Creative Genre Research Articles

I Know It When I Hear It

In the following article I consider a catalog of audio description porn videos available on the online adult entertainment platform Pornhub. Attending to the visual and aural elements of the original source video and their simultaneous narration in the audio descriptive tracks, I argue that this transcription offers us, the viewer/auditor, an ekphrastic encounter with the pornographic moving image mediated by the acousmatic gendered voice of the audio describer. While academic scholarship on pornography informs my discussion of the source videos, theories of ekphrasis ranging from its usage in Ancient Greek rhetoric, to its formulation in twentieth-century anglophone literary theory, and finally to its application in digital visual culture, will underpin my analysis of the audio description. Through ekphrasis I ultimately distinguish the audio description of pornography as a creative genre in its own right, as well as offer an extensive and interdisciplinary approach that extends beyond the recursive or self-reflexive lens of porn studies scholarship, and newly positions hardcore film pornography within a larger body of academic inquiry in conversation with epic poetry and art history.

Feminist Voices in Boys Love Literature: Subverting Gender Norms and Empowering Women

Boys Love (BL) literature is a creative genre that has become popular online in the past 20 years. It mainly describes the emotional life of homosexuals, especially gay men. It is an important and controversial part of the Internet subculture active among young people. However, contrary to its content, the creators behind BL literature are often non-gay young women. Women create and appreciate BL novels through the Internet to express their demands for aesthetics, pure love, and equality. This kind of gender writing that breaks tradition has a bright spot of feminism, and though this may take a long time, it can help create a more friendly living space for women in a patriarchal society. This article analyzes female writers' subversion of male images in BL novels, thereby proving that BL culture satisfies women's demands for a more profound social status and equal rights and contributes to breaking the patriarchal society.

Writing a Letter to One’s Muse: Genre memory and epistolography in Carl August Thielo’s Enveloppens eller Saloppens forunderlige Hændelser (1763)

Epistolary texts are often incorporated into 18th-century prose literature, but only rarely do they self-referentially discuss intertextuality as the mimesis of memory (Neumann 2005; 2008). Carl August Thielo’s “comic novel” uses a letter to the Muse to juxtapose a writer’s reliance on literary memoria and the demand for innovation.Drawing on Mikhail M. Bakhtin’s (1984) term “genre memory,” this paper examines the relationship between memory, generic hybridity and epistolography. Genre memory describes how, through the process of “novelization,” genres are incorporated and contemporised by the novel. Creative genre memory drives innovation by giving the most archaic generic elements a voice in narration and by establishing a ground for their hybrid interplay, thus producing a semantic surplus. By connecting this approach to epistolography, generic hybridity is illustrated as a product of material and narrative practices.In lieu of a preface to the reader, Thielo’s text begins with a Muse letter asking for assistance with the poetic work. This opens a discussion of generic differences and similarities, as well as the workings of intertextuality. At the same time, the engagement of texts with literary history is visualised via addresses to a mythical being belonging to literature’s memoria. Hence, the Muse letter depicts how poetical inventio builds on intertextuality to spark inspiration, thereby materialising the otherwise invisible, but crucial stage of writing before writing.This article serves to elaborate a first understanding of novelised epistolography and its potential for literary memory studies, which emphasises material and paratextual aspects over purely linguistic elements.

Melody Master Tchaikovsky: Analysis of Ethnic Colors in the Piano Suite "Four Seasons"

Tchaikovsky was a great musician in Russia during the Romantic period. Due to his melodic works, he was known as the "master of melody" in Russia and received an honorary doctoral degree from the University of Cambridge in the United Kingdom. His creative genres cover a wide range of opera, dance, symphonies, concertos, and piano works. His music incorporates the characteristics of folk songs and his works reflect the oppressive psychology of the Russian people under the Tsar's rule, as well as their longing and longing for a better life in the future. He is committed to revealing the conflicting emotions within people's hearts. His later works are full of strong dramatic conflicts, his own thoughts on life, and fiery emotional colors. This article takes Tchaikovsky's piano suite "Four Seasons" as the text, and analyzes the ethnic characteristics of Tchaikovsky's works from the perspective of ethnology, using acoustic methods. The aim is to clarify the ethnic colors in "The Four Seasons" and reveal the profound ethnic connotations in Tchaikovsky's music works by utilizing elements such as harmony and melody.

