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1
Stewart, Susan Louise Trites Roberta Seelinger. "Genre, ideology, and children's literature." Normal, Ill. Illinois State University, 2004. http://wwwlib.umi.com/cr/ilstu/fullcit?p3172884.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--Illinois State University, 2004.Title from title page screen, viewed November 22, 2005. Dissertation Committee: Roberta Seelinger Trites (chair), Karen Coats, C. Anita Tarr. Includes bibliographical references (leaves 242-256) and abstract. Also available in print.
2
Jordan, Emily. "Automated genre classification in literature." Thesis, Kansas State University, 2014. http://hdl.handle.net/2097/17578.
Повний текст джерелаАнотація:
Master of ScienceDepartment of Computing and Information Sciences
William Hsu
This thesis examines automated genre classification in literature. The approach described uses text based comparison of book summaries to examine if word similarity is a feasible method for identifying genre types. Genres help users form impressions of what form a text will take. Knowing the genre of a literary work provides librarians, information scientists, and other users of a text collection with a summative guide to its form, its possible content, and what its members are about without having to peruse individual topic titles. This makes automatically generating genre labels a potentially useful tool in sorting unmarked text collections or searching the web. This thesis provides a brief overview of the problems faced by researchers wishing to automate genre classification as well as the current work in the field. My own methodology will also be discussed. I implemented two basic methods for labeling genre. The results collected using them will be covered, as well as future work and improvements to the project that I wish to implement.
3
Kapphahn, Krista R. L. "Gender and genre in Welsh Arthurian literature." Thesis, Aberystwyth University, 2015. http://hdl.handle.net/2160/830d28a1-f27b-4d4c-9107-e1bed5c304c1.
Повний текст джерелаАнотація:
This project is a study of gender and genre in medieval Welsh Arthurian texts, focusing on variations between the so-called 'heroic' and 'courtly' genres, both of which underwent considerable adaptation within a Welsh milieu. It establishes models for the examination of gender in medieval Welsh texts: the competing masculine ideologies of heroism and chivalry, the clergy, and the bards; the feminine models which divide primarily on biological lines and include maidens, mothers and witches as well as the enduring motif of the sovereignty goddess. I discuss what we may term a 'native' version of Arthur – that is, texts not displaying the influence of either Geoffrey of Monmouth, the verse romances of Chrétien de Troyes, or the many other English and continental Arthurian adaptations – and explore how gender is used within a heroic and nostalgic genre to reflect an idealised Welsh past. Finally I focuse on the three so-called 'Welsh romances', Welsh translatio of courtly French poems which likely originated at least partly from native tales. Here the inherent difficulty in reconciling the ideals of the native 'heroic' tradition and the continental 'chivalric' one, very much in fashion in the high middle ages, becomes most apparent. Through examining both explicit and subtextual ideologies within the texts, I show that the Welsh redactors were creating a consciously hybrid, Welsh product using facets of important literary genres.
4
Hales, Ashley Anderson. "Sympathy and transatlantic literature : place, genre, and emigration." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/9468.
Повний текст джерелаАнотація:
This thesis posits Enlightenment articulations of sympathy, in its capacity for establishing connections and its failures, as an appropriate methodology to articulate transatlantic literary exchange. Focusing on the sympathetic gap, the space sympathy must traverse, this thesis investigates the effect of emigration and place on genre and follows the trajectory from documentary to fictive forms and from a small gap to one unable to be bridged. Because the gap of sympathy is a spatial argument, the distance between is crucial as it indicates relationship. The introduction outlines my argument, with particular attention to transatlantic criticism, what is meant by the gap of sympathy, and the triad of place, emigration and genre. The first chapter discusses how Adam Smith articulated how one person is able to maintain a stable identity and is able to connect with another through imaginative comparison. The chapter establishes the trajectory of sympathy as the gap moves from smallest to unbridgeable, through comparison, sympathy and the failure of sympathy. In a series of case studies, Chapters Two through Five test out Smith’s theories in literary works; they examine the trajectory of transatlantic sympathy, where the gap moves from rhetorically being small to gaping, and moves generically from documentary forms to fiction. Chapter Two uses emigration guides written by British emigrants, who, because of their emigrant status, write from both an American and British perspective. The guides, because of their promotional intent, tend to underplay the gap of sympathy. Although they could be read as documentary and objective, the guides evidence ideological and rhetorical similarities to transatlantic fiction and thus serve as an entrance into the themes and stylistics one tends to associate with literary genres. Chapter Three examines the transatlantic correspondence of the Kerr family. As the Kerr family corresponds transatlantically (separated in space by the Atlantic and in time by more than 50 years), the issue of space becomes paramount to understanding the correspondence as well as if sympathy works in this generic register. Generically, the transatlantic letter is meant to provide virtual presence amid long stretches of absence; it also becomes an analogue for the absent other and the means by which the family may continue to be imagined across the gap of sympathy. Chapter Four examines Susanna Rowson’s transatlantic works, particularly Charlotte Temple, Slaves in Algiers, and Reuben and Rachel. Rowson’s own emigrant experience provides an entrée to the pain of transcultural sympathy that we see most clearly in Reuben and Rachel. Throughout her works Rowson also advocates a sympathy that is active and moral, rather than emotionally vacuous. Reuben and Rachel illustrates the gap of sympathy being bridged most effectively in cross-cultural adaptations and yet finally settles for a sympathy that must acknowledge separation and difference as well. Chapter Five explores the failures of sympathy and sociability present in Charles Brockden Brown’s gothic novels, Wieland and Edgar Huntly. Characters’ frontier locations and claustrophobic versions of sociability, as well generically, the gothic turn and failure of epistolary exchange, signals the moral ambiguity connected with becoming ‘this new man’ of America. Brown’s epistolary fiction briefly considered offers another generic attempt to examine how the gap of sympathy may be bridged and extend beyond the confines of the family. The Afterword points to the total breakdown of sympathy as a turn inward and away from sociability, where the self becomes frantic and frenetic (as evidenced by Crèvecoeur’s Letters from an American Farmer); it points to some useful applications to the gap of sympathy for transatlantic literary studies.
