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Journal articles on the topic 'Literary genres'
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Robertovna, Zaripova Rushana, Boynazarov Bahriddin Bobokhonovich, and Usanova Bahoroy Eshpolatovna. "Literary genres." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 8 (2020): 524. http://dx.doi.org/10.5958/2249-7137.2020.00945.3.
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Omar, Abdulfattah. "Classifying literary genres." Texto Livre: Linguagem e Tecnologia 13, no. 2 (July 24, 2020): 83–101. http://dx.doi.org/10.35699/1983-3652.2020.24396.
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Classifying literary genres has always been methodologically confined to philological methods and what is commonly known as Vector Space Clustering (VSC). The problem has been exasperated with the widening gap between computational theory and traditional analysis of literary texts. Towards finding a solution to this problem, the current study utilizes a synergetic approach that brings together two established methods. First, a computational model of genre classification is drawn upon for identifying concept-based, rather than word-bound, topics, where the representation of texts is secured via the ‘bag of concepts’ (BOC) model as well as the sense-restricted knowledge and meaningful links holding between and among concepts; relatedly, the two model strands of explicit semantic analysis (ESA) and ConceptNet have enacted text classification. Second, a contextual lexical semantic approach (CRUSE, 1986, 2000) is employed so that the contextual variability of word meanings and concepts can be tackled within the confines of the target literary genres classified. The findings of present study have shown that the current composite approach of computational and semantic models has resulted in improved performance in classifying literary genres, especially with respect to delineating the links between each cluster’s document-members and generalizing about their unifying genre. Further implications have emerged from the present study, namely, the benefits reserved for digital libraries and the process of archiving, where literary-text classification has proven problematic to both users and readers in many cases.
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Hama, Avin A., and Osman H. Khidir. "Style of Interference of Genres in the Poems of Sherko Bekas." Koya University Journal of Humanities and Social Sciences 6, no. 2 (April 25, 2024): 300–309. http://dx.doi.org/10.14500/kujhss.v6n2y2023.pp300-309.
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In the past, there was a restriction in the literary genres in the theories of literature. After the development of the theories of literature and criticism this was seen less the genres. The genres got benefit from each other from different ways. Especially through interference of literary genres. This led to the development of the genres and interfering each other and a new genre came up that consists of the previous genres. SHERKO BEKAS was an experienced poet that was different and invented a new style of writing literary genres. This made him to have his own style to mix between the genres to create new genres such as poetic prose, verse novel From this perspective, this study tries to analyses the style of interfering the genres in the poems of the poet. The study consists of two sections: the first one is to introduce the concepts of literary genre and the interference of literary genre. The second one is about the styles of interfering literary genres in the poems of SHERKO BEKAS. In the end, the results and the list of references are available.
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Hassan, Mariwan Omar, and Awara Khadr Mahmoud. "The Basic Forms of Poetry gener in the “Kurdistan” Newspaper of Tehran This paper is a part of master's thesis entitled:." Journal of University of Raparin 10, no. 2 (June 29, 2023): 617–37. http://dx.doi.org/10.26750/vol(10).no(2).paper26.
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The term genre in the literary literature means (type, style, category, or literary element). genres include all the artistic frameworks and templates that poets and writers use to shape their thoughts, consciousness and emotions. In ancient times (classical age) the boundaries between literary genres are clearly defined on the basis of the purity of genres. In general, genres had enjoyed a kind of independence. However, in the later stages, the boundaries between genres were crossed since they merged, went into each other and lost their sanctity and independence. For example, a genre of epic or free verse poetry is a combination of the characteristics of two or more genres within one new literary genre. In addition, the four main genres of poetry, lyric, epic, drama, didactic form the general structure of the base of poetry, each of which has several different genres. This feature, of course, existed in the most publications of the 'Kurdistan Newspaper' in Tehran.
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Zajac, Peter. "Problems of Literary Genres." Human Affairs 4, no. 2 (December 1, 1994): 145–60. http://dx.doi.org/10.1515/humaff-1994-040206.
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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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Do, Thi Cam Van. "Inter-genres in contemporary Vietnamese historical novels." Ministry of Science and Technology, Vietnam 63, no. 4 (April 30, 2021): 56–59. http://dx.doi.org/10.31276/vjst.63(4).56-59.
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In the development process and social movements, the literary genres do not exist independently but have interaction with each other. Novels are capable of performing genres interaction because “the novel allows to put into it many different genres, including artistic genres (short stories, lyric poems, epics, speech plays...) and non-artistic genres (literature in daily life, rhetoric, science, religion...)”[1]. Novels with traditional writing style about contemporary Vietnamese history (prominent writers such as Nguyen Xuan Khanh, Vo Thi Hao, Nguyen Mong Giac...), the interaction among literary genres is considered as the most common form. Typical forms of genre interaction in novels with historical themes are the interaction between short stories and novels, poetry and novels... Genre interaction expresses the writer’s sense of creativity and experience in the innovation requirement of literary life practice.
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Khafaga, Ayman F. "Intertextual Relationships in Literary Genres." International Journal of English Linguistics 10, no. 3 (March 21, 2020): 177. http://dx.doi.org/10.5539/ijel.v10n3p177.