2023 S/S 팬톤 컬러 트렌드를 활용한 네일아트 색채 표현 디자인 연구

Color accounts for the largest portion in visual stimulation from outside, and it is a very powerful way of self-expression. Pantone forecasts color trends and announces ‘Color of the Year’ annually. In addition, the internationally influential American color institute suggests new color every season. This study attempted to diversify nail art images by visualizing color images and provide useful information with nail art which is influenced by trends. For this, fashion and makeup data according to the images of 10 signature colors from 2023 S/S Pantone Color were analyzed, and 10 nail art designs were created. Then, the results found the followings: First, after analyzing 10 different 2023 S/S Pantone Trend Colors, images, fashion, makeup and nail art were applied. Second, color tones were adjusted, using diverse drawing techniques while the background was expressed with a graduation technique. Then, feelings were emphasized, using lines. Third, unique nail art works were completed, using diverse objets, films and others. The above results confirm that there should be diverse studies on unique expression methods and continued R&Ds on nail trends in connection with more diverse fields with a goal of understanding 2023 S/S trend colors and developing nail art, a new creative genre. It is anticipated that the study results would be available as basic data for the above objectives.

Creative Genre Matters: Trendy Drama and the Rise of the East Asian Global Media Market

The trendy drama, a new TV genre coined to signify contemporary trends, initially emerged in Japan in the 1980s and became popular with middle-class audiences across East Asia for portraying Western-like chic metropolitan lifestyles. This television genre typically consists of a 10 to 13 episode long miniseries with 60 to 90 minute episodes. Their narratives focus on love affairs between rich, attractive, hard-working elites as they question traditional Han Chinese values and consider whether women should be independent, allowed to work, have sex outside marriage, and divorce. While specifically Chinese, these values have influenced cultures across East Asia. While espousing liberal and feminist ideals, they roam from trendy stores, such as fashion clothing and cosmetic shops, to expensive restaurants, and back to their luxurious apartments. Quickly, these dramas became so associated with highlighting current global and local trends and countering tradition that they became known as “trendy dramas”. This genre quickly took off and soon thereafter, South Korea and Taiwan partnered together to create their own versions of trendy dramas that helped generate much of contemporary East Asian popular culture, including the rise of K-Pop. Based on Mittell’s claim that genres function as a means of framing mass audiences’ taste, here I explore the role of this TV genre in the context of globalization and local culture in East Asia and its effect upon reshaping social meanings during the 1980s and the early 2010s. In particular, the Taiwanese trendy dramas played a key role in elevating this genre within the Asian TV market. In this article, I argue that in Japan, Taiwan, and South Korea, the trendy drama became a way to debate Han cultural values and their role in the lives of liberal metropolitan Asians. In the process, this genre helped reshape the East Asian TV market along with popular culture around the globe. I will begin by describing the history of the trendy drama before focusing on how it debates traditional beliefs and considers the value and utility of feminism and individualism in contemporary urban Asia.

