Bibliografías temáticas / Romance genre and trauma representation

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Literatura académica sobre el tema "Romance genre and trauma representation"

Autor: Grafiati

Publicado: 4 de noviembre de 2024

Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Romance genre and trauma representation"

Prayuana, Ratu, Rayhan Romombe De Ferras, and Fitra Wahyu Ramadhan. "The Rules of Romance Manifested in the Textual Structure of the Novel Fireside." JIIP - Jurnal Ilmiah Ilmu Pendidikan 6, no. 8 (2023): 6450–54. http://dx.doi.org/10.54371/jiip.v6i8.2882.

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The aim of this study was to identify how Susan Wiggs' novel Fireside (2009) represented the romance genre. This study's research approach, which includes a description of the analysis, is qualitative. The novel Fireside by Susan Wiggs, the textual approach with close reading used in this study, serves as the analytical unit. The results of the data analysis are then used to examine the fundamental principles of romance in the book. Cawelti G. John's (1977) book Adventure, Mystery, and Romance: Formulas Stories as Art and Popular Culture served as the basis for the idea applied in this study.

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Boccardi, Mariadele. "Postmodernism and the past : A romance." Recherches anglaises et nord-américaines 36, no. 1 (2003): 111–17. http://dx.doi.org/10.3406/ranam.2003.1673.

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British contemporary historical fiction is the genre that most closely, extensively and fruitfully explores the questions concerning the nature and scope of representation raised by postmodern historical and narrative theory. One interesting trait, common to the most speculative works of historical fiction published in the last fifteen years, is the adoption of Romance in all its modes — as a motif of the plot (the love story) and as a narrative mode (defining itself against the novel). Indeed Romance is the means by which the contemporary historical novel first dramatises and then investigate

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Tiao, Wang. "The Ethics of Romance: Edward Bellamy and American Historical Fiction." Interlitteraria 22, no. 2 (2018): 312. http://dx.doi.org/10.12697/il.2017.22.2.9.

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The author examines The Duke of Stockbridge: A Romance of Shays’ Rebellion (1879), a historical novel written by Edward Bellamy (1850–1898) in order to examine the ethics of Romance in the treatment of historical fiction. Edward Bellamy, most famous for his socialist novel, Looking Backwards (1888), himself looks backwards to examine the popular rebellion during the early post-revolutionary American democracy before the US Constitution was established. The striking feature of this novel is the way that it superimposes the romance genre onto political and historical events. Using the ethical cr

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Duvezin-Caubet, Caroline. "Gaily Ever After: Neo-Victorian M/M Genre Romance for the Twenty-First Century." Neo-Victorian Studies 13, no. 1 (2020): 242–69. https://doi.org/10.5281/zenodo.4320839.

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This article examines the subgenre of M/M (gay) genre romance set in the nineteenth century, focusing on a corpus of 2017 to 2018 novels as well as shorter works by authors  K. J. Charles and Cat Sebastian. Their writings are rooted in the legacy of Georgette Heyer’s Regency romances and the history of M/M romance, a recent genre which owes as much to digital fanfiction as it does to queer publishers in the 1960s and 1970s. I explore the idea of a queer Happily Ever After as a topos and telos that allows the narratives to re-write the past through creating a happy

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Akkülah, Seray. "Representation of Male Love in East Asia and West: “Fetish vs Activism”." fe dergi feminist ele 16, no. 1 (2024): 70–82. http://dx.doi.org/10.46655/federgi.1427610.

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Alice Oseman, the author of an LGBTQ+ young adult graphic novel that focuses on the lives and romance of two boys, has made a comment that caused some controversy on the internet. This comment by Oseman illustrates a somewhat common view held by Western society toward East Asian Boys Love (BL) genre. That is: BL novels and webcomics being highly sexual, fetish works with little literary value. This research note tries to analyze what could be the reason behind this commonly held view by the West, illustrated by Oseman’s comment through analyzing BL genre, Oseman’s work Heartstopper, the differ

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Beyer, Charlotte. "‘What are words?’: Symbolism and romance in Agatha Christie’s short stories ‘Within a Wall’, ‘The House of Dreams’ and ‘The Lonely God’." Short Fiction in Theory & Practice 10, no. 1 (2020): 27–42. http://dx.doi.org/10.1386/fict_00012_1.