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Most contemporary playwrights acknowledge that Shakespeare’s dramas are for use as raw material to be assimilated into contemporary mould, not to be revered strictly as untouchable museum pieces. Being the model of all dramatists, Shakespeare had a great influence on English theatre, his plays are still performed throughout the world, and all kinds of new, experimental work find inspiration in them. This paper investigates the intertextual relationships between William Shakespeare’s King Lear (1606) and Edward Bond’s Lear (1978). The main objective of the paper is to explore the extent to which Bond manages to use Shakespeare’s King Lear as an intertext to convey his contemporary version of Shakespearean classic. Two research questions are tackled here: first, how does Shakespeare’s King Lear function as a point of departure for Bond’s contemporary version? Second, to what extent does Bond deviate from Shakespeare to prove his originality in Lear? The paper reveals that Bond’s manipulation of intertextuality does not mean that he puts his originality aside. He proves his originality by relating the events of the old story to contemporary issues which in turn makes the story keep pace with modern time.
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Vanetik, Natalia, Margarita Tiamanova, Genady Kogan, and Marina Litvak. "Genre Classification of Books in Russian with Stylometric Features: A Case Study." Information 15, no. 6 (June 7, 2024): 340. http://dx.doi.org/10.3390/info15060340.
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Within the literary domain, genres function as fundamental organizing concepts that provide readers, publishers, and academics with a unified framework. Genres are discrete categories that are distinguished by common stylistic, thematic, and structural components. They facilitate the categorization process and improve our understanding of a wide range of literary expressions. In this paper, we introduce a new dataset for genre classification of Russian books, covering 11 literary genres. We also perform dataset evaluation for the tasks of binary and multi-class genre identification. Through extensive experimentation and analysis, we explore the effectiveness of different text representations, including stylometric features, in genre classification. Our findings clarify the challenges present in classifying Russian literature by genre, revealing insights into the performance of different models across various genres. Furthermore, we address several research questions regarding the difficulty of multi-class classification compared to binary classification, and the impact of stylometric features on classification accuracy.
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Coleman, James Joshua. "Cultivating Genre Awareness of Speculative Genres: A Case Study of One Queer Latinx Educator’s Narrative Inquiry." Research in the Teaching of English 58, no. 3 (February 1, 2024): 245–70. http://dx.doi.org/10.58680/rte2024583245.
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The recent speculative turn in literacy, English education, and other ELA-related fields has brought renewed energy for redesigning English teaching and learning through genre awareness. However, extant work on speculative genres of reading, writing, and literary study assumes that ELA teachers are prepared or, more fundamentally, aware of these genres and their unique features. Addressing this gap, this article presents a single intrinsic case of Carlos, a queer man of Color and bilingual elementary teacher, as he cultivated genre awareness through an interactive approach to genre pedagogy through restorying. Based on a rhetorical genre studies approach, Carlos’s case demonstrates how English teachers might expand their genre repertoire to include speculative genres and integrate them into their classrooms. This article concludes by advocating for the integration of speculative literacies into English teacher education, doing so to disrupt normative realities tied to white supremacy and homophobia within the field.
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Flowers, Adam. "Reconsidering Qur'anic Genre." Journal of Qur'anic Studies 20, no. 2 (June 2018): 19–46. http://dx.doi.org/10.3366/jqs.2018.0336.
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The Qur'an's employment of diverse modes of discourse is, perhaps, the text's defining literary feature. These discourses, ranging from apocalyptic, to narrative, to legal, have long been observed by Western scholars. Genre studies of the Qur'an, however, have largely stagnated, and little progress has been made beyond cursory classifications. This stagnation is particularly stunting to the study of the textual history of the Qur'an, as vital questions concerning the development of individual genres and the relationship between Qur'anic genre and the unit of the sura remain unanswered. This article marks a first attempt at formulating a literary framework for approaching Qur'anic genre. It will synthesise existing conceptions of Qur'anic genre into a common interpretative framework: individual Qur'anic genres exist as thematically and syntactically demarcated literary units. The article will then propose a novel, literary approach that utilises a comparative thematic and syntactic structural analysis of the Qur'an text to uncover the original, communicated pieces of Qur'anic revelation from the Prophet to an audience in time, or ‘Qur'anic utterances'. This literary analysis is applied to Sūrat Āl ʿImrān and will demonstrate that it is constructed of 34 individual utterances and nine distinct literary genres.
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Zeynalova, Gulshan. "Commentary and literary treatise genres in Azerbaijani literary criticism." Philology and Art Studies, no. 02 (2023): 180. http://dx.doi.org/10.59849/2663-4368.2023.2.180.
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Aeschlimann, Sofie. "Inversionen." POEMA 2, no. 2 (April 30, 2024): 81–100. http://dx.doi.org/10.38072/2751-9821/p14.
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In her literary texts Marie Luise Kaschnitz comments and questions journalistic interviews as a literary genre and as a social practice. The poem Interview is rather a monologue or a soliloquy than a dialogue with the interviewer. This lyrical interview mixes the literary genre of the journalistic interview with others, namely the poem, the confession, and the example. The conventions which constitute the literary genres are performed and inverted at once. By this strategy of inversion, the poem does not only expose how the conventions are constitutive for literary genres, but also challenges the aim of an interview: The reader of a journalistic interview wants to learn more about the famous person, which is being interviewed, but the poem Interview refuses to communicate. However, a shared understanding of literary genre is required for this refusal.
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Hayot, Eric. "Literary History after Literary Dominance." Modern Language Quarterly 80, no. 4 (December 1, 2019): 479–94. http://dx.doi.org/10.1215/00267929-7777832.
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Abstract The various pronouncements of the nation’s dissolution seem to have been premature. Literary history is still very much within the nation, especially if one considers the realm of the middle- and lowbrow, or indeed the vast swaths of genre fiction. What has changed in literary history is the position of literature itself. The discipline of literary study (whether one thinks of it as literary history or literary criticism) institutionalized itself during a period of literary dominance. Now that that dominance is over—now that the field of narrative aesthetic culture includes television, film, and video games, and now that those genres dominate not only markets but the forms of representativity that used to belong almost exclusively to literature—what is the future for literary studies, either as a scholarly discipline or as an institutional field?
