Academic literature on the topic 'Hybrid genre theory'

The notion “genre type” is actual metalіngual unit of the modern musicology and musical theory. The theoretical comprehension of this term is connected with the problem of the theory of the musical genre, which is actual for contemporary musicology. This term (as far as its correspondences in musicological discourse of the countries of Eastern, Central and Western Europe) in Ukrainian musicology is still totally uncertain and not codified. This creates an obvious metalіngual lacuna. In the adequate theoretical representation, the term “genre type” outlines the higher level of the hierarchical category of the speech genre, which combines the characteristics of the speech and creative genres in music. Since the end of the 19th century phenomena musical forms / models / patterns (song form, form of rondo, etc.) and the content of music are the subject of studying and classification within the academic discipline “The doctrine of the musical form”. And in relation to the studying of genre types, other criteria are the determining factors: performance composition (instrumental, vocal, vocal-instrumental, musical and theatrical work), text, functions, place of execution, structure of construction. Additional factors of the systematic classification are periods (such as the Renaissance, Baroque, Viennese classicism) and styles (respectively, genres). The process of emancipation of functional music (which had certain social functions) determined the emergence in the 20th century so called “pure music”, almost unrelated to the primary circumstances of origin and existence. In 20th century composers begin to avoid the narrow qualifications of “genres” and established “genre types” and create “hybrid mixed forms” within the usual “classical genre types” (such as chamber symphony) or with the involvement of other types of art (for example, performances as a mixed form of art based on singing action of dance, theatre and music). In the middle of the 20th century began to differentiate musical-creative and musical-language genres within the T. Adorno’s classification of music practices for E-music, U-music and F-music. However, in contemporary Ukrainian musicology we have not a general acceptance of theoretical and methodological principles for the demarcation of classical music and entertainment. Accordingly, there is no proper musicology terminology. Working out of approaches and convincing criteria of the decision of these difficult theoretical and practical issues still continues. In connection with this, the necessity of introducing into the scientific circle the concept of “genre type”, as well as comprehension of its musical and speech nature is actualized.

This article focuses on genre characteristics of Tommaso Landolfi’s works which the author himself called diaries: “La biere du pecheur,” “Rien va” and “Des mois.” Although formally these three texts are not related and moreover, considerably differ from each other in structure and in content, they are united by a common narrative strategy, due to their genre features. Preserving main characteristics inherent in autobiographical prose, these diaries are at the same time aesthetically organized texts that have an artistic structure and contain artistic imagery as well as, most importantly, elements of fiction. Since the category of fiction is openly present in the diaries and declared as the author’s intention, Landolfi’s autobiographical prose can be defined as a hybrid genre containing elements of many other genres, especially the elements of the novel. The essay introduces the term autofiction to describe the phenomenon in question, namely genre diffusion between the autobiographical writing and the novel.

Abstract The traditional simplistic understanding of legal genre as homogeneous texts of legalese is recently confronted by researches focusing on the contextual aspects of legal communication, i.e. the production, circulation, and consumption of legal genres in diverse institutional contexts (Candlin and Maley 1997; D’hondt and Van Der Houwen 2014). It is, according to these researches, more reasonable to think of legal genres as a hybrid combining the operation of different heterogeneous discourses. This article takes the broad contextual perspective, draws on the theory of critical genre analysis (Bhatia 2016) and attempts to explore the discursive heterogeneity in one of the Chinese legal genres – the lawyers’ defense opinions. Both textual and interpretative analysis are conducted in order to identify specific discourses that underline Chinese lawyers’ preparation of defense opinions, and to look at how Chinese lawyers linguistically construct the different discourses to fulfill the ultimate purpose of justifying the defendant’s actions.

