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Canon Fodder and Conscripted Genres

The Hogarth Project and the Modern Shakespeare Novel

Laurie E. Osborne

’, 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

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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

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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.

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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

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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

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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

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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

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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.

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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

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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