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Interpretation and Genre: The Role of Generic Perception in the Study of Narrative Texts.
Abstract
Kent proposes a general theory of genre classification and applies this generic model to American fiction written during the last half of the nineteenth century. Combining theory and application. Kent attempts to demonstrate that what we say about texts is related directly to our generic perception of them.
... For insightful discussions on the concept of generic hybridity seeKent (1986),Hassan (1987),Hutcheon (1988),Duff (2000),Gregson (2004),Auger (2011), Garzone/Ilie(2014).4 Important studies include, i.a.,Seed (1990),Hopkins (2001),Steer (2009), Hitchner (2010, Brayton (2017),Sandberg (2018), andMorrison (2020: 142-162). ...
This narratological study of Erskine Childersʼs The Riddle of the Sands aims to determine whether that early 20th-century crime novel is actually a mystery work, a thriller, or a hybrid. For the purposes of evaluating its generic intricacies and affiliation, a simple yet comprehensive transmedial taxonomy of crime works, directly inspired by Charles Derryʼs film-restricted one, will be proposed. In the course of the analysis, generic links to non-crime genres will also be taken into account. The article expands upon some practical considerations discussed in its authorʼs doctoral thesis.
... In 1948, Shannon used the concept of entropy in information theory to describe how much randomness or information content a signal or random event contains. Technically speaking, entropy is a measure of uncertainty, disorder, or of a large configuration of equiprobable choices (Kent, 1986). ...
For a long time, translation researchers, particularly those working in corpus-based translation studies, have held the presumption that translated texts tend to be simpler in lexical and syntactical features than non-translated native texts. Such claims have led to the formulation of the simplification universal hypothesis in translation studies. However, this line of research which focuses predominantly on the investigation of individual linguistic features has failed to provide sufficient evidence to confirm the existence of the simplification universal. To a large extent, the lack of global quantitative indicators for evaluating the complexity level of the translated and non-translated texts has hindered progress in this field. The current study, using entropy as an indicator, analysed the linguistic complexity between translated and native Chinese from the information-theoretical perspective. Our research found that translational Chinese tends to be simpler than its non-translated counterpart at the lexical level based on unigram entropy, but not the syntactic level based on part-of-speech entropy. Our study has confirmed the use of entropy as a reliable measure for lexical and syntactic complexity in the field of translation studies.
... There may be, for example, signs in a historical narrative, such as America First, internment camps, and enemy aliens that evoke the reader's memories of WWII, or fictionalized characters like Charles Lindbergh and Philippe Petit that cross the border between real life and fiction. Two other traditional approaches adopted by genre critics, as Thomas Kent (1986) notes in Interpretation and Genre, are based on historical or psychological models. The former assumes that "different readers have different responses during different historical periods," whereas the latter asserts that "no two readers read in the same way" (25). ...
The first two sections of this chapter provide an overview of the history boom in contemporary fiction and sketch its historical background, in order to bring out the relations of this boom with 9/11 and its concomitant apocalyptic imagery. In terms of the literary history of the historical novel, the post-9/11 historical novels reflect continuity, as they share, to varying degrees, the characteristics that many of the historical novels of the 1990s have manifested: telling truth as a literary testimony, blending the author’s auto/biographical elements into the fiction, a catastrophic backdrop, and taking a transnational and multicultural perspective. Along with the second coming of historical fiction, alternate history fiction flourished as a literary genre in the 1990s and since then, has stylistically become increasingly more realistic while contemplating on the importance of historical events and human agency in making history. Pointing out some limitations in current genre studies, the last section complements them with memory studies to offer perceptive insights into the effect of genre on the construction of memory and the role that the emergent present plays in both the writer’s and the reader’s remembering and making sense of the past through literary representations.
... Mass media discourse and the changing situation with genres in the era of rapid technological development show that it is theoretically and practically reasonable to study genre not only through textual analysis but through social factors [4]. The correlation between text and genre may be associated with the reader's interpretation; and in this case the reader's competency and generic conventions within a text [5]. W.E. Rogers proposes a literary genre-theory and focuses on genres of lyric, epic and dramatic as interpretive models underlying the interrelation between knowledge, understanding and interpretation [6]. ...
The article deals with the textual interpretability and deepness as an objective existing category typical of all textual genres and potentially enabling to classify texts according to their genre belongings and specificity. The proposed operational model of textual deepness is viewed as a universal scheme for textual analysis and characterizes textual deepness as gradual in its nature which discloses the ambiguity or unambiguity of text contents. The texts of different genres are characterized from the standpoint of the language peculiarities and possible formal elements assisting to undergo the procedure on interpretation. In accordance with the proposed operational model of textual deepness, texts are classified into mono-interpretable and multi-interpretable ones with a number of interpretive steps to be introduced while decoding and restoring the textual sense. The number of interpretive steps is predetermined by a genre with its distinctive features. The textual deepness is correlated with a number of genre specific features such as writer’s personalization or depersonalization, textual imperativeness and metaphoric richness as well as other prototypical features that organise texts of different genres. The restoration of textual sense is either full or probable. The operational model of deepness is an open system for the further levels to be established.
The article contains an analysis of the libretto of Mauricio Kagel’s work, Sankt-Bach-Passion. Analysis is based on the tools of the classical text theory. Using these tools, the authors of the article embed Kagel’s postmodern work in the tradition of passion genre, tracing the references between the structure of the traditional passion, in line with the canons set by Johann Sebastian Bach, and the work of the Argentine composer. The article also shows the mechanisms that work to cohere the work at the level of its text and traces the way in which the text of Sankt-Bach-Passion enters into a dialogue with tradition, creating at the same time an entirely new and avant-garde piece of art.