The language of Chaozhou songbooks

Abstract In the pre-modern era, women in the Chaoshan region of southeastern China had a tradition of learning and performing long narrative songs. From the mid-1800s into the mid-1900s these songs were widely produced by local publishing houses in inexpensive woodblock print books called Teochew songbooks (Chaozhou gece 潮州歌册). These song texts made considerable use of the Teochew language. This paper discusses the history of Teochew songs and songbook publishing, and then examines the language used in one typical songbook, The Case of Haimen (Haimen An 海门案). The paper suggests that the use of different language varieties in the songbook texts is best viewed as a translanguaging phenomenon, as the songbook authors fluidly drew on different linguistic resources and integrated them into a creative genre with its own style, rather than keeping varieties separate for different functions (unlike some other pre-modern texts that use regional Chinese languages). The paper also argues that while the variety of Teochew used in the text has a poetic style which differs in some ways from spoken Teochew, when compared to other pre-modern texts that used regional Chinese languages, the language of the songbooks is relatively close to the norms of spoken Teochew. Finally, the paper argues that in many ways Teochew songbooks are quite typical of pre-modern Chinese texts that use regional languages; in fact, Teochew songbooks exhibit almost all of the distinguishing characteristics commonly found in such texts. In the pre-modern era, women in the Chaoshan region of southeastern China had a tradition of learning and performing long narrative songs. From the mid-1800s into the mid-1900s these songs were widely produced by local publishing houses in inexpensive woodblock print books called Teochew songbooks (Chaozhou gece) that made considerable use of the Teochew language.

THE AMAZIGH FEMINIST NOVEL IN MOROCCO

Amazigh literature has noticed a notable development in recent years, in diverse creative genres such as poetry, story, theatre, short story, and novel... Genres in which Amazigh writers have excelled significantly, whether on the level of topic or form. In this research, I will focus on novels written by women, which appeared and reserved late compared to the rest of the Amazigh literary genres, but it was a strong difference in the Amazigh literary creativity. Even in the old novel format. Despite this delay, novelist women were able to be creative and gather a significant production in the genre of the novel. From the beginnings in 2005 until 2020, we find about 23 Amazigh novels of different styles, aesthetics, and form, as well as themes and structures, written by women. It is noticeable in the modern topics of the Amazigh feminist novel, its adoption of the fantasy theme as a new reference in perception and creativity after the feminine concern and identities dominated the feminist writings. For example, we find the young novelist Fadima Firas, who published five different novels, as she is considered one of the writers for whom productive criticism played an essential role in the language and topics of her writing. So it became a bright face in what is called the reference to the rebellion and the fantasy of the novel, as well as its adoption of the reference to magical realism. This is what we noticed in our study of her publications, and I will single out as an example her novel tifilla n tmagust, a field of my analysis and study.

Lending an Ear to Mozart’s Operas. Stanisław Barańczak’s Poetic Translation Experiments

The paper Lending an Ear to Mozart’s Operas. Stanisław Barańczak’s Poetic Translation Experiments examines the issues of intermediality, in particular the relationships between music and literature in mixed creative genres fusing disparate media of expression. The brief study discusses the connections and inter-dependencies between the music by Wolfgang Amadeus Mozart, Italian libretti by Lorenzo Da Ponte, their translation by Stanisław Barańczak and his unique quasi-translation (‘fonety’). The article presents interdisciplinary interpretations of selected vocal translations (excerpts from the libretti of ‘Don Giovanni’ and ‘The Marriage of Figaro’) and ‘fonety’ – Barańczak’s own genre created at the boundary where linguistic witticisms and vocal translation meet. The Italian text by Da Ponte is often treated as quasi una musica – as a sound material free from the referential ballast of language (semantics). Barańczak offers the music lover a new means of aural reception in the buffo style, illuminating a path to discovering anew the artistic potential of musical masterpieces.