5
Kwan, Becky Siu Chu. "A genre analysis of literature reviews in doctoral theses /." access full-text access abstract and table of contents, 2005. http://libweb.cityu.edu.hk/cgi-bin/ezdb/thesis.pl?phd-en-b19887632a.pdf.
Повний текст джерелаАнотація:
Thesis (Ph.D.)--City University of Hong Kong, 2005."Submitted to Department of English and Communication in partial fulfillment of the requirements for the degree of Doctor of Philosophy" Includes bibliographical references (leaves 351-359)
6
Yang, Chung-Ying. "The detective genre in the narrative of Eduardo Mendoza." Connect to resource, 1998. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1236857946.
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7
Reid, Joshua. "Translation Fragmentation and the ‘Transformission’ of Genre." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2859.
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8
Eldred, Laura Gail Thornton Weldon. "A brutalized culture the horror genre in contemporary Irish literature /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,81.
Повний текст джерелаАнотація:
Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2006.Title from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English." Discipline: English; Department/School: English.
9
Arndt, Ava Lee. "Pennies, pounds and peregintions : circulation in eighteenth century literature and culture." Thesis, Queen Mary, University of London, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298458.
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10
Kemp, Emma Kathleen Margaret. "'...plutot que de me fixer dans un genre' : the prose fiction of Andre Gide in the light of notions of genre." Thesis, University of Sheffield, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.369854.
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11
FILGUEIRAS, CARMEN DE PAULA. "THE COMPLEX ART OF MURDER: THE POLICE GENRE IN CONTEMPORARY LITERATURE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2012. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=30103@1.
Повний текст джерелаАнотація:
PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
PROGRAMA DE DOUTORADO NO PAÍS COM ESTÁGIO NO EXTERIOR
A literatura policial nasceu em um ambiente de revolução técnica que modificou profundamente o cotidiano na cidade. Essa transformação afetou a relação entre sociedade e arte, além de criar condições para o desenvolvimento da imprensa, primeiro suporte em que as narrativas do gênero foram publicadas. Ao longo de quase dois séculos, a literatura policial sofreu alterações ideológicas que a presente pesquisa retoma para traçar paralelos entre a sensibilidade contemporânea e o contexto cultural que, conforme a tese nietzschiana, possibilitou o nascimento da tragédia. Ao comparar os efeitos poéticos da tragédia e da literatura policial contemporânea, a partir da relação que têm com o racionalismo, propõe-se uma aproximação entre os dois gêneros. Nessa perspectiva, estuda-se ainda a narrativa policial como suporte da ficção contemporânea.
Police literature was born in an environment of technical revolution that changed the everyday city life profoundly. The modification affected the relation between society and art, and it also created conditions for the development of the press - the first place the police genre was to be published. During these almost two centuries, the ideology in police literature has modified. This research examines those changes so as to demonstrate similitudes between contemporary sensibility and the cultural context that allowed the birth of the tragedy, according to Nietzsche s thesis. By comparing the poetic effect in tragedy to that in police literature, and by considering their relations with rationalism, this study proposes that there is a close proximity between the two genres. Within this perspective, the police narrative is analyzed as a supporting prop in contemporary fiction.
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Simon, John Ivan. "The prose poem as a genre in nineteenth-century European literature /." New York ; London : Garland, 1987. http://catalogue.bnf.fr/ark:/12148/cb35461203t.
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13
Rees, Emma L. E. "Genre in exile : Margaret Cavendish's writings of the 1650s." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.242425.
Повний текст джерелаАнотація:
In this study I aim to show how, and why, in terms of Margaret Cavendish's life in the 1650s, `genre', `exile', and `politics', specifically royalism, are inseparable literary-historical constructs. In the introduction and first chapter, I elucidate my title - `Genre in Exile: Margaret Cavendish's Writings of the 1650s' - exploring its constituent parts, and their repercussionsfo r my project as a whole. I consider in my introduction different ways of thinking about genre, and delineate a model which is productive in examining Cavendish's work, as well as investigating how genrew as understoodi n the mid-seventeenthc entury. Further, I position my study in relation to other critical assessmentso f Cavendish and her work, both contemporary and modern. In Chapter 1, I formulate for Cavendish a `triple exile', arguing that she was banished not only legislatively, but additionally because of her desire to be a writing woman, and because of her continued engagement with an anti-Puritan theatrical aesthetic. I use the paratextual theories of Girard Genette to examine how, in material and spatial terms, this triple exile is registered in Cavendish's publications of the 1650s. I briefly provide a biographical background for Cavendisha nd her associatesin that decade,a nd I ask what it meanst o have genre `in' exile, that is, how it may be sent into, adapted from within, or be retrievedf rom, a stateo f banishmentb, e that legislativeo r analogous. In my second chapter, I examine the influence of the Epicurean writing of the Imperial Roman Lucretius on Cavendish's first published work, Poems, and 3 Fancies, and how that influence facilitated her earliest self-representationa s a writer with the desire to publish. Cavendish's culturally subversive movement into print is expedited by her adoption of Lucretian generic modes. In the third chapter, Platonic generic ideals are focused on as being central to the brief yet recondite prosep assageH, eavensL ibrary. An applicationa nd extensiono f such idealst o the entire volume in which they appear, Natures Pictures, indicates that such a reading and utilization of genre may promote the most acute political commentary. In such a discussion, Cavendish's notional readership is important, since it is readerly generic expectation which is being manipulated. The focus of the study remains on Natures Pictures for the fourth chapter, which once more looks to the Ancients as a source for Cavendish's generic operations. In Assaulted and Pursued Chastity, she negotiates a path between Greek romance and epic in her assertion of a woman's autonomy and concomitant ability to rule, which metonymically figures as the author's own desire for power over the text she indites. For the fifth chapter of this study, I return to Poems, and Fancies, this time in a reading of The Animall Parliament as a text which incorporates both ancient and seventeenth-centuryd iscoursesa bout the human body, fashioning from them an intrepid defence of monarchical rule. In my sixth chapter I move the focus of the study beyond the Restoration in an examination of how Cavendish's relationship with genre and creativity, mapped during the Interregnum, developed once the monarch was restored and the impetus for political subversion had largely passed. Cavendish's volume of Orations (1662) is briefly discussed, as well as her two volumes of plays (1662 and 1668), her CCXI Sociable Letters (1664), and her Description of a New World Called The 4 Blazing World (1666). In a brief conclusion, I return to the `triple exile' in an assessment of the rehabilitative potential such a project as this may have in terms of Cavendish studies more generally.