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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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Mizzi, María. "De la esencia teatral de Don Quijote." Cervantes 41, no. 2 (September 2021): 187–212. http://dx.doi.org/10.3138/cervantes.41.2.187.
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This article emphasizes the relevance of drama (as a literary genre) as the driving force in Don Quixote. The characteristics of this genre are obvious, both in Don Quixote's adventures and in the formation of the main character itself. Special attention is devoted to the formation of the protagonist as an actor, and not as a madman. The approach to this analysis will be given by Gustavo Bueno's perspective on the essential, ontological features that singularize the dramatic genre and set it apart from all the other literary genres. Finally, the article points out that the mixture of the essential qualities of different literary genres shows a willingness to diverge from contemporary literary precepts, and, ultimately, advances the narrative genre and speaks to the genius of Cervantes.
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ACAR, Barış Berhem. "Weird and Eerie: Yeşil Elmalar as an Inter-Genre-Al Novel." Akademik Dil ve Edebiyat Dergisi 6, no. 2 (August 30, 2022): 0. http://dx.doi.org/10.34083/akaded.1145332.
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Genre theories determine that texts no longer belong to a single genre but can be included into various genres. As the borders of genres become more indistinct, interaction between genres are observed to increase. The presence of common discursive codes of genres helps authors be freed of the limits of a single genre, which enables the same texts to be read within the scope of various genres. In addition, genre differentiations with traditional strict rules are replaced with discursive genres that can change with new invented ones according to each text. The determination of usage values of genres or literary works makes the genre to which they belong increasingly more significant. Within this context, reading literary works as dynamic structures including discursive features of different genres rather than belonging to a single genre enables these works to be understood better. It also contributes to test the validity of the extent to which genre theories has reached so far. The present article reads the novel Yeşil Elmalar, which is regarded as an unadmired detective fiction, as a novel reflecting the characteristics of both crime/detective and mystery fiction. The aforementioned novel is examined under the light of characteristics taken from both detective and mystery literature, and its repetitive codes especially as weird and eerie are stressed over the examples taken from the text.
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Švajlenin, Lukáš, and Beáta Pošteková. "Literárne žánre ako didaktický problém v procese vyučovania v rámci nižšieho sekundárneho vzdelávania." Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok 22, no. 5 (2023): 303–9. http://dx.doi.org/10.54937/ssf.2023.22.5.303-309.
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The main subject of our paper is the problem of didactic grasping of literary genres in the process of literary education at the lower secondary level. Pupils gradually encounter genological terms within of literary education and acquire basic knowledge about the types of literary genres and their genre codes. Through the designed activities, we pursue the adoption of these hard-to-grasp, abstract, genre codes and their features through experiential learning during the educational process. In the activities, we provide the pupil with concrete tasks, with the help of which they become familiar with the necessary knowledge and with the aesthetic component. By proposing activities, in this paper we try to deal with the didactic problem of teaching genre codes without forcing and preserving the artistic-aesthetic reading of literary texts.
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Əflatun qızı Pirəliyeva, Elnurə. "History of the development of epistolary style: from the past to the present." SCIENTIFIC WORK 15, no. 2 (March 9, 2021): 107–9. http://dx.doi.org/10.36719/2663-4619/63/107-109.
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The first example of epistolary style in world literature is Horace`s Letter to the Pisons. It has been used in the history of Azerbaijani literature in three genres of epistolary style: verse letter, literary letter and open letter. The first example of a poetic letter is in the works of G. Tabrizi in the 11th century by M.F.Akhundov. We meet withopen letters in Akhundov`s works. Open letter is a genre of literary criticsm, verse letter and literary letter are genres of literary criticism. Key words: criticism, epistolary style, verse letter, literary letter, open letter
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Biševac, Nemanja. "Literary genres in daily newspaper Politika." Зборник радова Филозофског факултета у Приштини 49, no. 4 (2019): 285–305. http://dx.doi.org/10.5937/zrffp49-23715.
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Gerasimova, Svetlana Anatolievna. "Genres of Denis Diderot’s Literary Works." Filologičeskie nauki. Voprosy teorii i praktiki, no. 1 (January 2023): 82–91. http://dx.doi.org/10.30853/phil20230027.
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Novakova, Iva, and Marion Gymnich. "Extended phraseological units and literary genres." Varia, no. 28 (July 1, 2021): 87–112. http://dx.doi.org/10.54563/lexique.624.
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The present paper is based on the assumption that the language of the novel as well as that of its various subgenres is characterized by a statistically relevant overrepresentation of certain linguistic phenomena (e.g., lexemes, key words, collocations and colligations, Siepmann, 2015, 2016). Applying state-of-the-art lexicometric methods to extract recurring polylexical units in two large corpora of contemporary French and English novels, we explore the role of phraseological motifs in distinguishing literary subgenres. Unlike traditional corpus-stylistic analyses, which frequently focus on the style of a single author, our corpus-driven approach identifies features of literary (prose) genres on the basis of automatically extracted lexico-syntactic constructions (LSCs) that are statistically specific to a certain subgenre.
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Dementyev, Vadim V. "About “genres of speech and language of speech” again: what has linguistics given to genre studies?" International Journal “Speech Genres” 17, no. 1 (February 21, 2022): 6–20. http://dx.doi.org/10.18500/2311-0740-2022-17-1-33-6-20.