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This article explores three of Agatha Christie’s early non-crime short stories written in the mid-1920s. I examine Christie’s use of symbolism and key motifs to explore the representation of relationships through the prism of romance. I argue that Christie’s short stories serve as a highly significant creative site for her investigation of the relationship between genre, subjectivity and symbolism.

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Sinaga, Leny Roslinda. "THE COMMODIFICATION OF ROMANCE THRILLER IN NETFLIX’S YOU SERIES." Rubikon : Journal of Transnational American Studies 12, no. 1 (2025): 106. https://doi.org/10.22146/rubikon.v12i1.98846.

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This study aims to determine how the You series uses the male gaze to commodify romance and thriller elements and manipulate aspects of the genre to draw viewers. Additionally, the analysis of the You series reveals that it questions patriarchal beliefs and gender representation in the media. In reviewing this research, qualitative analysis methods were used, and Laura Mulvey's Male Gaze theory was applied to analyze the data after examining primary and secondary data and finding supporting theories for the data. This research also uses a Transnational perspective to understand how Netflix pro

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Johnson, Nicholas L. "The Paradox of Chivalric Madness: Ariosto’s and Cervantes’s Madness Representations’ Impact on Disability Representation." Humanities 13, no. 3 (2024): 87. http://dx.doi.org/10.3390/h13030087.

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This study investigates the connection between madness and critiques of the chivalric romance genre in two late Renaissance works, Ludovico Ariosto’s Orlando Furioso and Miguel de Cervantes’s Don Quijote de la Mancha. The satire of chivalric romance in these works of fiction caution against nascent modes of thinking in imperial societies for the implementation of chivalric ideas to inspire and promote imperial conquests in Latin America through juxtaposition with the Muslim and Moorish conquest in the Maghreb and through metaphorical island governance. In order to make such critiques, these no

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Neconesnic, Noemi, and Nadia-Nicoleta Morărașu. "Recreating the Medieval Past through Neomedievalism: Knights, Tournaments and Fangirls in Popular Romance." CULTURAL PERSPECTIVES - JOURNAL FOR LITERARY AND BRITISH CULTURAL STUDIES IN ROMANIA 28 (December 20, 2023): 163–86. http://dx.doi.org/10.29081/cp.2023.28.08.

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The purpose of this paper is to investigate the paradigm of neomedievalism in historical popular romance novels as the process of recreating the medieval past through a combination of character types and medievalist tropes accepted by the readership as iconic. Considering that the typical readers of popular romance novels set in the Middle Ages are less preoccupied with historical accuracy, and neomedievalism does not prescribe specific gender tropes (Ford 2015), we shall explore the ways in which knights are developed as male characters, and whether the cultural assumption about the medieval

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Herb, Annika. "(Para)normalizing Rape Culture." Girlhood Studies 14, no. 1 (2021): 68–84. http://dx.doi.org/10.3167/ghs.2021.140107.

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Contemporary Young Adult literature is a favored genre for exploring sexual assault, yet rarely interrogates the social structures underpinning rape culture. In its representation of heterosexual relationships, Young Adult paranormal romance offers insight into the processes and structures that uphold rape culture. Genre tropes normalize abusive behavior and gender ideals, demonstrating the explicit and implicit construction of rape culture, culminating in the depiction of supernatural possession analogous to rape. Here, I reflect on power, control, rape culture, and girlhood in a textual anal

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Tesis sobre el tema "Romance genre and trauma representation"

Loughridge, Anna L. "A Love Affair: Feminist Voice and Representation in the Romance Fiction Narrative." Scholarship @ Claremont, 2015. http://scholarship.claremont.edu/scripps_theses/650.

