Distinct Genre Research Articles

Realism with Gaze-Appeal: Lenin, Children, and Photomontage

During the first decade after the Russian Revolution, the new Soviet state went through a major mediatization campaign. Deploying various genres and platforms, the state created a diverse network of institutions and mechanisms that could represent and disseminate important Communist ideas and concepts. The essay explores only one dimension of this campaign: the radical turn towards the optical in the early Soviet media. More specifically, it traces the transformation of photomontage by looking closely at a distinctive genre of the illustrated book: the so-called Leniniana for children. Lenin’s death in 1924 generated a wave of publications for children in which their own stories, recollections, and poetry about the leader were accompanied with texts written by adults. Often, these textual collages were interspersed with photo-illustrations and photomontages that prominently featured Lenin surrounded by children. Amalgamating ideology, text, painterly devices, and photographic images, photomontages in children’s literature offered convincing visual models of plausible belonging and connectedness for the young reader: realist and spectacular at the same time. As the essay suggests, the 1924-25 memorial media campaign was instrumental in merging the abstract language of the Russian avant-garde with the concrete visual idioms of the documentary photography. In the memorial books, the Communist abstraction was concretized: the utopian future found its embodiment in multiple images of the first Soviet generation.

A representação de mulheres negras na literatura afro-brasileira: Uma leitura de “A escrava”, de Maria Firmina dos Reis e “Minha mãe”, de Luis Gama

Este artigo busca estudar a literatura afro-brasileira produzida no século XIX, em particular o conto “A escrava”, de Maria Firmina dos Reis, e o poema “Minha mãe”, de Luís Gama, verificando como ambos os textos, publicados em 1859, embora em gênero distintos, tematizam e representam a mulher negra. Ao adentrarmos nessa discussão, algumas considerações se fazem importantes no que diz respeito ao conceito de literatura afro-brasileira e, para isso, apoiamo-nos no referencial teórico de Eduardo Assis Duarte (2010, 2011). As representações de mulheres negras em “A escrava” e “Minha mãe”, Joana e a mãe do escritor Luís Gama, frutos de uma escrita afro-brasileira, são construídas pelas vivências desses escritores, que desafiam a lógica das representações que circulavam pela sociedade da época acerca da população negra, desafio esse que produz narrativas necessárias em nossa sociedade, onde construções sociais baseadas no racismo se mantém de forma estrutural, por isso também a importância dessa discussão nos espaços escolares.

Citation analysis

AbstractThis paper presents series of historiometric studies that exemplify the value of “citation analysis” as an empirical approach to professional literary-critical interpretation, especially with respect to the question of the “literariness” of literary texts. Specifically, the studies show that professional interpreters of Wordsworth’s poetry, across more than a century of time and despite widely varying critical approaches, tend to pay more attention to and therefore more frequently cite lines that involve prospective enjambments. Lines involving nominative noun phrase and retrospective enjambments, however, did not reveal the same correlation with frequency of citation. The studies thus suggest that literariness does indeed have a relatively stable textual component that may be discriminated through citation analysis of professional interpretations of individual literary texts by authors writing in distinct genres of literature and in different periods in literary history.

Music for the Pria Dewasa: Changes and Continuities in Class and Pop Music Genres

This paper presents Rolling Stone Indonesia1 (RSI) and places it in an historical context to tease out some changes and continuities in Indonesian middle-class politics since the beginning of the New Order. Some political scientists have claimed that class interests were at the core of the transition from Guided Democracy to the New Order, and popular music scholars generally assert that class underlies pop genre distinctions. But few have paid attention to how class and genre were written into Indonesian pop in the New Order period; Indonesian pop has a fascinating political history that has so far been overlooked. Placing RSI in historical perspective can reveal much about the print medias classing of pop under New Order era political constraints, and about the ways these modes of classing may or may not have endured in the post-authoritarian, globalised and liberalised media environment

Diesseits von Eden

Abstract This study examines paratexts and images in works of primatology. In order to classify generic traits of primatographical publications, all paratexts, images and narrative positions of a large corpus of such monographs were registered. The analysis of these data allows for the determination of three distinct genres: scientific books, illustrated books and autobiographical/popular science books. The paratexts also reveal the strategies employed in the presentation of the books: They address a lay public, underline scientific objectivity or generate authenticity. The form of the texts indicate the audiences that the books address and enact an intimate relationship between non-human primates and human beings. Images showing researchers in close contact with non-human primates as well as paratexts addressing monkeys or calling for their preservation and conservation embed these field studies within a Christian iconography, invoke the life of saints or martyrs and appeal to the empathy of the readership.

