. M. Forster, Viktor Shklovsky, Günther Müller, and others, but one does best to look to Gérard Genette and then trace his units backwards to the writers and critics who first developed them. Between Genette and his literary precursors, one discovers a significant literary tradition of pace. And, as for the pace of “fiction”: if pace is narrative’s most elaborate feature, fiction is narrative’s most elaborate form.
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Dervişcemaloğlu, Bahar, and Recep Yilmaz. "The Concept of Metalepsis and Classifications of Metaleptic Uses in TV Commercials." In Advances in Marketing, Customer Relationship Management, and E-Services, 66–76. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-9790-2.ch007.

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Metalepsis is a term originated in ancient legal discourse and integrated into narrative theory by Gérard Genette to describe crossovers between narrative levels. Since Genette's definition, various typologies of metalepsis have been devised by narratologists and literary scholars. As a narrative tool which challenges the hierarchical organization and violates the boundaries between levels, metalepsis has different effects and functions depending on the contexts in which it occurs. The aim of the study is to determine the typology of the metaleptic uses in TV commercials. Metalepsis is consciously produced in the advertisement and gives it richness in terms of creativity; and the emergence as follows; interaction with voice over and character, the intervention of the voice over to the plot, the intervention of the character to the screen, the intervention of characters in different places, interaction with character and audience, and meta-fiction.
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HAISSOU, Blaise. "Les ressorts de l’accélération narrative dans Le Colonel Chabert de Balzac." In Sous le signe du signe ou l’art d’être sémioticien, 117–28. Editions des archives contemporaines, 2022. http://dx.doi.org/10.17184/eac.4805.

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Cet article s’intéresse à un roman qui, bien qu’appartenant au XIXe siècle français particulièrement expansif, frappe par sa taille réduite (moins de cent pages en format de poche). Il s’interroge sur les raisons de cette singularité et se demande s’il ne faudrait pas y voir la conséquence de jeux temporels orchestrés par le narrateur et mettant en relation le récit et l’histoire. C’est dans cette direction que voudrait s’orienter une réflexion dont le fondement méthodologique s’inspire de Gérard Genette. En confrontant l’ordre, la durée et la fréquence des événements tels qu’ils apparaissent dans l’histoire et tels qu’ils sont traités dans le récit, on verra comment plus de quarante ans de vie tiennent dans une soixantaine de pages seulement, sans que paradoxalement les événements perdent en densité.
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Geest, Dirk de. "French Structuralism: A. J. Greimas (1917-1992), Tzvetan Todorov (1939-) and Gérard Genette (1930-)." In Introducing Literary Theories, 265–73. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474473637-034.

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Conference papers on the topic "Gérard Genette"

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

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The tendency of today’s historiography to portray early 18th-century Italian opera as a dichotomy between opera seria and opera buffa takes too little account of the existence of genera mixta. However, contemporary composers and authors sometimes referred to a tripartiton. In his treatise Der vollkommene Capellmeister (1739), Johann Mattheson distinguishes between tragedy, comedy and satire. His description of the melodies from a satirical opera is limited to the statement that they are “ridiculous, poseuristic and prickly”. This definition can be applied to the analysis of dramatic vocal works with the help of Gérard Genette’s category of “burlesque travesty” which describes the stylistic degradation of a tragic-heroic subject as a satirical function. This stylistic mixture is achieved by the use of specific musical devices, which are shown in this article on the basis of case studies on music by Francesco Bartolomeo Conti, Johann Sebastian Bach and Georg Friedrich Händel.
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