14
McCarthy, Jessica E. Schubert. "Genre bending the work of American women's writing, 1860-1925 /." Pullman, Wash. : Washington State University, 2009. http://www.dissertations.wsu.edu/Dissertations/Spring2009/j_mccarthy_042209.pdf.
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15
Shand, Ryan John. "Amateur cinema : history, theory and genre (1930-80)." Thesis, University of Glasgow, 2007. http://theses.gla.ac.uk/4923/.
Повний текст джерелаАнотація:
This thesis, Amateur Cinema: History, Theory, and Genre (1930-1980), draws largely on primary material from the Scottish Screen Archive and related museum sources. The project establishes a critical dialogue between university-based Film Studies and the archive sector, via a series of case studies of influential groups, individuals, and movements. Prefaced by a chapter entitled 'Theorising Amateur Film: Limitations and Possibilities' detailing the domination of amateur cinema studies by discussion of the 'home mode', I suggest that work to date has obscured an understanding of films made by cine-clubs within the highly organised film culture of the British amateur cine movement. The main body of the thesis consists of four chapters exploring the most popular generic practices of 'institutionalised' amateur filmmakers, focusing on: art cinema, the 'film play', community filmmaking, and the amateur heritage picture. I argue that these production strands were formed by discourses circulating within amateur film journals, 'how to do it' manuals and amateur film festivals. Amateur cinema was viewed throughout as a parallel cine movement existing alongside professional practices, enjoying an ambivalent relationship to inherited professional standards. The final chapter, 'Amateur Film Re-Located', proposed a fresh theorisation of 'local' amateur production within a national film culture, marked by distinctly cosmopolitan connections.
16
Vasconcelos, Pinto Mercia de. "The Brazilian Pastoril : a history of a popular musical genre." Thesis, University of Liverpool, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.364207.
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17
Eddy, Nicole. "Marginal annotation in medieval romance manuscripts| Understanding the contemporary reception of the genre." University of Notre Dame, 2013.
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18
Broadhead, Mark 1968. "Avatars of the seventh article : literature, genre and autobiography in Virginia Woolf." Monash University, School of Literary, Visual and Performance Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8251.
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19
土橋今日子 and Kyoko Dobashi. "Hybridity as a new genre of literature : the works of Kazuo Ishiguro." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/192984.
Повний текст джерелаАнотація:
Homi K. Bhabha suggests that hybridity bridges more than just cultural, genetic, linguistic and national differences. His theory explores a hybridity that reconciles such ubiquitous peripheral differences as generational, gender, class, societal and even individual differences. Even before the era of imperialism and globalization, such hybridization was present within national and cultural frameworks. The differences were acknowledged, confronted, wrestled with and incorporated into a new entity or phenomenon – whether coherent or incoherent – and made part of a culture, society, morality, etc. This dissertation applies the workings of the hybridization logic to literature, and particularly the in-between spaces in narratology. It explores multiple aspects of the narrative’s liminalities, in character, style and structure, to pinpoint any moments that may engender hybridization in fictional discourse. Kazuo Ishiguro’s novels are replete with fused contradictions and negotiated differences on many levels, extending far beyond any genre differences. This paper seeks to define the concept and workings of ‘hybridity’ in literature through the analysis of Ishiguro’s six novels: Pale View of Hills, An Artist of the Floating World, The Remains of the Day, The Unconsoled, When We Were Orphans and Never Let Me Go. The tenets of Mikhail M. Bakhtin’s dialogism are also employed to unveil multiple connotations or different voices in a discourse, ultimately facilitating the unearthing of hybridity. This dissertation, thus, hones in in particular on the author-narrator dialogic interactions.published_or_final_version
English Studies
Master
Master of Arts
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Weise, Wendy Suzanne. "Gender, Genre, and the Eroticization of Violence in Early Modern English Literature." Diss., The University of Arizona, 2007. http://hdl.handle.net/10150/195129.