Not (A) Part: Handmade animation, materialism and eco-aesthetic cinema

Not (A) Part is an animated film that draws attention to the decline of flying insects by working with cinematic magnification of the 16mm frame to literal enlargement of their fatalities. Influenced by Stan Brakhage’s Mothlight (1963), avant-garde and experimental film theory inform a reading of the formal, poetic and material aspects of the project. Twentieth-century materialist perspectives on the handling of film as reference to labour are brought into contemporary currency to argue that evident methods of physical contact in recent moving image practice establish ecological positions. By emphasizing contact, situated practice, self-inscription and the present tense of making Not (A) Part aligns with eco-aesthetic cinema whilst also allying with broader post-humanist discourse. The article discusses how differing animation methods bring various qualities of movement to small inanimate objects; how a distinct genre of insect animation is established; how, through the interdisciplinary collaborative process, the project, initially rooted in avant-garde film, developed into eco-aesthetic cinema; and finally how the above operations of contact cinema led to new knowledge in the field of film/animation practice.

Lexical encapsulation and evaluation in parliamentary debate

Lexical encapsulation consists of a series of abstract unspecific nouns (fact, plan...) referring to predicative antecedents. This study is based on a corpus of parliamentary debate in English, Catalan and Spanish (PD) and deals with encapsulation as a complex lexical cohesion device which allows the addressor to evaluate the information of the debates in various ways. Our work tries to highlight the role of lexical encapsulation to reflect the addressor’s positioning with respect to the topic discussed, and to establish whether there are outstanding cross-linguistic differences. In order to delimit the diverse evaluative strategies, an approach from the perspective of prototype theory is adopted, since there are fuzzy boundaries among the different evaluative operations observed. Firstly, the distinction between implicit and explicit evaluation is established. As for explicit evaluation, two different operations are described: objectivizing and subjectivizing encapsulation. The objectivizing one works as a subtle strategy of persuasion addressed mostly to the opponents, whereas the subjectivizing encapsulating structures point to rally the unconditional allies. The results show similar trends in the three languages due to the homogenizing potential of PD as a distinct genre of political discourse.

Looking through two lenses: reflections on transnational and translocal dimensions in Marseille-based popular music relating to the Comoros

ABSTRACTThis article starts from the observation that whenever new concepts become popular, they are applied to more and more contexts until they have become so inclusive that they risk losing their analytical power. This tendency also shapes the relationship between the concepts of transnationality and translocality, which is discussed here with a focus on popular music. More precisely, this article draws on research on two musical actors who are both based in the French city of Marseilles and who both relate to the Indian Ocean archipelago of Comoros: the internationally acclaimed rapper Soprano and the group Afropa, who play Afrofolk on the margins of the music scene in Marseilles. Besides the different levels of success they experience and the distinct musical genres they embody, these musicians represent different generations of a Franco-Comorian ‘diaspora’. Their musical oeuvre, motivations and ambitions, as well as the perception of their music by different audiences, will be discussed with respect to the notions of transnationalism and translocality that become apparent.