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I focus on the changing and now contemporary feminist conceptualization of romance fiction. Through the genre’s mass-market success and complicated history, a definition of ro·mance (genre) is conjured. By depicting a fantasy world for the female reader to escape to, feminist critics and romance academics have found the genre’s influence to be an effective one. In an analysis if popular romance fiction author, Emily Giffin, and her most recent novel The One & Only, I demonstrate what has now resulted in the modern romance and further, how the modern heroine is understood today.

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Bolfarine, Mariana. "Between \"Angels and Demons\": trauma in fictional representations of Roger Casement." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-15012016-140005/.

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The life of the controversial Irish nationalist Roger David Casement, who was sentenced to death for high treason by the British Crown, has inspired writers to produce works of various literary genres: prose, poetry, drama and critical essays. This doctoral dissertation aims to investigate, under the light of trauma theory as suggested chiefly, but not solely by Cathy Caruth, Ron Eyerman and Dominick La Capra, the ways in which the figure of Roger Casement can be associated with traumatic events that have sealed Anglo-Irish relations. Thus, I have selected works that deal with Casements Life a

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(11391437), Alicia Kindleysides. "Broken Hearts: Writing the Representation of Trauma and Trauma Recovery in a Post-Trauma Romance Novel." Thesis, 2024. https://figshare.com/articles/thesis/Broken_Hearts_Writing_the_Representation_of_Trauma_and_Trauma_Recovery_in_a_Post-Trauma_Romance_Novel/27414189.

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This PhD research thesis, titled Broken hearts: writing the representation of trauma and trauma recovery in a post-trauma romance novel, comprises a creative artefact and accompanying reflective exegesis. The primary aim of the thesis is to make an original contribution to the fields of literary theory, trauma theory, and literary trauma theory by formally identifying, defining, and providing an example of a new subgenre of romance coined ‘post-trauma romance’ (PTR). The creative artefact, a novel titled The love healer, serves as an example of PTR, by combining the subgenre’s three

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Libros sobre el tema "Romance genre and trauma representation"

Romance of Private Life (Chawton House Library Series: Women's Novels). Pickering & Chatto Ltd, 2008.

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Jerng, Mark C. Racial Worldmaking. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823277759.001.0001.

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When does racial description become racism? Critical race studies has not come up with good answers to this question because it has overemphasized the visuality of race. According to dominant theories of racial formation, we see race on bodies and persons and then link those perceptions to unjust practices of racial inequality. Racial Worldmaking argues that we do not just see race. We are taught when, where, and how to notice race by a set of narrative and interpretive strategies. These strategies are named “racial worldmaking” because they get us to notice race not just at the level of the b

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Chapman-Kelly, Alice M. Fanfiction as Queer Healing. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350350892.

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Exploring the phenomenon of Femslash fanfiction (fan narratives that bring together heterosexual female characters from mainstream media and fiction), this book analyses fan-authored works as forms of literature worthy of studying at length.It examines the anti-racist, feminist, sapphic fan works produced in response to white supremacist, heteronormative, queerbaiting mainstream fantasy and argues that they represent a significant site of queer healing for marginalised audience members. Focusing on the 'Swan Queen' fandom, where fans pair the ‘white trash’ heroine, Emma Swan and the villainous

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Capítulos de libros sobre el tema "Romance genre and trauma representation"

"Checking Out: Trauma and Genre in Ian McEwan’s The Child in Time." In Trauma and Romance in Contemporary British Literature. Routledge, 2013. http://dx.doi.org/10.4324/9780203073766-21.

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"Individual Choice and Responsibility for the Other: Two Ethical Paths in the Representation of Trauma in Jeanette Winterson’s and Graham Swift’s Postmodernist Romances." In Trauma and Romance in Contemporary British Literature. Routledge, 2013. http://dx.doi.org/10.4324/9780203073766-16.

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McMurdo, Shellie. "Found footage horror and historical trauma." In Blood on the Lens. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474482080.003.0003.