Повний текст джерелаАнотація:
In an analysis of literary and historical documents from the sixteenth to the early eighteenth centuries, Gender, Genre, and the Eroticization of Violence in Early Modern English Literature examines depictions of love, beauty, and desire and identifies within these discourses a rhetoric of violence. It explores how eroticized violence can be deployed to privilege male speakers and silence female voices. It also reveals, by pairing female- and male-authored works that make specific claims to represent gendered experience that early modern writers both recognized the mechanisms of violent representation as literary conventions and realized they could be deployed, exploited, resisted, fashioned to new ends. By integrating feminist psychoanalytic, film and architectural theories with literary analysis, this study demonstrates how spatial topographies in literary works can function as stimuli that provoke desire to turn violent. Gender, Genre, and the Eroticization of Violence ultimately identifies how this body of literature constructs and maintains genders and points to violence as a structural principle, bound by the hydraulics of subjectivity and cultural anxieties about gender, class, and literary production. Finally, this study identifies the residue of early modern ideas about desire and violence in the materials of our modern culture.
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Mulcahy, Robert Alan. "A Hero of Two Times: Erast Fandorin and the Refurbishment of Genre." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1369768067.
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22
Bottex-Ferragne, Ariane. "Réécrire l'histoire: genre romanesque et tradition historiographique dans les romans d'antiquité." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104776.
Повний текст джерелаАнотація:
Recognized as the first medieval instances of the romance genre, the Roman de Thebes, Roman d'Enéas, Roman de Brut and Roman de Troie (ca. 1150-1165) are based on the rewriting of Latin texts deeply rooted in history. Yet few studies have explored the relationship between these romans d'antiquité and medieval historiography, as a literary genre (estoire and historia). There has indeed been a tendency amongst critics to focus on a thematic analysis of the links between the "first romances" and history, at the expense of a more generic approach. Our task, therefore, is to show that this corpus can be defined by its conscious – and subversive – relationship with medieval historiography. By combining the Jaussian approach of the theory of genres with the methods of "New Philology", we shall first establish that the medieval readers interpreted romans d'antiquité not only as romance, but also as works of historiography. This double interpretation, confirmed on various accounts by the manuscripts, will then be explained by a poetic structure that playfully blurs the line between generic distinctions. Hence it will appear that the "first novelist" deliberately use the conventions of historiography in order to lay the foundation of a genre that will maintain a close, yet complicated, relationship with history.Fondés sur la réécriture d'ouvrages latins et médio-latins à forte teneur historique, les romans de Thèbes, d'Éneas, de Brut et de Troie (ca. 1150-1165) signent la « naissance du roman » en empruntant leur sujet à l'histoire. Pourtant, peu d'études ont été consacrées aux liens qui se tissent entre ces romans d'antiquité et la tradition historiographique en tant que genre littéraire (« estoire » et « historia »). La critique tend en effet à approcher les rapports entre l'historiographie et le genre romanesque naissant d'un point de vue strictement thématique de sorte qu'elle néglige souvent d'interroger leurs interactions génériques. Il s'agira donc de démontrer que les premières œuvres romanesques peuvent se définir par leur rapport conscient – et subversif – au genre historiographique médiéval. En conjuguant l'approche jaussienne de la théorie des genres aux méthodes de la « nouvelle philologie », il faudra d'abord établir que la réception médiévale du corpus se laisse infléchir par une double lecture historiographique et romanesque. Cette confusion typologique, diversement relayée par le témoignage des codices, pourra ensuite s'expliquer par une contexture poétique qui se joue des distinctions génériques. Il apparaîtra ainsi que les premiers romanciers convoquent délibérément les conventions de l'historiographie pour poser un geste fondateur dans l'histoire du genre romanesque : ils érigent une frontière – poreuse – entre roman et histoire.
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Spentzou, Efrossini. "Reading characters read : transgressions of gender and genre in Ovid's Heroides." Thesis, University of Oxford, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359952.
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Papadimitriou, Lydia. "The Greek film musical (1955-75) : film genre and cultural identity." Thesis, University of Kent, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361386.
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Molinari, Marcia Alberta. "Cervantes' 'Los Trabajos de Persiles y Sigismunda' : a study of genre." Thesis, University College London (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297193.
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26
Higgins, Peter. "The Wolfhound Century Trilogy : world building through genre and allusion." Thesis, University of Huddersfield, 2017. http://eprints.hud.ac.uk/id/eprint/34188/.
Повний текст джерелаАнотація:
A PhD In Creative Writing by Publication, comprising a trilogy of published novels – Wolfhound Century (2013), Truth and Fear (2014) and Radiant State (2015), described collectively as the Wolfhound Century trilogy – and an accompanying commentary. The published novels are historical fantasy thrillers, engaging with Russian (predominantly Soviet) history and culture of the period approximately 1900 to 1960. The novels do not portray Russia directly, but create a refracted, re-imagined world of Russian-ness, troped as 'the Vlast'. The commentary discusses the writing of the novels as practice-based research. It explores how the trilogy puts into practical fiction-writing use some concepts about literary tradition, genre and intertextual allusions which I first developed as an academic researcher in literary history. It describes the results of a writing process based on the use of wide-ranging and deliberate allusiveness and multiple, shifting genres and narrative voices, ranging from those of popular fiction to the highly literary and poetic: a practice which grew out of my prior study of literary modernism and classical and Renaissance epic. It explores how these formal strategies are used to extend and complement the novels' thematic concerns with the interaction between the totalizing, collectivizing state and the openness and plenitude of individual human consciousness. The commentary also discusses my novels as a contribution to knowledge, specifically to certain genres of fantasy writing and to the interface between fiction seen as popular or mass market and fiction seen as literary. It examines the relationship of the Wolfhound Century trilogy to fantasy thriller, alternate history, historical fantasy, steampunk, and cultural/historical mashup and pastiche. It describes how my novels adopt aspects of those genres but also reshape and extend them by integrating heightened and more 'literary' modes of writing and an extensive and programmatic allusiveness to literary and cultural texts and ideas which lie outside the conventional boundaries of current fantasy and science fiction writing. It concludes that while the Wolfhound Century trilogy is related to and engages with a number of different genres, its foundational and driving creative purpose is ultimately that of high (or epic, or heroic) fantasy.