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This is the second article in a cycle on the connection between genre studies and linguistics. The previous article discussed the question “What have genre studies given to linguistics?” This article focuses on linguistic methods used in speech genres theory: more traditional for linguistics, starting with the descriptive method and its later varieties – structural – and less traditional (component analysis, the method of immediate constituents, the generative method, the method of describing external and deep content structures, the method of semantic fields). Speech genres theory is studied in relation to linguistic paradigms. The most significant for speech genres theory is the turn in linguistics from the study of the language only to the study of speech (discourse), and thus – the recognition of the presence of a specific systematic nature of speech. Besides, speech genres theory is analyzed in connection with traditional linguistic directions: syntactic theory and methodology are used in the study of the composition of speech genres, lexicology and semantics – in the study of the names of speech genres. The major focus is on the modern period when new areas of linguistics and speech genres theory emerge simultaneously (Internet linguistics and Internet genre studies). The article also discusses division of linguistic disciplines in connection both with the speech genre division of language (structural, diachronic, functional) and with the division of genre studies (structure of the speech genres, classification of speech genres, sociology of speech genres, psychology of speech genres and genre thinking, cognitive and culturological aspects of speech genres). The role of speech genres theory in the division of linguistic disciplines into deductive and inductive is also discussed. The article appreciates the role of several outstanding linguists in the development of speech genres theory. In addition, the author briefly touches upon the connection between genre studies and literary studies: in the study of literary texts and genres they converge.
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Huber, Loreta, and Evelina Jonaitytė. "Oral Narrative Genres as Communicative Dialogic Resources and their Correlation to African Short Fiction." Respectus Philologicus, no. 37(42) (April 20, 2020): 137–46. http://dx.doi.org/10.15388/respectus.2020.37.42.45.
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Oral and written storytelling traditions in Africa developed at the same time and influenced each other in many ways. In the twentieth century, the relation between the deeply rooted oral tradition and literary traditions intensified.We aim to reveal literary analysis tools that help to trace ways how oral narrative genres found reflection in African short fiction under analysis. A case study is based on two short stories by women writers, The Rain Came by Grace Ogot and The Lovers by Bessie Head. Images and symbols both, in oral and written traditions in Africa, as well as the way they evolved and extended in a literary genre of short fiction are considered within the framework of hermeneutics, reader reception theory and feminist literary criticism.The results obtained in the study prove that oral narrative genres interact with literary genres, though most importantly, women’s writing as a literary category and images embodied in the short stories play a decisive role and deviation from the images embodied in African oral tradition.
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Sulaimanov, Mukhamed-Ali Usmanovich. "Genre analysis of the text in the context of structure and composition of Shakir Selim’s literary work “About Shamil Alyadin, Charyks and the Pocket Knife”." Филология: научные исследования, no. 6 (June 2021): 23–33. http://dx.doi.org/10.7256/2454-0749.2021.6.35863.
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The relevance of this article is substantiated by scantiness of research dedicated to genre analysis of the text in the context of structure and composition in Crimean Tatar literature as a whole and on the example of Shakir Selim’s work “About Shamil Alyadin, Charyks and the Pocket Knife” in particular. The subject of this study is the genre analysis of the text in the context of structure and composition on the example of the indicated literary work. The goal consists in the analysis of relations between various literary-publicistic genres in the context of structure and composition of the text, rather than in the attempt to determine any specific genre and its characteristics in the literary work. The author concludes on the “ambivalent” hybrid genre form of truly emotional evocative essay with a pronounced expressiveness and literary-criticism article, and strong logical methodology. The text also contains the latent genre forms of monologue, distance dialogue, or discussion. The author begins if not a direct then reflexive dialogue with the heroes and the audience. The synthesis and interaction of different genres forms the uniqueness of the literary work, drawing attention of the reader to the ethics of literary art. The unifying genre of the work is spiritual-intellectual prose. The analysis of structural and compositional peculiarities of the literary work revealed the important, although not absolute, criteria for establishing interrelation between cognate genres, which in turn allowed identifying the main and auxiliary genre forms of the studied text.
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Bernardo Pereira, Ismael. "A CONVERGENCE OF GENRES: GOTHIC AND SCIENCE FICTION IN FRANKENSTEIN." REVISTA DE LETRAS - JUÇARA 2, no. 1 (July 31, 2018): 153–67. http://dx.doi.org/10.18817/rlj.v2i1.1531.
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This article aims to analyze the novel Frankenstein, by Mary W. Shelley, from a perspective of literary genres. The work is believed to manifest both traits of the Gothic genre––due to its structure and common themes to the period it was published––and of what would in future be called the Science fiction genre. Those elements are here observed, in the novel as well as in the context of its creation. In this sense, there is a convergence of genres taking place, albeit one of them is in its nascent form: Shelley's novel antecipate a scientific interest that would be specified in later fiction, being derived from her legacy. Tzvetan Todorov's perspective is considered, inasmuch as he defends the presence of multiple genres inside a work of fiction, as well as the creation of new literary genres from other, pre-existent, ones. It is concluded that the novel manifests enough elements to comprise both the genres here discussed, with its common and different traits.
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Enríquez Aranda, María Mercedes, and Enma Mendoza García. "Los géneros literarios y la traducción. Aproximación a nuevas formas de creación literaria y traducción en tiempos de crisis." Futhark. Revista de Investigación y Cultura, no. 9 (2014): 85–120. http://dx.doi.org/10.12795/futhark.2014.i9.04.
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Toe study of literary genres plays an essential role in both the translator training and profession, as long as in his daily task the translator deals with texts exhibiting special genre conventions that are derived from specific cultural circumstances. The literary translator has to adapt himself/herself to the changes undergone by genres and it is by means of his/her ability far recreation that s/he will participate in this changing process. The result will be a translation placed within an ideal communication framework based on socially agreed rules and conventions, the translator playing a major role in their evolution. In this paper we present an update on the literary genres involved in the task of the literary translator in Spain in the 21st century. We also reflect on the irnpact of the current international crisis (financia!, political, social and ethical values) on the publishing praclices intrinsically linked to the literary translator.