This article discusses the concept of “mixed genres” in a representative sampling of Eça de Queirós’ texts. Informed by Derrida’s well-known essay on “the law of genre,” Reis analyzes several different parasitical forms in Eça’s texts. The inclusion/intrusion of dramatic effects, often with a melodramatic overtone in texts such as Os Maias or the modal/textual slide from short-story to novel in the case of A cidade e as serras, are among the examples that support this reading of Eça as a literary “outlaw.” The existence of an attempt to adapt Os Maias to the stage, as Reis pertinently recalls, is a case in point. In O crime do Padre Amaro, the insertion of extraordinarily powerful and dramatic dialogs or philosophical essays, illustrates, according to Reis, Eça’s defiance of the boundaries inherent to the novel as genre. Likewise, Reis pays special attention in his discussion to the overwhelming presence of short story esthetics and techniques in Eça’s paraliterary texts (in particular the chronicle and the epistolary text), that enable Eça to add a transcendental and often a more human dimension to these texts that would otherwise be lacking in that respect.
Against the background of a boom in praxeological research approaches in the social and textual sciences, the article attempts (a) to clarify relevant concepts such as ›social practice‹, ›social institution‹, ›rule‹ or ›convention‹, (b) to characterize a particular type of social practice, literary practices, in more detail, and (c) explain their basic mode of operation. According to the picture sketched out, literary practices are asymmetrical practices that consist of mutually interrelated production practices and reading practices and are characterized by a complex interplay of literary standards, hypothetical imperatives, conventions in the sense of David Lewis, as well as non-coordinating conventions.
The new rhetoric of modern poetry which is characterized by conciseness and ambiguity has set it different from other poetic movements in English which in turn has made it the central focus of many researchers and scholars leading many of them to write about the 'distinction' of this type of literature. This study tackles the translation issue of modern poetry in view of the idiosyncrasies of content and form. The study investigates the issue of foregrounding following Geoffrey Leech's (1969) linguistic deviation theory with special focus on lexical, grammatical and semantic deviations with the assumption that the idiosyncrasies in the language of modern poetry are a result of the distrust modern writers demonstrate of the ability of language to convey meanings and the lack of communication that mars the modern reality of man. Through examining various excerpts of modern poetic texts, one could infer that some translators who were sensitive to the importance of these deviations opted for retaining them often by utilizing compensatory methods. This is mainly related to the fact that it is difficult to replicate the exact same idiosyncrasies, especially in a language that belongs to a different family and does not have much in common with English. Other
Аналізуються історія й функції антології в українській модерній літературі від к. ХІХ до п. ХХІ ст. Антологія розглядається як літературно-антропологічний проект, який передбачає реструкцію початкового матеріалу і певну політику в його опрацюванні, виражену у визначеній ієрархії цінностей, відборі, визначенні поля і правил літературної гри, а також правил її оцінювання. Як форма літературного самовираження, антологія сприяє формуванню національної літературної традиції і канону, їх диверсифікації впритул до появи антиканону, уможливлює роботу культурної пам’яті, репрезентує нові жанрово-родові та стилістичні феномени, засвідчує формування діаспори як нової моделі культурного громадянства. Антологійні проекти увиразнюють також просторовий, перформативний, суб’єктивний, ґендерний, еротичний, соматичний та оніричний аспекти художнього письма, переосмислюють природу літератури як творчого експерименту й соціальної акції у контексті розвитку масової культури й нових медій. Усе це дає підставі розглядати антологію як спосіб літературної саморефлексії і як метажанр сучасної української літератури.
This paper focuses on the analysis of the concept of fear in the works of Edgar Allan Poe and Howard Phillips Lovecraft. Certain crucial, interconnected issues are dealt with which show the similarities and differences between the two authors' works: sources of fright, lunacy and the role of setting. This essay engages only with the horror stories written by Poe and Lovecraft, not with their short stories associated with other genres (satire, fantasy, etc.).
We raise a series of key issues and questions concerning the depiction and portrayal of native North American violence and warfare as it has been expressed in art, education, and entertainment over the past 400 years by nonindigenous people. The cultures of violence and the nature of warfare for Europeans and native people alike were not only complex, but they were also contingent upon their respective political, religious, and social institutions. These expressions of violence stem from differences in sociopolitical complexity and cultural beliefs that arose from varying ideas and values about the nature of conflict and the rules of warfare. Differences in levels of social integration have given rise to fundamentally diverse ideas about the role of violence for a wide variety of social groups and polities in the New World. The only viable alternative to stereotypes, ethnocentrism, and dehumanization policies is the pursuit of a sustained effort to objectively identify cultural beliefs and patterns of indigenous people that result in conflict and violence. We encourage scholars to seek input on discussions and presentations from Native American groups as well as scholars whose research interests provide a scientific perspective of conflict and violence. We believe failure to pursue studies of violence honestly and truthfully results in further dehumanization and marginalization of indigenous people. The long shadow cast by violence in the past needs to be understood in ways that appreciate indigenous people in terms of their own cultural beliefs and ideas about their geopolitical world. © 2012 Springer Science+Business Media, LLC. All rights reserved.
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