International Laws to Control Terrorism : A Comparative Study

Terrorism has become a world wide phenomena yet the world has failed to reach a legal definition of terrorism. Even today there is no single universal definition. The UN member states still have no agreed definition. This has become a major obstacle to meaningful international counter measures. Without a clear definition the international community is hard pressed to combat a problem which it cannot with an assurance identity. Cynics have often commented that one states “terrorists” is another states “freedom fighter”. In this way the fight against terrorism will always suffer from “cultural relativism”. (Ganor, 2001). The free world must understand that cultural relativism applied to terrorism irrespective of their goals will lead only to more terrorism. Limitations in the international laws are many in numbers. It has been accepted by legal experts that the international law is not effective when it comes to dealing with terrorists and international terrorism. Some terrorists are killed and others are captured who are at times not even brought, instead quietly dispersed to some safe haven. Even the states response towards the definition or the basic legal concepts of terrorism remained confused. Worse still, how might a definition impact seeming terrorist acts by a state’s armed forces? It’s a million dollar question said Subramaniam (2002) to know how far special laws would be of use in containing the menace of cross border terrorism. Terrorism has to be fought according to the rule of law and combating terrorism must be legal. The United Nation has made a concerted effort to arrive at a consensus definition of terrorism and it has been surveyed that all states desire that UN should play a more significant role in controlling terrorism. The present paper has taken two salient issues for discussion. They are (1) the definition of terrorism as given in various acts (2) the activities identified as terrorism. To obtain an in depth knowledge the anti-terrorist acts of certain countries are studied and the commonalties and the non-commonalties between the different acts are identified. The aim is to make a diagnostic analysis of the laws of different counteies with the help of content analysis. Countries like United Kingdom, USA, Canada, Israel, India, Pakistan and Sri Lanka are studied. They are selected on the basic of their vulnerability to terrorism in the last few decades. The paper concludes that (1) that all countries discussed mentioned that the use of threat or action meant to disturb the national integrity and sovereignty were terrorism (11) any an organizations involved in promoting these activities were considered as terrorist organizations. Thirdly there is a growing appreciation that acts of terrorism and political violence are distinct genres and should be dealt separately.

Improving Qualitative Research Findings Presentations

Every year thousands of presentations of qualitative research findings are made at conferences, departmental seminars, meetings, and student defenses. Yet scant scholarship has been devoted to these presentations, their nature and relevance to qualitative research, and how they can be improved. This article addresses this important gap by positioning “research findings” presentations as a distinctive genre, part of qualitative method, and an expression of scholarly discourse. From the theoretical basis of genre theory, a number of common and damaging mistakes are found to be evident in the manner in which qualitative research findings are usually presented. These have negative implications: reducing the methodological quality of, engagement with, and overall influence of the qualitative research presented. We draw on genre theory to make recommendations for future qualitative research findings presentations to improve the rigor, influence, and impact of such presentations.

Envoys’ Speeches at the Peace Negotiations of 561–562 AD between the Byzantine Empire and the Persian Kingdom

ABSTRACTThe most prominent feature of ancient historiography appears to be the matching and welding of two essential components: narrative and speech. The rhetorical feature of envoys’ speeches should not encourage the belief that they are mere literary evidence, as their presence in the narration is normally proportional to the historian’s interest in diplomatic events. This analysis focusses on envoy speeches during the negotiations of the peace treaty of 561–562 AD between Emeror Justinian I and the Persian King Khosro I as reported by the Byzantine historian Menander the Guardsman in the fragment 6.1 of his History. Since no documents survived after the destruction of the Byzantine archives, Menander’s documents are a precious witness. The envoy’s speech was not a distinct rhetorical genre; rather, it developed from the epidictic discourse for petitions and praise during the Hellenistic and Roman eras as a means of political communication between provincial cities and the central administration. Indeed, a fiction of internationality shaped the language of Roman diplomacy until late Antiquity. The speeches delivered by Roman and Persian delegates before laying down the treaty of 561–562 display discursive strategies articulated on the sharing of communal political and moral values.

“Dumb” Performance as a Marker of Authenticity

ABSTRACT Musical authenticity is impossible to demonstrate objectively but is instead agreed-upon in group contexts through markers that form the basis for defining musical genres (type authenticity) and for evaluating works and artists as expressively honest (expressive authenticity). This paper explores the concept of “dumb” performance or sound as an authenticity marker in the production of Nashville roots/Americana music. Interviews with music professionals suggest that “dumbness” is a commonly shared concept that influences many aspects of musical production. It also appears to communicate aspects of expressive authenticity that help define roots/Americana music as a distinct genre to both its makers and consumers.

‘Hey yo, I’m just like my country’: Teaching Miranda’s Hamilton as an American chronicle

Abstract The article discusses teaching the libretto of Miranda’s Hamilton as a uniquely American text (to undergraduate literature students in the United States). It details approaching the rap opera as a clash of ideologies known as versions of the American Dream. It touches upon genre distinctions from chronicle play (as adaptation), to the adversarial plot, to the American immigrant narrative.

