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
Entre méfiances et défis
Mara Viveros Vigoya
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.
Grace Helbig’s Affective Aesthetics
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
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.
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
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
Femmes, nourriture, relations et parenté pratiques en Turquie
Marie Helene Sauner-Leroy
actes a priori insignifiants que sont le repas en commun, la distribution de nourriture aux voisins (2000 :18). Soulignant l'importance de la performativité, ses recherches rejoignent les travaux sur le genre. Ces derniers portent leur attention sur le
Anne-Laure Amilhat Szary
Vigoya , M. ( 2017 ). Les études de genre et les mouvements ethnico-raciaux en Colombie : Entre méfiances et défis . Regions and Cohesion 7 ( 3 ), 93 – 108 . https://doi.org/10.3167/reco.2017.070307 . 10.3167/reco.2017.070307 Yanes Pérez , M
This article is a thought experiment. It constructs ideal types of political representation in the sense of Max Weber. Inspired by Quentin Skinner and others, the aim is to give a rhetorical turn to contemporary debates on representation. The core idea is to claim an ‘elective affinity’ (Wahlverwandschaft, as Weber says following Goethe) between forms of representation and rhetorical genres of their justification. The four ideal types of political representation are designated as plebiscitary, diplomatic, advocatory, and parliamentary, corresponding to the epideictic, negotiating, forensic, and deliberative genres of rhetoric as the respective ways to plausibly appeal to the audience. I discuss historical approximations of each type of representation and apply the combination of representation and rhetorical genres to the understanding of the European Union’s unconventional system of ‘separation of powers’. I conclude with supporting parliamentary representation, based on dissensus and debate, with complements from other types.