27
Bullman, Lee. "Nothing but the truth? : truth, true-crime, genre and 'Blowback'." Thesis, University of Huddersfield, 2016. http://eprints.hud.ac.uk/id/eprint/34159/.
Повний текст джерелаАнотація:
Blowback, my biography of the international drug smuggler Michael Forwell, has, since its publication, been marketed within two commercially and culturally recognised categories, namely true crime and biography. In a commercial sense these titles act as signifiers of content, communicating in broad strokes what the reader can expect from the work, where it might lie within their own view of the cultural landscape and therefore whether or not they find engagement with the work appealing. In a practical sense (i.e. from the point of view of the practitioner, the writer), these categorisations bring with them expectations of both form and content, which influence the work produced within that category to varying degrees, either by their inclusion or their absence. I intend to look at these generic and cultural expectations in relation to my own book Blowback, as well as true crime’s most consistently popular, influential and lauded texts, Truman Capote’s In Cold Blood and Vincent Bugliosi and Curt Gentry’s Helter Skelter, in order to examine the extent to which these expectations shape the work. I will also engage with the work of relevant theorists, including Christian Metz, Steve Neale and Mark Seltzer. I also intend to provide context for both my own creative practice prior to writing Blowback and the extent to which the fiction I wrote went on to influence the ‘true’ crime described within the book. Any study of true crime must wrestle with the genre’s relationship with truth, a relationship I will contextualise via a history of the genre which examines its long, complex and symbiotic relationship with fiction. The true crime shelves are where we store our monsters, and I aim to investigate how those monsters’ brushes with true crime (and with fiction) alter our relationship with them. Interesting notions of truth exist within the study of biography too, and I will look at these where they apply to my portrayal of Michael and his world and where I, the writer of somebody else’s story, might be located within that world.
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Troughton, Thomas 1964. "Tibetan mind training : tradition and genre." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116035.
Повний текст джерелаАнотація:
In response to Tibetan social pressures in the 11th century, Atisa initiated a renewal of Buddhist monasticism that resulted in all Buddhist praxis outside of meditation being strictly framed by attitudes and behaviors informed by love and compassion. Atisa's teachings are exemplified in pithy sayings that point to the heart of bodhisattva practice, and this mind training practice developed into a tradition in the period immediately following his passing. The success of the method, and of the emulation of Atisa as exemplar of a perfect bodhisattva, led to the adoption of mind training throughout Tibetan Buddhism. "Tibetan Mind Training: Tradition and Genre" explains the relation between a native Tibetan literary genre and monastic Buddhist practice found in the 14th century compilation Mind Training: The Great Collection (theg pa chen po blo sbyong rgya tsa). The introduction provides context and presents methodology. Chapter one argues that 'blo sbyong' should be translated as 'mind training.' Chapter two has two broad arguments: a rebuttal of a conception of mind training as an essentially psychological preparation for other practices; and an explanation of its praxis as the interaction of mind and real objects. Chapter three explains the relation of mind training praxis and tradition, with reference to Atisa's reforms. Chapter four explains some characteristics of the literary genre of mind training.
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Spangler, Jacquelyn S. "Edward J. O'Brien: Best Short Stories and the production of an American genre /." The Ohio State University, 1997. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487945320759817.
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Canani, M. "VERNON LEE AND THE ITALIAN RENAISSANCE. PLASTICITY, GENDER, GENRE." Doctoral thesis, Università degli Studi di Milano, 2015. http://hdl.handle.net/2434/264137.
Повний текст джерелаАнотація:
Vernon Lee scholars have often studied her writings on the Italian Renaissance in connection with Walter Pater’s. Whilst acknowledging the evident influence of Walter Pater, such a critical perspective risks overlooking Lee’s own contribution to the Victorian creation of the “Renaissance myth” – which, in her case, was to outlive its fin-de-siècle frenzy. Moving from the recent developments in Lee scholarship, this study investigates the presence and the function of the Italian Renaissance in Lee’s writings with specific focus on issues of gender and genre. From this perspective, Lee’s relationship with characters, places, villas, and masterpieces of the Italian Renaissance works as a catalyst for the construction of cultural memory, mediated through hybrid narrative forms.
Chapter I explores the phenomenology of the Italian Renaissance as a nineteenth-century myth. In particular, it takes into consideration the works of Jules Michelet and Matthew Arnold, and it highlights the influence that Jacob Burckhardt and John Ruskin had on Victorian culture in spite of their diverging opinions. After grounding Lee’s work in the fin-de-siècle tradition of Walter Pater and John Addington Symonds, chapter II investigates Lee’s two collections of Renaissance essays – Euphorion and Renaissance Fancies and Studies – from an intertextual perspective which unveils the gender specificity of Lee’s writings, but also the construction of gender that these essays deploy at a textual level.
Chapter III explores Lee’s fascination with Italian landscapes, which she portrays as spaces of culture. The plasticity of landscape and its meanings – which can be sensed in Lee’s prose, but also in Edith Wharton’s and D. H. Lawrence’s – enables Lee to bounce back and forth in time, moving from contemporary Italy to the imagined landscapes of the Renaissance. This textual strategy is made possible by Lee’s theorization of the “genius loci,” which also provides her with a starting point for endorsing cultural politics steered by democratic sympathies. Finally, chapter IV focuses on Lee’s fluid idea of literary genres. Indeed, the Renaissance is a “trans-genre” topos that Lee repeatedly explores in her essays as well as in her travelogues, supernatural tales, and a number of unpublished writings dating from the first two decades of the twentieth century, long after the end of the fin-de-siècle Renaissance frenzy.