Humor of Canadian Ukrainians: After the Diaspora Editions (the 1910s – 1980s)

The article is an attempt to describe the peculiarities of the laughing culture and humor of Ukrainians in Canada (1910s – 1980s – the first – fourth waves of emigration) as one of the important factors in the preservation of national identity, traditions of folk culture, indicators of the reflection of the sociology of Ukrainian immigrants and their descendants, the dynamics of the communication field of the diaspora community, transformation of Ukrainian language in the multicultural environment of Canada, which is reflected in humorous speech and other creative genres. A review (on a selective basis) of the works of the representatives of the humorous workshop, which has been imprinted on the pages of diaspora editions of Canadian Ukrainians (magazines, calendars, calendar-almanacs), providing their space for published works, promulgation, distribution of various forms of laughing culture and folk humor is known as a testimony (generated in a word) of the immortality of the Ukrainians national culture. Ukrainian humor, which occupies its niche in the linguistic picture of the world, is considered as a reaction of the linguistic personality-immigrant on the social and cultural processes of the English-speaking surroundings. The materials submitted in this article reflect Ukrainian humor – very emotional, sharp, witty, snarky, and from time to time – ironically-sad, merciless to oneself as an individual, but never angry, not poisonous, not such as to degrade human dignity of a stranger – this is the eternal height of the ethnic culture of the people, its worldview, outlook, philosophy. A unique cultural and historical phenomena of preservation of the national culture of their historical homeland, its peculiarities, traditions, and mentality by Ukrainians of Canada is described in the light of the Institute of Laughter Culture, the space of which includes not only the printed word, stage art, but also ethnic choreography, musical and artistic works. Applying the methodology of a whole range of humanitarian disciplines, a section of the history and development of social communications in the immigrant surroundings is investigated from the point of view of one, but multifaceted and multi-colored factor – folk humor, the change of the Ukrainian folklore complex; the speed of integration into the English-speaking culture and the inevitable objectivity of this process and ability of the immigrant community to comprehend and perceive creatively the influence of other cultures of multicultural Canada, but at the same time, to resist acculturation, the absorption of its ancient culture. The problem hasn’t been investigated in science, in particular, in history, in Slavic folkloristics, in such a formulation.

Reclaiming the golden calf: Ritual design as creative genre

This presentation summarises how I am progressing an experimental genre of creative writing – ritual design. My project draws upon a surprisingly strong reaction I had to reading the story of the Golden Calf in Exodus 32. I am creatively engaging and changing this story. In the traditional version, while Moses receives stone tablets with God’s commandments, the Israelites, encamped at the base of Mount Sinai, celebrate around a golden calf. God is furious and plans to destroy the entire community, but Moses intercedes. Moses then passes along God’s order to the priestly tribe, the Levites: Take your swords and kill your family and neighbours who celebrated around the calf. The Levites obey and massacre about three thousand people. My project deconstructs and re-envisions this myth, as I believe this is one of the worst stories ever told, a story about slaughtering family and neighbours for heterodox expressions of religiosity. My thesis creatively engages three frameworks – amythia, death anxiety and ritual – while pursuing this driving question: How might re-envisioning the golden calf story be conceived and designed as (1) a ritualised symbolic immortality project that (2) redresses amythia and (3) regulates death anxiety? Considered together, amythia and death anxiety may foster anxiety and related psycho-social challenges, while creative symbolic immortality projects and ritualisation may mitigate these challenges. Speculatively, re-envisioning myth engages these regulatory factors; rituals of creation and rituals of engagement may help to regulate death anxiety, while the re-envisioning effort may serve as a symbolic immortality project. My methodology applies ritual design as a genre of creative writing that encourages readers to reconsider and personalise their own received mythologies and rituals. The creative component of my thesis portrays a community of priests who are changing the golden calf story and leveraging the above frameworks to inform their religious practice.

Fact, faction and fiction: exploring fictional composition as a tool for knowledge production in leisure research

ABSTRACT In this research note, inspired by the SI in ALR ‘finding truth in fiction’ [Justin Harmon and Rudy Dunlap. 2021. “Leisure Seen Differently: Conclusion to the Special Issue on ‘Finding Truth in Fiction’.” Annals of Leisure Research, Finding Truth in Fiction 24: 646-651], we explore the potential of fiction as a tool for research and pedagogy in leisure studies. Our analytical focus is Terra Ludus [Bruce 2016a. Terra Ludus: A Novel About Media, Gender and Sport. Rotterdam: Sense Publishers], a dystopian novel set in an imagined (near) future world that has women’s sport as the backdrop. Based on our own readings of Terra Ludus, and an interview with the author (July 2020) about her aims in the production of this work, we explore fiction’s potential role in leisure studies research overall and the possibilities of the creative non-fiction genre specifically.