The study has been carried out in line with the current problems of modern discourse and genre studies related to the study of the evolution of administrative discourse, which is understood as a hybrid of oral and written communication. The article presents the results of the analysis of the Internet influence on the long-established genres of administrative discourse. The concept of administrative Internet communication has been clarified. The study of administrative discourse in the Internet space clearly demonstrates that even the most conservative sphere of activity is influenced by modern technologies and extralinguistic factors have the most direct impact on the genres formation. The administrative Internet functions are singled out: informing, requesting information, initiating discussions, organization. The genres of administrative Internet communication are analyzed, in the modern administrative discourse we have identified the most indicative in terms of management hypergenres and genres: the hypergenre "corporate web portal" or "Intranet", the genre "email", the genre "online meeting" or "video conferencing", the genre "electronic documents". This article details two genres: "corporate web portal" and "online meeting". The conducted survey made it possible to determine the pragmatic nature of the considered corporate web portal hyper-genre – keeping to corporate culture, interactivity, speed. It has been established that due to the mentioned Internet genres emergence, a partial decrease in distance and erasing of the status line in the "head-subordinate" pair occurs. It is concluded that cyberspace is transforming the power-subordinate nature of administrative communication into democratic partnership, as well as there is the transformation of traditional genres with the advent of electronic communication in the field of management. It is concluded that the theory of speech genres is applicable to study of the evolution of administrative communication, and new techniques are required to take into account linguistic changes caused by the development of information technologies.

The proliferation of hybrid genres is a notable trend in contemporary French literature. Alongside autofiction, new hybrids are emerging in French literature, modelled on a mixture of fiction and factual genre. One of them is exofiction (“ex” + “fiction”), which implies a narrative about fictitious events from the life of a historical character or an attempt to introduce fiction into someone else’s biography. The neologism, belonging to the writer Philippe Vasset, is rapidly entering scholarly and critical discourse, but no systematic attempt to describe the phenomenon has been made. According to Vasset, exofiction can be defined as any narrative that “blends the reality with the phantasms that accompany its representations” (Ph. Vasset); in other words, exofictitious writing practices form the space of “enactivist literature” in the cognitive sense. Exofiction reveals itself in the search for a connection between inner narrator’s experience and the other subject’s experience — including traumatic — through the language. This article attempts to identify the main features of exofiction, according to the enactivist approach in cognitive science and narratology, and to propose an analysis of the genre characteristics of exofiction by the exаmple of the novels by Pascal Quignard, Jean Echenoz and David Foenkinos.

One of the possible ways to explore contextualization is through external discourses referencing the pragmatics of the discourse in question. These are known as metapragmatic discourse. The purpose of this article is to theoretically integrate the concept of metapragmatics into genre analysis and apply metapragmatic tools to the analysis of specific genres. Five YouTube videos together with their accompanying comments exhibiting metapragmatic properties were analyzed. Methodologically, the analysis relies on the textually oriented content analysis. The results indicate that placing discourses nominally relying on one and the same generic form into a certain genre may be predicated on contextual variables that may have nothing to do with said form per se. These variables, however, may be verbalized by the original author and by their audience in the form of metapragmatic markers. This may mean that for the final addressee, the “effect” of the original discourse will depend on the attribution of this discourse, based on the metapragmatic markers, to one of the “competing” genre variations emerging, as it were, in an ongoing exchange between the author and his audience. A case in point are sponsored and “honest” review genres. A second observation resides in the realm of hybrid genres. An example here is integrating sponsored content into one of the “legitimate” lifestyle-genres (“hot tips”, vlog, etc.). A fraction of the discourse community seems to view this as delegitimizing the discourse and the genre in question, while others see it as an “unfortunate insert”, which does not, however, change the genre’s overall value. This leaves the question open whether such genres should be considered new and full-fledged genres, with sponsored content being one of their integral features.

In the period 1490-99, Leonardo da Vinci (1452-1519) wrote nearly three hundred literary writings that were later compiled by scholars into four primary collections: the Bestiario, Favole, Facezie, and Profezia. This article takes Leonardo’s Profezia as its main subject in order to give due recognition to the generic nature of this collection. Specifically, it examines the texts in the Profezia as examples of mixed genre in an attempt to demonstrate how ethos, context, and generic convention yield to the greater moral statement made by Leonardo in the writings themselves. Unlike Leonardo’s other three literary collections, which subscribe to an easily identifiable literary genre, the Profezia texts are hybrid writings that enjoin its readers to consider instead why and how the mixture of forms might be a necessary means of expression to convey a truth and reality.