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Stewart, Faye. "Queer investigations genre, geography, and sexuality in German-language lesbian crime fiction /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3290757.
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Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2007.Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4721. Adviser: Claudia Breger. Title from dissertation home page (viewed May 22, 2008).
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Mosley, Marcus. "Jewish autobiography in Eastern Europe : the pre-history of a literary genre." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306789.
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Potter, Franz. "Twilight of a genre : art and trade in Gothic fiction, 1814-1834." Thesis, University of East Anglia, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.273419.
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Greenberg, Linda Margarita. "Acts of genre literary form and bodily injury in contemporary Chicana and Asian American women's literature /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1723112451&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Lydon, Elizabeth. "Legitimising AIDS literature : the case for establishing AIDS writing as a literary genre." Thesis, Sheffield Hallam University, 2001. http://shura.shu.ac.uk/20749/.
Повний текст джерелаАнотація:
The subject of this thesis is AIDS writing, broadly defined as British and American novels that are concerned with the medical conditions known as HIV and AIDS. These novels are mostly, although not exclusively, by and aimed at, gay men. My aim is to legitimise AIDS literature as an area of literary study through the use of genre theory. The writers and readers of AIDS writing have tended to come from marginalised groups and this has led, in part, to the critical silence that surrounds these texts. My aim is to challenge this neglect of a substantial body of writing and to present AIDS writing as a subject for serious literary consideration. The thesis begins with an examination of the meaning of literary legitimacy and the ways in which previously marginalised texts have achieved literary status. I argue that being considered a literary genre is one way in which a group of texts can be seen to be worthy of literary study. The first chapter explores theories of genre to arrive at a useful working definition for this study. The second chapter examines the concept of AIDS writing as a genre and explores the main aspects of that genre. The third chapter moves on to discuss issues of authorship and legitimacy that have characterised the few previous studies of AIDS writing. The main conclusion is that the connections between these texts, including subject matter and imagery, substantiate the consideration of AIDS writing as a literary genre. The establishment of AIDS writing as a genre is a means of legitimising it as an area for literary study and thus allowing that writing to gain literary status. As a consequence, the subject area of literary studies is broadened, and AIDS writing, and implicitly the ideologies contained within it, is afforded the importance conferred by having literary status.
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Chapman, S. E. "A study of the genre of T.H. White's Arthurian books." Thesis, Bangor University, 1988. https://research.bangor.ac.uk/portal/en/theses/a-study-of-the-genre-of-th-whites-arthurian-books(4d42d362-c932-485c-8271-b1e69f209dc8).html.
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Nugent, Lynne S. "Mixed company: genre crossings in Rossetti, Eliot, Schreiner, and Woolf." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3505.
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This dissertation analyzes interruptions of realist narrative in the work of four women writers from the mid-nineteenth through mid-twentieth centuries: Christina Rossetti, George Eliot, Olive Schreiner, and Virginia Woolf. I argue that these writers use such interruptions—which take the form of alternate genres such as lyric poetry and the expository essay—to subvert the authority of the third-person novelistic narrator and thus question the dominant structure of the realist novel. By employing these asides, they provide opportunities for first-person and present-tense discourse within a third-person, past-tense narrative, which in turn leads to productive contrasts between subjectivity and objectivity, emotion and thought, public and private spheres, inner and outer lives of characters, and the novel and other genres. These cross-genre interruptions destabilize the overall works in ways that reveal both the contradictions in female characters’ lives and the anxieties surrounding being a female author. The practice also exposes limitations of the novel as a form by raising in the reader an awareness of genre conventions. The result is an anti-realist tendency, inspired and fueled by gender concerns, in the midst of the age of greatest dominance of the realist novel.
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Neelsen, Sarah. "Les essais d'Elfriede Jelinek. Genre. Relation. Singularité." Thesis, Paris 3, 2013. http://www.theses.fr/2013PA030130.