Essaying Identity: Self-Definition and Student Voice

A professor realizes the value of teaching the essay as a creative genre that can guide students to explore their personal and professional identities.

Black Women Dancers, Jazz Culture, and “Show Biz”: Recentering Afro-Culture and Reclaiming Dancing Black Bodies in Montréal, 1920s–1950s

The documentary Show Girls, directed by Meilan Lam, makes an unprecedented contribution to the history of jazz and Black women jazz dancers in Montréal, Quebec, and to the conversation of jazz in Canada. Show Girls offers a glimpse into the lives of three Black women dancers of the 1920s–1950s. This essay asks what the lives of Black women dancers were like and how they navigated their career paths in terms of social and economic opportunities and barriers. I seek to better understand three points: (1) the gap in the study of jazz that generally excludes and/or separates dance and singing from the music; (2) the use of dance as a way to commercialize, sell, and give visual and conceptual meaning to jazz; (3) the importance of the Black body and the role of what I would define as “Afro- culture” in producing the ingenious and creative genre of jazz. My study suggests there is a dominant narrative of jazz, at least in academic literature, that celebrates one dimension of jazz as it was advertised in show business, and that bringing in additional components of jazz provides a counternarrative, but also a restorative, whole and more authentic story of jazz and its origins. More specifically, by re- exploring jazz as a whole culture that relies on music, song, and dance, this essay explores three major ideas. First, Black women dancers played a significant role in the success of jazz shows. Second, they articulated stories of self, freedom, and the identity of the New Negro through jazz culture and dance. Third, Black women’s bodies and art were later crystallized into images that further served to sell jazz as a product of show business.

A study on the Application of Computer Music in Mass Music Tutoring

Computer music occupies an important place in the field of musical art, a highly expressive and creative genre that opens up a whole new path for innovation in music production. With the continuous improvement of people’s living standard nowadays, more and more people begin to pay attention to the improvement of spiritual needs, and mass music culture is loved and recognized by people in this environment, and has been vigorously promoted. For the implementation of mass music tutoring, the application of computer music technology has an important role to play, not only to break the limitations of traditional culture, but also to enhance the musical ability and music literacy of the masses. This paper makes an in-depth study on this, firstly, it elaborates the concept of computer music, introduces the specific composition of computer music system, and finally discusses the application ways of computer music in the process of mass music tutoring with the actual situation.

Gender, Creativity and Insanity: From an Anthropologist’s Notebook

This essay has emerged through my research engagements with life history as a research method in anthropology. It is based on the life events of a woman artist. The past few decades have brought an explosion of cultural criticisms and also explorations of women’s creative expressions across cultures. Some of the queries addressed are, how do external forces shape the creativity of female artists. Also, how do creative women respond to such forces? Creative women, then, have a unique relationship to their cultural contexts, as well as to the creative genre to which they respond. This essay also delves into myths related to insanity and women. It discusses creativity, as a mode of engagement with rigid social structures.

Singing at Langemarck in the German Political Imaginary, 1914–1932

AbstractThis article reconstructs the history of the famous anecdote about the battle at Langemarck, where German youth allegedly sang “Deutschland, Deutschland über alles” as they hurled themselves against British soldiers, bayonet in hand. Variants, including in poetry and other creative genres, helped to shape a public discourse about bravery. I also reconstruct the discourse on music and war in music journals and daily newspapers, suggesting possible influences on the German High Command, where the anecdote originated. The musical establishment initially ignored this lore—so remote was music in the concert hall from community music-making, including on the battlefield. Yet the enormous weight given to propaganda efforts eventually led musicians to write about and respond compositionally to the Deutschlandlied. The article concludes by examining the conflicting political meanings of the Langemarck anecdote in the decades after World War I.