Cuban Cha-Cha-Chá: Applications for Music Education in the United States

One of the most distinctive musical genres that originated in Cuba over the past century is cha-cha-chá, which is attributed to Enrique Jorrín during the 1950s. The popularity of this music has grown considerably since its genesis, as evidenced by the vast array of repertoire, the multitude of bands performing it, and its prevalence in popular culture. This article explores the history of cha-cha-chá, its musical elements, Enrique Jorrín’s influence on the creation and performance of the genre, and the importance of cha-cha-chá in music education in the United States. Due to its musical significance and social impact, it is important to understand cha-cha-chá’s place in modern Cuba, how it has been preserved over time, and how it can be taught in music classrooms at all levels.

To be perceived. The problem of the V. Kozhelyanko’s novelistic prose classification

Each of works by V. Koshelyanko has been occupied a separate place in Ukrainian literature, although the literary fate of each of these works is determined not only by the author or characteristic features of the novel themselves, but also, to a large extent, by questions of classification, perception, labeling and, eventually, by publication. A similar uncertain situation is also observed in the assessment of contemporary critics and literary criticism of the place of creative writing of the writer in the modern literary process. Therefore, there was an urgent need for a comprehensive literary analysis of V. Kozhelyanko's popular novels today, which, in addition to the conclusions about the significance of Bukovinian prose and the aspect of the critical consideration of ten novels of the writer. It will promote a deeper understanding of genre, stylistic, and others functional changes of newmodern, postmodern novels in the literary process of Ukraine. That is what determines the relevance of the article. The purpose of the article is to carry out a comprehensive literary analysis of the basics of Vasyl Kozhelyanko's prose class-ification in the Ukrainian literary space; to identify genrestyle features of his novels, to define genre markers, stylistic characteristics, ideological and thematic content, and to find out the cultural, social and mental significance of V. Kozhelyanko's prose, his place among contemporaries. The choice of methods of resea-rch is predetermined by the general purpose, specific tasks of work and the specifics of the analyzed object. The leading ones, however, are cultural-historical and comparative methods. In general, methodological directions are involved in the work - biographical, historical-comparative, cultural-historical, phenomenological (receptive), structural (structural) analysis. The scientific novelty of the results was obtained that in the article author had made for the first time before the scientific circulation introduced, a new empirical material, which in this volume has not yet been the subject of literary studies; on the basis of the collected material, including the prose works by V. Kozhelanko and foreign authors, it containts a complex monographic study of the trends of the modern novels (among the XX-early ХХІст.) in the Ukrainian literature, which was performed on the example of novels by V. Kozhelanko. Therefore, it is possible to make such conclusions that the prose of V. Kozhelyanka's work is considered in the search for the genrestyle basis for the classification of the great prose of V. Kozhelanko. After analyzing some aspects of prose texts, such as: the image of the national hero, the role of women's images in the prose of V. Koshelyanko, the historian and political figures in the writer's parody prose, the urban novel in the genre-style palette of roman-romantics of the author, the historical and detective novels and the implementation of the chronotop in them as a distinctive genre marker, the emphasis on the mental mistakes of the Ukrainian nat-nation as a leitmotif of the creative intention of V. Kozhelanka, it was create a new classification of his novels. From the point of view of the structural, descriptive, receptive and post-structural approaches of literary science, we have good reasons to speak about V. Kozhelanko's work as a model of good quality prose in the different genre markers.

Biografar os grandes homens para trazê-los à História de uma nova forma: Plutarco e [as interseções de] um mesmo gênero

Neste artigo são discutidos, a partir de algumas passagens de Vidas, de Plutarco, os gêneros biografia e história com vistas a refletir se, na perspectiva de Plutarco, eles constituiriam gêneros distintos ou um mesmo gênero que se localizaria, assim, na História da Historiografia. Para tanto, faz-se uma genealogia da biografia a partir dos elementos da tradição grega que permanecem em Plutarco e toma-se, ainda, para estudo de caso, uma passagem específica da Vida de Alexandre. Mediante esse percurso, visa-se propor que a maior contribuição de Plutarco não teria sido propriamente estabelecer fronteiras fixas entre história e biografia, mas, na verdade, apresentar os grandes nomes da história de uma nova forma, revelando também suas passagens menos gloriosas e até anedóticas, tirando-lhes, por vezes, a armadura de herói para dar-lhes a roupagem de homens, de carne e osso, às vezes virtuosos, às vezes vis e às vezes ambíguos.

