For those of us accustomed to thinking of French cinema as a low-budget, philosophical alternative to Hollywood, the past few years might have been a bit disorienting. Established auteurs (Jean-Luc Godard, Eric Rohmer, Agnès Varda) and challenging newcomers (Gaspard Noé, Catherine Breillat, Erick Zonca) continue to impress, but their idiosyncratic views are now complemented by an increasing number of what look a lot like, well, French “blockbusters.” These are popular genre films that feature special effects and glossy production values.
Characteristics and Bibliography
This article discusses characteristic aspects of the literary genre of Sephardic coplas in many different aspects: (1) Origins and development (the exact beginning cannot be determined with complete accuracy); (2) Importance and uniqueness of the coplas in the Sephardic poetic repertoire; (3) Corpus; (4) Characteristics (metric systems, authoring); (5) Transmission; (6) Geographical Diffusion; (7) Function; (8) Topics; and (9) Paraliturgical function. It concludes with a very extensive bibliography of the most important studies on the subject.
This analysis of the mythical Old Man—a cannibal character in the tales of the Forest Yukaghirs (Odul)—considers the significance of a particular genre of song in Odul folklore. The article highlights discrepancies among the ethical norms that emerge in Odul folklore representing problems faced in everyday life. These tales are interpreted in terms of human/non-human, insider/outsider, attraction/protection, and a number other dichotomies, as well as the form of recitation.
The Girl in the Text in Olemaun’s Residential School Narratives
In the genre of residential school narratives for children, stands out for the determination, courage, and resilience of its narrator, a young girl who chooses to go to a Catholic boarding school, and then draws on both her culture and a British novel, Alice in Wonderland, about a brave girl for strength and resilience. This article traces Olemaun’s journey as she follows Alice into literacy but finds her own methods of resisting colonial oppression and asserting Indigenous agency.
Reading and Writing in Prison
The aims of this special issue on ‘Reading and Writing in Prison’ are twofold: to insist on the cultural significance of paying serious critical attention to the genre of prison writing beyond canonical authors (such as Oscar Wilde) and to showcase reading and writing in prison as a space for radical pedagogy and social transformation – potential transformation not only for those ‘inside’ but also those going into prisons as facilitators, be they creative practitioners, academics, or university students.
Elizabeth Cary and the Story of Edward II
Janet Starner-Wright and Susan M. Fitzmaurice
Elizabeth Tanfield Cary dashed off her History of Edward II during the course of a month in 1627 to ‘out-run those weary hours of a deep and sad Passion’. While historical accounts of Edward II were much in evidence during the reigns of James I and his son, no single, authoritative interpretation prevailed. Holinshed’s Chronicles (1577) focuses on the idea of misgovernance; Marlowe’s dramatic rendering, Edward II (1591), directs attention to the nature of the King’s relationship with his favourite, Gaveston; the Mirrour for Magistrates’s 1610 addition highlights Edward’s flattering courtiers and Isabella’s passion for Mortimer, and Drayton explores the story within the boundaries of several genres and thematic foci. Francis Hubert’s poem, The Deplorable Life and Death of Edward the Second (1628), written as a complaint from the King’s perspective, was almost contemporaneous with Cary’s history. Edward’s story was thus very much in the air at the time that Cary composed her text; neither the genre nor the subject she chose was precedent-setting. In this paper, our principal concern is to demonstrate how Cary marshals the linguistic and rhetorical features of orality to dramatise and render transhistorical this conventional early modern literate genre for the teaching of ‘Truth’. Cary’s achievement was to produce a self-conscious text that participates in oral as well as literate rhetorical practices and linguistic forms and that safeguards her self as speaker while simultaneously allowing her the space to make pronouncements that she may attribute to the wisdom of history.
Nathalie Blanc and Agnès Sander
Speculative fiction as a literary genre is a test of the renewed relation to nature presented as possible reality. The vision of nature presented by some science fiction and fantasy authors varies along these lines. The hypothesis underlying the present article is that these "speculative fiction–proposed natures" force us to rethink the rapport between time and space. Therefore, we need to examine to what extent science fiction and fantasy, focused on the preparation of an uncertain future, play on the links between time and nature and reconfigure both the agencies and the aesthetic situations that serve as experiments.
This article starts from three preliminary and interrelated issues: the status of travel writing as a literary genre and its development in the first half of the twentieth century; the social/textual figures that define the tendencies in travel culture and its main protagonists (especially the dichotomy of traveller/tourist as a particular figure of the dichotomy of high/popular culture); and, finally, the concept of modernism that enables a sound integration of all the elements necessary for such an analysis. In order to facilitate understanding, examples from English literature and travel writing will occasionally be given.
Joshua A. Fogel
As is certainly true elsewhere in the world, the East Asian region has its own traditions of travel and travel writing (Fogel 1996: 13–42; Strassberg 1994). These date back many centuries and until relatively recently continued to influence the ways in which men and women actually travelled (how they moved from place to place, what itineraries they followed, and the like) and the genres of travel writings that they produced (prose, poetry and combinations of the two, e.g. Yosano 2001). Tracing the origins and influences of these traditions as well as understanding the impact exerted by Chinese traditions on those of Japan and elsewhere in the region remain important scholarly desiderata.
Nabil Lahlou's Ophelia Is Not Dead
A corpus of plays related to Shakespeare has developed within the newly established genre of drama in Morocco since its independence in 1956. Most of these dramas are part of the process of constructing Moroccan cultural/theatrical identity. The various Shakespearean manifestations are, indeed, attempts to make a theatrical space by altering or reproducing the Shakespearean myth. However, in order to conceive of Moroccan dramatic texts related to Shakespeare as cultural utterances, we must read them with and within the parameters of a series of overlapping discursive contexts. These contexts, as I hope to demonstrate, create the conditions within which these hybridized texts take on their complex cultural signifi cation.