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Alibava, U. "Women in Islamic Tamil Sathagam Literature." Shanlax International Journal of Tamil Research 6, no. 3 (January 1, 2022): 11–16. http://dx.doi.org/10.34293/tamil.v6i3.4620.
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Minor Literary Genres add great value to Tamil Literature. More than 96 minor literary genres appeared and developed in Tamil. Islam also has got minor literary genres like other religions have in Tamil. There are more than 1800 Minor Islamic literary genres in Tamil strengthen Tamil Literature. ‘Sathaga illakiyam’ is one among them. A Literary work which has a poems of 100 Stanzas is called ‘Sathagam’. This article brings out rare and valuable contents related to women which are registered in more than 30 Islamic sathagam Literature in Tamil.
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Remele, Florian. "Theorie und Methode der Gattungsgeschichtsschreibung. Mediävistische Perspektiven." Journal of Literary Theory 15, no. 1-2 (November 6, 2021): 53–80. http://dx.doi.org/10.1515/jlt-2021-2010.
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Abstract The present article proposes a methodology for writing genre history that does not proceed from »always already« existing generic norms, but rather describes the processes through which genres and their conventions emerge in the first place. Scholars in the field have long been calling for a mediation between (systematic) genre theory and the (historical) exploration of genres – i. e., generic historiography (see Lamping 2007; Neumann/Nünning 2007). So far, however, the solutions proposed have been classificatory in nature, and have mainly been concerned with taking into account the historical diversity of genres more fully than had previously been done (Hempfer 1973; Fricke 1981). The theoretical and methodological questions raised by genre historiography regarding the emergence and transformation of genres, by contrast, have hardly ever been the focus of sustained enquiry, despite the fact that a historically adequate approach to the history of genres – meaning an approach not based on classificatory models – remains a desideratum to this day. Most contributions to the historiography of genre thus far make use of prototype theory or draw on scholarship analyzing schemata and patterns in order to identify genre norms in their historical setting and describe the correspondences with (and/or deviations from) those norms which may be observed in a given text. Yet the methodological problem here is that, ordinarily, prototype-theoretical and schema-oriented approaches raise systematic rather than historical claims. Thus, a »prototype« is understood to be an abstract, ideal model which might never have been realized historically but is still considered the most »typical« exemplar of a given genre whose individual, concrete manifestations may be described as placed along a scale of relative similarity with that exemplar (Tophinke 1997). By adopting such a perspective, the texts belonging to a certain genre may be categorized without having to draw »hard« (i. e., feature-based) boundaries. However, comparing a single text with an ideal model affords hardly any surplus value regarding the question of the origin and change of genres. Being an ideal model, after all, the prototype is constructed a posteriori, on the basis of all available texts assigned to a given genre; it has never served as an actual point of reference for the production or reception of individual texts in their historical context. A similar methodological difficulty arises with a view to scholarship on schemata and patterns, in that these are usually abstracted from all texts belonging to a given genre (like prototypes) or else are fashioned on the model of supposed »masterpieces«, which all but invalidates their explanatory power in a historical context (Schulz 2012). For the historiography of genres, however, one question of particular interest is a question treated only marginally in scholarship on prototypes and schemata. This is the question of how precisely literary speech acts (Warning 1996) – i. e., certain types of literary representation or the treatment of certain kinds of content – are conventionalized and are thus gradually turned into instances of expectable patterns: patterns to be expected, that is, both on the side of production and of reception. Some scholars answer this question by reference to »normative« works which, they claim, serve as »signposts« for the subsequent production and reception of texts (Voßkamp 1977; Gymnich 2010a). The problem with this position, however, is that it assigns to individual texts an unconditional authority, even though the binding conventionality and literary prestige of any given text only emerges over the course of literary or generic history (Strohschneider 1991). One defining purpose of genre historiography is to describe precisely those processes through which certain literary forms and topics become conventional in the first place – to the extent that any attempt, on the part of scholars, to identify supposedly »pioneering« or »authoritative« works is in stark contradiction to an historical approach to genres. At the same time, research on the history of genres simply cannot start from stable norms or ideal models, which is why it is precisely the constant changes to be observed in the conventional validity of literary speech acts that should be exposed and emphasized. In fact, the notion of »convention« is crucial to the approach proposed in this article, since conventions – different in this respect from norms or rules – do not arise as the result of (allegedly) authoritative postulates but rather establish themselves, over time, through communal agreement (Weninger 1994). The formation of conventions may be traced by analyzing intertextual references to literary speech acts: if a given text refers to a certain type of literary representation – either in order to reproduce it faithfully or to present alternatives to it –, this reference is selected from a wide array of options for referencing, and is thus recognized as being »worthy of reference«. Constant reference to the same (or similar) literary speech acts then leads to the emergence of a corresponding convention, whose validity, however, is itself subject to change: If intertextual relations change in such a way that the type of literary speech act previously conventionalized is no longer chosen for reference – and is disregarded, in fact, in favour of alternative topics or modes of representation –, this will result in an observable change in conventionality. After all, whatever is considered conventional is determined by intertextual processes of consensus-building, and is thus in a permanent state of renegotiation. The concrete methodological approach of the present article starts, therefore, from an analysis of intertextual references, insofar as the processes of conventionalization relevant to the historiography of genres can be traced by examining references between individual texts. If one focuses on the question of how genres – and the conventions governing them – arise, the notion of »single-text reference« is preferable to that of »systemic reference«. After all, »systemic reference« denotes the reference of a given text to an established system and thus already presupposes a genre and its systemic norms – elements not available at the outset of a genre’s history. Rather, any truly historical historiography of genres must strive to demonstrate how a set of literary speech acts gradually (by way of intertextual single-text references) forms a system whose conventions may later be referenced. The formation processes of individual genres may therefore be reconstructed by examining the intertextual single-text references that contribute to the conventionalization of literary speech acts and ultimately form a system in contrast to other literary forms of representation. The present article thus focuses on the Gewordensein – the quality of having become or fundamental »madeness« – of genres as subject to constant historical change. At the same time, it proposes a method for adequately tracing genre emergence and change through the analysis of intertextual references and dynamic processes of conventionalization.