Reading While Walking

This reflection focuses on how the opportunity to co-teach across disciplines illuminates the interconnections between literary criticism and ethnographic methodology. We discuss the value of walking as a way of knowing and of creative genres as modes of representation. Through the class’s final project, a multimedia map of Kenosha, we see the benefits of a combined literary and ethnographic approach in our students’ rigorously observed and sensitively rendered presentations.

Street art in the perception of Russian urban youth: a manifestation of creativity or a kind of vandalism?

The article is devoted to the analysis of the dominant attitudes of Russian urban youth to street art. The period of growing up of representatives of modern urban youth in Russia came at a time when street art began to gradually turn into a familiar element of cultural life and even a kind of brand of many cities. And the basic hypothesis of the work is that growing up in the conditions of the development of street art could form interest and loyalty to this creative genre among the current representatives of Russian urban youth. To test this hypothesis, the author refers to the data of his own sociological research conducted among the youth of a particular city – Yekaterinburg. The key subject of this research is the peculiarities of street art ideas characteristic of the city's youth. As a result of the analysis of the collected data, the author comes to the conclusion that the hypothesis about the formation of a loyal and interested attitude to street art among urban youth turns out to be fair. Street art is perceived by young people as a full-fledged creative genre that makes the city brighter and more attractive. There is practically no attitude to street art as vandalism and abuse of urban space among young people. And young people expect the authorities not to fight street art, but to create conditions for its development. The key result of this work is the conclusion: the youth of the city are accustomed to treat street art as something natural and organic for the social reality of the city. The novelty of the conducted research and the conclusions obtained lies in the use of sociological methodology to analyze the role of street art in the life of a modern city: referring to the survey techniques, the author shows what attitude to street art has been established among the youth of the city and analyzes the reasons that led to this.

Does creative writing improve scientific writing and learning?

Although creative and scientific writing differ in form, objectives, conventions, and language, integrating creative writing into science pedagogy is a promising and increasingly prevalent strategy. For example, recent pedagogical research describes the value of reading and writing poetry in chemistry, neuroscience, pharmacology, nursing, and general physics courses and curricula. At Kenyon College, we incorporate creative writing into the training of biological scientists using diverse approaches at all levels of the curriculum. In several upper‐level Biology courses, students complete “News and Views” assignments in which they write two essays based upon a research article. One essay is targeted towards a general audience; the other is written for scientists. We have found that in‐class instruction, such as reading and discussing writing that effectively engages general readers, is needed for students to write well for general audiences. Members of the English and Biology departments have collaborated to develop and teach a Science Writing course that combines literary analysis of writing about science with a writing workshop that values accurate exposition, creative presentation, and connections to topics beyond science. In the Neuroscience department, a major assignment of the senior seminar is to produce an issue of a magazine for general readers modeled on Scientific American. Students select the topics, write and edit the essays, and contribute figures and relevant artwork. Scientists at Kenyon, in collaboration with the Kenyon Review and with creative writers at Kenyon and beyond, have developed and twice taught the Kenyon Review Young Science Writers Workshop. In the two‐week summer workshop, high school students read poems, stories, essays, and research articles about science and write in a variety of creative genres. Finally, Kenyon students have founded Lyceum, a creative science community that publishes a semesterly journal of science‐inspired poetry, artwork, and essays. We observe that many science students enjoy and benefit from opportunities to write creatively about science. Moreover, students report that to write effectively and creatively about science requires a deeper understanding of underlying scientific concepts than more typical assessments like exams. Thus, we hypothesize that including creative writing in science courses and curricula improves: 1) students’ understanding of scientific concepts, 2) students’ communication of science to scientific and general audiences, and 3) retention and success of students in STEM fields.