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This chapter focuses on The Sacrament (West, 2013) as a case study, and uses this film to examine how the found footage horror subgenre negotiates the limits of traumatic representation. This chapter outlines several limitations of trauma theory in relation to genre cinema, and through use of Adam Lowenstein’s (2005) concept of the ‘allegorical moment’, investigates how allegory is complicated and then departed from within The Sacrament through its creation of a fictional visual accompaniment to a very real horror. Close analysis of selected scenes from The Sacrament and their relationship to

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Gilmore, Leigh. "Represent Yourself." In The Limits of Autobiography. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501770760.003.0002.

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This chapter examines the current trend of memoirs. Autobiography as a genre has always been defined by formally experimental works, even when critics focused more on its formal and ideological coherence. However, writers of autobiographies carry the paradox of being unique and representative. The chapter also considers that the centrality of trauma in self-representation only intensifies the ongoing paradox. It explains that autobiography functions as a judicature wherein self-representation exists within a juridical frame through the mechanisms of judging and assessment, which inform its pro

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Gilmore, Leigh. "Without Names." In The Limits of Autobiography. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501770760.003.0006.

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This chapter provides an overview of Jeanette Winterson's Written on the Body as a limit-case focused on sexed and gendered self-representation. The autobiography presents certain expectations about how and whether a lesbian author writes a lesbian text. However, Winterson rejects autobiography as the narrative account of a woman's subjection. The chapter describes Winterson's text as being in implicit dialogue with autobiography to highlight the way certain rhetorical conventions and cultural references or situations catalyze the expectations generated by autobiography. It also considers read

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Rosenberg, Aaron. "“Infinitesimal Lives” Thomas Hardy’s Scale Effects." In Ecological Form. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823282128.003.0010.

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This essay demonstrates how inhuman scales—immense measurements of space and time—pose representational challenges for narrative forms. It focuses on Thomas Hardy’s efforts to represent scales that seemed outsized to the realist novel’s conventional focus on the daily lives of individuals. Narrating realities beyond the scope of realism, I argue, led Hardy to experiment with formal alternatives including romance and melodrama—genres associated with a mode of excess. Romances like Two on a Tower and A Pair of Blue Eyes accommodate the immense perspectives of scientific observation by shifting i

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Marston, Kendra. "Aristocratic Whiteness, Body Trauma and the Market Logic of Melancholia in Black Swan." In Postfeminist Whiteness. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430296.003.0006.

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The fifth chapter explores Darren Aronofsky’s Black Swan as an example of a film in which Hollywood’s historical treatment of classical ballet is referenced to provide a self-reflexive and critical commentary on the role of the melancholic white woman in artistic representation. The film provides a horrific take on the ethereal and melancholic Russian ballet Swan Lake, deploying a variety of genre tropes associated with melodrama, horror and film noir in order to convey the protagonist’s increasing levels of paranoia as she loses control of her disciplined ballerina body. In doing so, Black Sw

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Panaite, Oana. "Conclusion." In Necrofiction and The Politics of Literary Memory. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781802077179.003.0007.

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The conclusions summarize the conclusions of each chapter highlighting the formal and symbolic features of necrofiction as instantiated in the works discussed in the book. It shows that the genre combines strategies of representation (fictionalization of history, characterization, reenactment of past events) with the critique of storytelling (fragmentation, generic heterogeneity, theorization) to overcome the negative aesthetics of trauma writing, or its dead letters, without falling into the trap of “capturing” (Butler) the limits of human existence that it seeks to convey. The literary tomb

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McMurdo, Shellie. "Found footage horror, 9/11 and a culture of fear." In Blood on the Lens. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474482080.003.0005.

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This chapter opens the second part of Blood on the Lens: Trauma and Anxiety in American Found Footage Horror Cinema and develops the argument that the subgenre can be read as a site of traumatic representation through a focus on the new visual language of fear that emerged in the wake of 9/11 and the War on Terror. After addressing criticisms of the allegorical model, this chapter outlines the palpable culture of fear and anxiety present in the United States following 9/11 and investigates how this was distilled both visually and narratively into cinema more broadly during this time, before mo

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