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Khavzhokova, Lyudmila Borisovna. "Versification as a genre-forming factor in the sonnet sequence “Faithful to Love” by M. Bemurzov." Philology. Issues of Theory and Practice 17, no. 4 (April 22, 2024): 1217–22. http://dx.doi.org/10.30853/phil20240176.
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The paper addresses the problem of identifying the role of versification factors in shaping certain genres and genre forms of Adyghe poetry. The study is based on the sonnet sequence “Faithful to Love” by the Circassian poet Mukhadin Hamidovich Bemurzov (1948-2007). The study aims to determine the genre-forming functions of meter, rhyme, and stanzaic structure in a specific literary context. The study is original in that it represents the first attempt to consider the listed components of versification as dominant genre features of sonnets comprising the sonnet sequence “Faithful to Love”. As a result of the study, the determining role of versification in shaping a number of poetic genres and the genre form of the sonnet sequence is confirmed. The adoption of the “solid form” of the sonnet by Adyghe poets is largely explained by their desire to enhance the level of literary skills and fully unfold their creative potential. Sonnet sequences are created with the aim of expanding the genre boundaries of the sonnet and introducing its innovative forms into the national literary process. The paper analyzes the meter and rhyme system and stanzaic structure of the sonnets included in the sequence “Faithful to Love”, determining whether they comply with the genre’s canon.
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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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Nichols, Ryan, Justin Lynn, and Benjamin Grant Purzycki. "Toward a science of science fiction." Scientific Study of Literature 4, no. 1 (September 22, 2014): 25–45. http://dx.doi.org/10.1075/ssol.4.1.02nic.
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What is a genre? What distinguishes a genre like science fiction from other genres? We convert texts to data and answer these questions by demonstrating a new method of quantitative literary analysis. We state and test directional hypotheses about contents of texts across the science fiction, mystery, and fantasy genres using psychometrically validated word categories from the Linguistic Inquiry and Word Count. We also recruit the work of traditional genre theorists in order to test humanists’ interpretations of genre. Since Darko Suvin’s theory is among the few testable definitions of science fiction given by literary scholars, we operationalize and test it. Our project works toward developing a model of science fiction, and introduces a new method for the interdisciplinary study of literature in which interpretations of literary scholars can be put to the test.
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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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Elina, Elena G. "Genre variety of literary materials on the pages of the newspaper “Saratovsky Vestnik” of the 1910s." International Journal “Speech Genres” 18, no. 2 (38) (May 15, 2023): 166–74. http://dx.doi.org/10.18500/2311-0740-2023-18-2-38-166-174.
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The article deals with the newspaper genres, used for literary materials in the newspaper “Saratovsky Vestnik” (Saratov Herald) in 1910–1913. This is the time when Saratov’s newspaper culture is taking shape: the structure of the newspaper page, its layout and arrangement of materials, the link between the visual range and the genre palette. The Vestnik features the genres of newspaper advertisement, as well as chronicledocumentary articles. The preference of fact over commentary testifies to the high journalistic culture in the “Saratovsky Vestnik”. The newspaper publishes notes, feuilletons, letters to the editor, reviews. Genres, reflecting the newspaper’s enthusiasm for literature and theatre, are presented abundantly. The deaths of Tolstoy and Chekhov are perceived by the newspapermen as a disaster that has hit the whole Russian social life. As a result, the genre of the passionate obituary is born. The genre diversity of the Vestnik’s literary materials suggests a unified context for the paper provided by the continuity of the authors and the editorial staff. Literary figures and literature often provoke conversation about contemporary life. One of the genre peculiarities that distinguishes the newspaper culture of the “Saratovsky Vestnik” is the way the authors of news lines, feature articles, and reviews of the political life of the city and the province, use literary images, writers’ statements, and aphorisms from works of fiction. It proves not only that the Vestnik’s authors were literary-centric, but also that the newspaper was created for Saratov intelligentsia and people of other walks of life who focused on literature as their main criterion of truth. Readers‘ intentions in the “Saratovsky Vestnik” were a form of popularizing newspaper genres, a way of recognizing them, and of expanding the boundaries of the audience.
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Kholmakhmatovich Khujaqulov, Sirojiddin. "MUKHAMMAS GENRE IN THE SECOND HALF OF THE XIX CENTURY AND THE BEGINNING OF THE XX CENTURY AND THE PRINCIPLES OF ITS EVOLUTION." Scientific Reports of Bukhara State University 5, no. 3 (June 30, 2021): 41–49. http://dx.doi.org/10.52297/2181-1466/2021/5/3/4.
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Introduction. The article discusses the evolution of the mukhammas genre in the national enlightenment and jadid literature, the principles of evolution of this genre, the place of the general literary process in the system of literary genres, its new principles, theme and ideological content, examples of works of jadid and enlightened poets. Traditional and innovative features in comparative typological monograph, analytical-comparative, descriptive and critical aspects are analyzed. Methods. During this period, it is possible to observe literary processes and trends in the form of paradoxical models of poetic norms of classical literature, based on realistic elements in the expression of reality, critical of reality, descriptive and lyrical literature. Analytical and critical motives ensured the emergence of new style works in prose, as found in poetic genres.