Повний текст джерелаАнотація:
L’œuvre de l’Autrichienne Elfriede Jelinek (Prix Nobel de Littérature en 2004) est ici approchée par la bande, c’est-à-dire par les « petits textes » rédigés tout au long de sa carrière en marge de ses pièces et romans. Textes de circonstance, ces essais reposent sur un paradigme esthétique spécifique que le présent travail se propose d’exposer en revenant à leurs conditions de publication initiales. On s’aperçoit ainsi qu’il s’agit de textes de commande véhiculés par des supports médiatiques différents du livre (revue, tract, programme, internet) et qui impliquent une réception particulière, induite par leur dispersion et leur fugacité. La présentation du corpus se fait sur fond des grandes césures de l’œuvre jelinekienne mais aussi de la littérature autrichienne d’après 1945, recomposant le réseau personnel et professionnel de l’auteur et la réintégrant dans sa génération. Trois chapitres sont consacrés à une analyse détaillée des textes. Celle-ci montre d’abord la genèse progressive de leur thématique centrale, à savoir la possibilité d’une œuvre féminine. Elle s’attache ensuite aux trois principes fondamentaux de leur style que sont l’évidement, le paradoxe et la fluidification. Elle étudie enfin le rapport au lecteur conçu sur le mode du brouillage et de l’interférence, qui permet, pour un temps, de prolonger la vie de textes dont le sens tend à s’obscurcir rapidement. Les notions de relation et de singularité sont placées au cœur de cette thèse, identifiées comme l’enjeu esthétique et politique majeur du corpus mais aussi d’une partie de la tradition du genre dont quelques définitions emblématiques (Lukács, Adorno, Barthes, Marielle Macé, Georg Stanitzek) sont discutéesThis thesis discusses the work of the Austrian writer Elfriede Jelinek (Nobel Prize for Literature 2004) from its margins, from a corpus of “short texts” written from the beginning of her career beside her novels and plays. As occasional prose, these essays are grounded in a specific aesthetic paradigm, which this dissertation seeks to define by examining their original conditions of publication. This method brings to light that these are commissioned works, released on very different media formats than a book (journals, flyers, programs and the internet), which have their own mode of reception due to their volatility in space and time. The corpus is presented against the backdrop of Jelinek’s main work and its major turning-points. It is also set in the context of Austria’s post-1945 literature according to the author’s personal and professional network in order to reintegrate Jelinek in her generation. Three chapters are then dedicated to a detailed analysis of the texts. This thesis highlights the slow genesis of their main theme, the possibility of a feminine work of art. Then it studies three characteristics of their style - hollowing, paradox and liquidity. Lastly, it deals with the relation to the reader, conceived as jamming and interference, both allowing, at least for a time, to prolong the text’s meaning, as it otherwise tends to become more and more obscure. Relation and singularity are key notions of this thesis, considered as the main aesthetic and political issues of its corpus, being also part of the essayistic tradition, discussed through some canonical definitions (Lukács, Adorno, Barthes, Marielle Macé, Georg Stanitzek)
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Middlekoop, Roeland. "The genre of suffering in the ancient Near Eastern literature, the Hebrew Bible, and in some examples of modern literature." Master's thesis, Faculty of Humanities, 2004. http://hdl.handle.net/11427/31451.
Повний текст джерелаАнотація:
The aim of this thesis is to compare works of drama regarding the suffering of the human being in the context of life and literature and in relation to the issue of justice, which revolves around the impact of Justice, Humanity and God. My aim is to look at the development of the genre of suffering starting with the Ancient Near Eastern Literature, to define the genre in its development and to characterise its features in the various literatures discussed, especially with respect to the Book of Job.
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Park, Arum. "Truth and Genre in Pindar." Cambridge University Press, 2013. http://hdl.handle.net/10150/622193.
Повний текст джерелаАнотація:
By convention epinician poetry claims to be both obligatory and truthful, yet in the intersection of obligation and truth lies a seeming paradox: the poet presents his poetry as commissioned by a patron but also claims to be unbiased enough to convey the truth. In Slater's interpretation Pindar reconciles this paradox by casting his relationship to the patron as one of guest-friendship: when he declares himself a guest-friend of the victor, he agrees to the obligation ‘a) not to be envious of his xenos and b) to speak well of him. The argumentation is: Xenia excludes envy, I am a xenos, therefore I am not envious and consequently praise honestly’. Slater observes that envy may foster bias against the patron, but the problem of pro-patron bias remains: does the poet's friendship with and obligation to his patron produce praise at the expense of truth?
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Simpson, Richard. "How to Tell a Story: Mark Twain and the Short Story Genre." TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/378.
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This study examines the short fiction of Mark Twain in relation to major theories concerning the short story genre. Despite his popularity as a novelist and historical figure, Twain has not been recognized as a major figure in the development of the short story genre. This study attempts to show that the short fiction produced by Twain deserves greater regard within studies specific to the short story, and calls for a reconsideration of Twain as a dynamic figure in the development of the genre. The introductory chapter lays the groundwork for understanding how the short story genre has developed since its inception as an actual literary genre, and outlines the existing Twain scholarship concerning his short fiction. Differences between the traditional and modern forms of the short story are defined, and Twain's chronological position in the evolution of the genre is briefly explained. Chapter one examines two of Twain's short stories—"The $30,000 Bequest" and "The Man That Corrupted Hadleyburg"—in relation to the compositional theories of the first major short story theorist: Edgar Allan Poe. This chapter shows how these two Twain stories abide by Poe's rules concerning unity of effect. Chapter two explores Twain's "Journalism in Tennessee" and "The Notorious Jumping Frog of Calaveras County" in relation to the modern short story, and examines these two stories through the lens of Mikhail Bakhtin's theories of genre. This chapter closely examines Twain's use of various dialects to show that these two stories contain an unrealized complexity and are very closely related to the ostensibly "plotless" short fiction that developed in the twentieth century. The final chapter takes Twain's "The Mysterious Stranger" and examines it with respect to both old and new theories of the short story genre. This chapter shows how "The Mysterious Stranger" fuses both traditional and modern forms of the short story genre. The conclusion to this chapter reiterates the argument for a greater appreciation of Twain as a short story artist.
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Kulbaga, Theresa A. "Trans/national subjects genre, gender, and geopolitics in contemporary American autobiography /." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1150386546.
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Griffy, Henry. "Proving Genre: Robin Hood in the Literary History of Medieval English Romance through 1600." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1365687253.
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Lopez, Melissa. "Genre Criticism: Is Testimonio A/Part of Creative Nonfiction?" Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/771.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucfBachelors
English
Arts and Sciences
Creative Writing
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Sarma, Ira Valeria. "The Laghukatha : a historical and literary analysis of a modern Hindi prose genre." Thesis, SOAS, University of London, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271080.
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Bragg, Sara Gillian. "Media violence and education : a study of youth audiences and the horror genre." Thesis, University College London (University of London), 2001. http://discovery.ucl.ac.uk/10020370/.