Cultural stereotyping of emotional responses to music genre

This study investigated whether emotional responses to a music genre could be predicted by stereotypes of the culture with which the music genre is associated. A two-part study was conducted. Participants listened to music samples from eight distinct genres: Fado, Koto, Heavy Metal, Hip Hop, Pop, Samba, Bolero, and Western Classical. They also described their spontaneous associations with the music and their spontaneous associations with the music’s related cultures: Portuguese, Japanese, Heavy Metal, Hip Hop, Pop, Brazilian, Cuban, and Western culture, respectively. Results indicated that a small number of specific emotions reported for a music genre were the same as stereotypical emotional associations of the corresponding culture. These include peace and calm for Koto music and Japanese culture, and anger and aggression for Heavy Metal music and culture. We explain these results through the stereotype theory of emotion in music (STEM), where an emotion filter is activated that simplifies the assessment process for a music genre that is not very familiar to the listener. Listeners familiar with a genre reported fewer stereotyped emotions than less familiar listeners. The study suggests that stereotyping competes with the psychoacoustic cues in the expression of emotion.

Dramatic Measures: Comedy as Philosophical Paradigm

AbstractTragedy’s overwhelming presence, presaged by the conspicuous absence of Aristotle’s treatise on comedy, has dominated the debate between philosophy and poetry ever since Plato, making tragedy the dominant paradigm for philosophical and performance practices. Over the last century, the gradual blurring of genre distinctions has led to George Steiner’s declaration of the ‘death of tragedy’ and to J. L. Styan’s recognition of the emergence of ‘dark comedy’, giving rise to a growing body of research on comedy. Nevertheless, despite the unprecedented attention, the prejudices against comedy run wide and deep, from philosophical neglect to high-brow conceptions of art all the way to underlying economies of power and social regulation. In consequence, comedy has been side-stepped as an inferior genre or mode, or rehabilitated as a truer or newer form of the tragic. The present study attempts to frame this prejudice as the result of theories of aesthetics and ethics which systematically exclude the comic vision, claiming that it is possible to trace a distinct corollary between the development of theories of genre and the development of philosophical aesthetic categories. The emphasis on the beautiful and the sublime, and its corresponding brand of ethics, can be linked to the flourishing of theories of tragedy, while the systematized rejection of the ugly, the ridiculous, and the ethically ambiguous can be shown to correspond to the floundering of theories of comedy, which remained largely neglected for over two thousand years. Much more than mere literary genres, the terms comedy and tragedy, when applied to the history of Western civilization, reveal the extent of our penchant for the speculative to the detriment of the actual.

Expatriate Experience and the Fictional World of Diaspora

Abstract-- Expatriate Writing, diaspora writing or immigrant writing is yet to be established as an independent genre of study. It came into origin as a result of “marginalization” or “hyphenated” existence of such immigrants and expatriates that narrated their traumatic experiences of multiple racial discrimination, ethnicity, nostalgia, alienation and like in their writings. In post-colonial literatures, “the expatriate sensibility” is already accepted as a legitimate literary term like “Europeanization”. This study analyses the feasibility of formulating a literary critical theory, exclusively to study and interpret writings showing expatriate sensibility and having the potential of growing into a distinct genre of studies. Although Expatriation presents descriptions of multiculturalism and marginalized territory in spatial terms, it does not belong to any geographical, political and social boundaries. Hence, Expatriate Studies can be seen as a specific literary discourse or given the distinction of a literary genre much like a work that is called a Feminist or a Marxist due to its specific literary theory.

Unzuverlässiges Erzählen als werkübergreifende Kategorie. Personale und impersonale Erzählinstanzen im phantastischen Kriminalroman

Unzuverlässiges Erzählen als werkübergreifende Kategorie. Personale und impersonale Erzählinstanzen im phantastischen Kriminalroman