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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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Bozorova, Viloyat Muzafarovna. "The use of psychology in literary genres." International Journal on Integrated Education 3, no. 2 (February 5, 2020): 1–3. http://dx.doi.org/10.31149/ijie.v3i2.314.
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The issue of artistic psychology is not new to literary studies. Professor X.Umurov's observation that the depiction of human psychology from the literary literature is related to the emergence of German sentimentalism and the English Gothic novel; till now - artistic depiction of external events for the Aristotelian period - mimesis; and the "law of thought" came first in classism.
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Pavel, Thomas G. "Literary Genres as Norms and Good Habits." New Literary History 34, no. 2 (2003): 201–10. http://dx.doi.org/10.1353/nlh.2003.0021.
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Fohrmann, Jürgen. "Remarks towards a theory of literary genres." Poetics 17, no. 3 (June 1988): 273–85. http://dx.doi.org/10.1016/0304-422x(88)90035-6.
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de Geest, Dirk, and Hendrik van Gorp. "Literary genres from a systemic‐functionalist perspective1." European Journal of English Studies 3, no. 1 (April 1999): 33–50. http://dx.doi.org/10.1080/13825579908574428.
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Tarasova, Irina A. "“Genre”: A nomadic concept or an aesthetic universal?" International Journal “Speech Genres” 32, no. 4 (November 24, 2021): 252–58. http://dx.doi.org/10.18500/2311-0740-2021-4-32-252-258.
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The article raises the problem of the metadisciplinary interpretation of the term “genre”, which can be equally well defined as a nomadic concept or as an artistic universal. The author focuses on the question of the configuration of features defining the concept of genre in philology, art history, and musicology. Taking as a basis the general aesthetic principles of genre specification – functional, thematic, and structural – the author analyzes their genre-forming potential in various artistic forms and comes to the conclusion that understanding genre as a communicative and formally meaningful category provides an interdisciplinary dialogue, but at the same time, genre dominants can be different. For speech genres, such a dominant is a communicative goal, for painting genres – a subject content. The semantic parameter of the genre is interpreted in a similar way in literary criticism and musicology. The division into primary and secondary genres is a common feature for both philology and musicology. The structural parameter includes compositional features and elements of genre style, and the specific weight of this parameter is especially high in canonical (protoliterary and literary) and primary musical genres. The meaning of the structural features of the genre is inversely proportional to the visualization of an artistic form. This parameter is least significant for the genre identification of a painting.
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Fishelov, David. "Literary genres — alive and kicking : The productivity of a literary concept." Revue belge de philologie et d'histoire 75, no. 3 (1997): 653–63. http://dx.doi.org/10.3406/rbph.1997.4187.
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Gerasimova, Svetlana Anatolievna. "Genres of Denis Diderot’s literary works: Essays, dialogues, tales, literary essays." Filologičeskie nauki. Voprosy teorii i praktiki, no. 4 (April 2023): 1028–37. http://dx.doi.org/10.30853/phil20230160.
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Nikitina, Natalia, and Natalia Tuliakova. "Genre Studies in Russian Literary Research: Achievements and Challenges." Interlitteraria 25, no. 2 (December 31, 2020): 319–31. http://dx.doi.org/10.12697/il.2020.25.2.5.
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Genre has been one of the key categories for Russian literary studies ever since the late nineteenth century, creating a long tradition of artistic, critical and scientific interpretation. The present paper aims to outline major findings of Russian scholars in the field of genre studies and to account for current pitfalls, suggesting a solution. Russian scholars have contributed noticeably to both constructing the theory of genre in general and establishing the laws and genesis of many separate genres. Historical poetics, the Russian Formalists, Bakhtin’s school and structuralism worked out the principles of generic evolution and explained the nature of the genre category. Still, currently Russian genology faces a number of challenges, among which is the inability to work out a universal approach to genre nomination and attribution, which causes inconsistent and unverified results. When it comes to describing new genres, most troubling is the choice of deductive method in genre analysis and a narrow specialist approach to each genre leading to inconclusive or biased results. The paper suggests that these challenges can be overcome by turning to the heritage of the classical Russian literary science and taking advantage of comparative and inductive methods proponed by it.
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Nikitina, Natalia, and Natalia Tuliakova. "Genre Studies in Russian Literary Research: Achievements and Challenges." Interlitteraria 25, no. 2 (December 31, 2020): 319–31. http://dx.doi.org/10.12697/il.2020.25.2.5.
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Genre has been one of the key categories for Russian literary studies ever since the late nineteenth century, creating a long tradition of artistic, critical and scientific interpretation. The present paper aims to outline major findings of Russian scholars in the field of genre studies and to account for current pitfalls, suggesting a solution. Russian scholars have contributed noticeably to both constructing the theory of genre in general and establishing the laws and genesis of many separate genres. Historical poetics, the Russian Formalists, Bakhtin’s school and structuralism worked out the principles of generic evolution and explained the nature of the genre category. Still, currently Russian genology faces a number of challenges, among which is the inability to work out a universal approach to genre nomination and attribution, which causes inconsistent and unverified results. When it comes to describing new genres, most troubling is the choice of deductive method in genre analysis and a narrow specialist approach to each genre leading to inconclusive or biased results. The paper suggests that these challenges can be overcome by turning to the heritage of the classical Russian literary science and taking advantage of comparative and inductive methods proponed by it.