Повний текст джерелаАнотація:
This thesis considers the implications of recent work in Cultural Studies for the teaching of contemporary popular culture. By taking horror films as its departure point, it addresses public debates and 'moral panics' about 'violent' genres, particularly recent proposals that education may act as an adjunct to centralised control and regulation of the media. The methodology used was empirical 'action research' into teaching of the horror genre within Media Studies A-Level courses. The thesis presents the findings of four case studies carried out in two schools with male and female students aged 16-17 years, of contrasting class and ethnic background. Data, including interviews, transcripts of classroom exchanges and students' videos and writing, is interpreted using discourse analysis, psychoanalytic approaches, and postmodern perspectives on researcher reflexivity. It considers youth audiences' existing strategies for managing their consumption of the mass media. It questions how teachers and students relate to 'cultural value' in contemporary society, and the role of media 'theory' and media production in enhancing learning and understanding. It argues for displacing the privilege granted within media education (and some radical, critical and feminist pedagogies) to dominant modernist discourses which valorise rational, systematised epistemologies, critical autonomy and established value hierarchies. It suggests how 'subjugated' knowledges implicit within practical media production, story-telling or descriptive writing, jokes and even 'mistakes' challenge assumptions about media 'effects' and can be put to work within 'pedagogies of everyday life'. It concludes that a more acute analysis of the intersubjective, relational, unconscious, desiring and affective dimensions of learning and teaching is necessary to understand classroom life and to promote socially just educational practices.
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Garner, Lori Ann. "Oral tradition and genre in old and middle English poetry /." free to MU campus, to others for purchase, 2000. http://wwwlib.umi.com/cr/mo/fullcit?p9974631.
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Lash, Holly L. "Evaluating Young Adult Literature through Transactional Theory." Ohio Dominican University Honors Theses / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=oduhonors1449497760.
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Martin, Paul S. "Parody and parôidia : a study in literary genre and mode." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/29154.
Повний текст джерелаАнотація:
This thesis explores the relationship between the genre of Greek poetry called parôidia and parody as a literary mode. I argue that the poetics of parôidia as genre are inextricably linked to the poetics of parody as mode. This argument produces a new methodological approach to the concept of parody, which recognizes its idiosyncratic nature. Since everyone has different ideas about what parody is, there is no absolute definition of parody. Instead, I use approaches drawn from cognitive linguistics and poetics to illuminate the parodic script, a set of terms commonly used to explain parody’s effect but which in themselves do not define parody. This methodology is supported by an appendix that analyses the terminology of parody in Greek (!αρῳδία, !αρῳδή, etc.). I argue that the noun !αρῳδία is only ever found with a generic meaning before the first century BC. The main body of the thesis examines six poems from this genre, parôidia, to demonstrate how this genre influenced Greek ideas about parody. This thesis is the first literary study of all of the major poems belonging to the genre. Furthermore, it is the first study of parody to appreciate fully the importance of this genre for notions of parody. While most studies of parody have centred on Greek Comedy, I show that this genre, which has been almost entirely left out of discussions of parody, is essential for the development of parody as a mode. As the first detailed literary study of the genre parôidia, the central chapters provide new interpretations of the genre’s most important poems. In several of these, I show how the poems engage in different kinds of satire. For instance, Timon uses Sceptic philosophy against the dogmatic sophists, and Archestratus uses tropes drawn from the figure of the comic mageiros. In other chapters, I argue that the humour of the poems derives in part from their manipulation of the audience’s expectations. Thus the Batrachomyomachia leads us to anticipate divine intervention, but uses this expectation to create humorous reveals at the end of the poem. In each chapter, I aim to show specifically how the poem’s parody of epic contributes to its construction of meaning. The conclusion then brings these chapters together to present the bigger picture of Greek conceptions of parody that emerge from these discussions. What links the poetry of a Sceptic philosopher and a shit-stained nobody from Thasos? Are there any similarities between the espousal of fine cuisine in Archestratus and the absurdification of the Batrachomyomachia? I conclude by making three claims: 1) parody’s allusive form must be understood as multifaceted and can be approached through several frameworks; 2) parody is not inherently critical of the text it parodies, but can use the process of parody as a framework for satirizing other figures; 3) although frequently regarded as a “low” or “playful” form, parody incorporates its supposedly inferior literary position into its construction of meaning. Parôidia, I argue, is not only a product of its specific literary and cultural context but also contributes to the shaping of parody in Greek thought.
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Buffey, Emily. "The early modern dream vision (1558-1625) : genre, authorship and tradition." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7360/.
Повний текст джерелаАнотація:
This thesis offers the first full-length investigation into the reception and influence of the dream vision poem in the early modern period. One of the main aims of this research is to challenge the assumption that the dream vision was no longer an attractive, appreciated or effective form beyond the Middle Ages. This research breaks new ground by demonstrating that the dream vision was not only a popular form in the post-Reformation period, but was a major and enduring means of literary and political expression throughout the Elizabethan and Jacobean periods. This thesis is therefore part of an ongoing scholarly attempt to reconfigure the former aesthetic judgements that have dominated scholarship since C. S. Lewis dubbed the sixteenth century as the 'drab age' of English verse. The main focus is upon three writers who have been largely ignored or misunderstood by modern scholarship: Barnabe Googe (1540-1594), Richard Robinson (fl. 1570-1589) and Thomas Andrewe (fl. 1600-1604). Through close analysis of their work, this thesis demonstrates that the dream vision could both inform and was greatly informed by contemporary political, cultural and literary developments, as well as the period's relationship with its literary and historical past.