’, the Hogarth novels even underscore the recent proliferation and blurring of genres that are now broadly evident in Shakespearean fiction making. The concurrent publication of Hogarth's ‘literary’ Shakespeare novels and ‘popular genre’ adaptations that
Canon Fodder and Conscripted Genres
The Hogarth Project and the Modern Shakespeare Novel
Laurie E. Osborne
Les études de genre et les mouvements ethnico-raciaux en Colombie
Entre méfiances et défis
Mara Viveros Vigoya
Dans cet article, il s’agira d’exposer les dilemmes auxquels sont confrontées les études féministes colombiennes et celles portant sur le genre dans le contexte socio-politique contemporain caractérisé par la reconnaissance de la
Erika Golz
Genre differentiation is possible by external factors (function, communicative situation) and internal factors (grammar, theme). As the external factors for all 18 texts of the corpus are the same, the article relies on internal factors. The cohesive means of genre identification in this corpus are recurrence, time structure, connectivity, grounding, and lexis. The peculiarity of Koriak genre differentiation consists in a preponderance of narrative structures, which are characterized by a sequential time line with passages in scenic present tense and structures of a theme with a following exemplification.
How to Survive the Postfeminist Impasse
Grace Helbig’s Affective Aesthetics
Catherine McDermott
YouTube tutorial, or how-to video, and explore how she affectively deflates the fantasy of fun-loving confident femininity constructed by postfeminist genres. Through an analysis of Helbig’s affective aesthetics, I explore the ways in which how-to videos
In Girlhood Studies
- Published (Print):
- 01 Dec 2018
- Article Type:
- Research Article
- Pages:
- 50–66 (17 total)
Autobiography
An Autopsy
Jean-Christophe Menu and Fabrice Neaud
landscape. We seem to agree on the fact that comics autobiography has become just another ‘genre’, like the western or fantasy. If that's where we've got to, shouldn't we acknowledge that it's ended in terrible failure? Neaud: I think that acknowledgement
The Anthropologist's Video Camera as Stage
Forced Displacement and Production of Audio-visual Witnessing in Northern Sudan
Valerie Hänsch
its entanglement with genres of ‘crisis witnessing’ do not exist independently, but need to be situated relationally between the camera, the anthropologist, the research participants and an imagined audience. One way of recognizing the relationship
In The Cambridge Journal of Anthropology
- Published (Print):
- 01 Mar 2021
- Article Type:
- Research Article
- Pages:
- 37–54 (18 total)
Hollywood Aesthetic
Précis
Todd Berliner
films complicate formal patterning and thwart audience expectations. They do so by combining classical narrative, stylistic, ideological, and genre properties with some fairly bold (by Hollywood standards) deviations from normative practices
Eric S. Rabkin
Frankenstein and Dracula represent two different genres in print but only one in film. The emergence of science fiction from the Gothic exemplifies normal public genre development. The translation of the written Frankenstein and Dracula into film exemplifies genre development as an adaptation both to historical moment and to medium. In both the print and film cases, we can see the same mechanisms by which a genre is not only established in the public sphere but in the mind of a reader or viewer, a dialectic process in which the genre forms and informs reading and viewing and potentially, as a genre, is reformed by reading and viewing. Consideration of cognitive mechanisms involved in verbal and visual cognition shows both the interaction and the typical dominance of the visual, although genre, and hence individual works, can be modified by increasing our focus on the verbal.
Eliza Deac
Shelley Jackson’s Patchwork Girl (1995), one of the earliest hypertext fictions and a classic work of the emerging canon of this genre, remains a notable example of the kind of conceptual negotiations that occur at the meeting point between
Analytic Approaches and Critical Practices
On What We Can Learn
Laura T. Di Summa
can, not only because it is grounded on reason and arguments, but also because it can be founded on stable assumptions on structural conditions—the features that typically appear in given genres and sub-genres—on the art-historical context to which a