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Pueo, Juan Carlos. "¿Es la ópera un género literario?" Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 15-17 (February 26, 2011): 609. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.200415-1729.
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La ópera se considera comúnmente un género musical, pero su estatuto literario parece ser más bien dudoso. La intención de este artículo es poner en claro esta cuestión, tomando como referencia la teoría de los géneros literarios, la teoría teatral y la semiótica musical. La teoría literaria debe tener en cuenta la especificidad de ciertos géneros literarios cuya recepción ha sido destinada a ser acompañada por la música. Los géneros teatrales se definen por la presencia física de uno o más actores que representan sus personajes ante un público, de forma que dichos géneros pueden clasificarse por emplear o no el lenguaje y/o la música: esto significa que la ópera ocupa un lugar en la clasificación de los géneros literarios por su conjunción de lenguaje y música. Esta conjunción no es mera yuxtaposición, ha de ser pensada como simbiosis entre dos sistemas semióticos que colaboran para producir una forma específica de obra literario-musical que ha de considerarse un género literario y teatral con características especiales. Opera is generally considered a musical genre, but its literary statute seems to be rather uncertain. The aim of this article is to clarify this subject, taking as reference literary genre theory, theatrical theory and musical semiotics. Literary theory must take into consideration the specificity of certain literary genres whose reception is intended to be accompanied by music. Theatrical genres defines themselves by the physical presence of one o more actors that impersonate some characters for an audience, so this genres can be classified by the use or the disuse of language and/or music: this means that opera occupies a place in the classification of literary genres because of its conjunction of language and music. This conjunction is not mere yuxtaposition, it has to be thought as a symbiosis between two semiotic systems that collaborate to produce an specific form of musical-literary work that must be considered a literary and theatrical genre with special characteristics.
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Payzullaeva, Rano Makhmudovna. "The Reality Of Life And The Literary Story In Sirojiddin Sayyid’s Poem “Eighties”." American Journal of Social Science and Education Innovations 03, no. 04 (April 29, 2021): 230–34. http://dx.doi.org/10.37547/tajssei/volume03issue04-34.
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The article discusses the genre of the epic and its place in the series of genres of epic tours, the issues of the writer’s skill in fully expressing the possibilities of the genre, the peculiarities of the plot and compositional structure. It reveals ideological and artistic content of the epic “Eighties” by the poet Sirojiddin Sayyid.
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Rustia, Charess D., Claress R. Dalleda, and Jonathan A. Sumalinog. "Effectiveness of Digital Storytelling in Teaching Literature." Cognizance Journal of Multidisciplinary Studies 3, no. 2 (February 28, 2023): 83–90. http://dx.doi.org/10.47760/cognizance.2023.v03i02.005.
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This study determined the effectiveness of the Digital Storytelling (DST) in teaching literature to grade 11 students of Cantapoy National High School, Malimono, Surigao del Norte. Specifically, the level of literary competence of students during the pre-test and posttest in terms of literary comprehension and literary appreciation of three (3) different genres was assessed to determine the educational value of DST. Furthermore, it also determined the significant difference of students’ literary competence between the pretest and posttest and the significant difference in the mean gains of students’ literary competence among three (3) genres - poetry, fiction, and drama. A quasi-experimental research design in One-Shot mode was used in this study. The study utilized a researcher-made questionnaire and an adopted evaluation rubric in gathering the data. The findings of the study revealed that the literary competence of the students raised from “Low” to “High” after the intervention was implemented. DST was rated “Valuable”. Based on the general results, considering the variation of genres, the literary competence of the students of all genres significantly differs between the pre-test and the post-test, and there exists no significant difference in the mean gains of students’ literary competence in three genres. Concluded that the improvement in students’ literary competence stemmed from the integration of digital storytelling; the felt educational value of digital story telling becomes manifest and tangible through the production of students’ literary output; Poetry needs deeper analysis; and across genres, the students’ literary competence using digital storytelling manifest same evidence of improvement.
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Repenkova, Maria M. "On the coordinate change in the Turkish literary process." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2024): 222. http://dx.doi.org/10.31857/s086919080029201-8.
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Abstract: In this study, the author examines the literary landscape in Turkey given the new dimension opened by the vertical gradation of fiction. The division of literature into high literature (classic), middle-tier (Belles-lettres), and low-tier literature (for mass consumption) is becoming increasingly prominent. Belles-lettres seems to be the most mobile of those, with its representatives being able to, over time, find themselves both at the top and the bottom rung of this paradigm. Zülfü Livaneli's works straddle the line between the high literature and belles-lettres, while books by Barış Müstecaplıoğlu are a perfect example of mass literature becoming regarded as belles-lettres. Another productive approach is horizontal gradation – dividing modern Turkish literature into genres. This is especially true for mass literature, where a clear classification into genres and subgenres is pretty much a precondition for existence. The study singles out such genres of mass literature as detective novels, women's romance novels, and historical adventure novels. Speculative fiction occupies a special place in this, with its genre affiliation being a topic of major discussions. The Turkish literature of the 2000s features several principal genres of speculative fiction: sci-fi (K. Kutlu, G. Berkkan, H. Balçı) with alternative history being a part of such (G. Dayıoğlu, H. Kakınç); fantasy with its subgenres of urban fantasy (S. Yemni, S. Atasoy, G. Elikbank, F. O. Şeran, C. Yücel), "sword and sorcery" fantasy (B. Müstecaplıoğlu, A. Aras, G. Canbaba) and dark fantasy (S. Ersin, G. Öğüt), as well as the genre of dystopia (A. Şaşa). In conclusion, the author argues that analyzing literary pieces necessitates operating with both the vertical and horizontal paradigms simultaneously.