History Of Genre Research Articles

Allusion in the Composition of Contemporary Opera

Abstract In memoriamContemporary opera exhibits a wide range of motivations for and approaches to making musical allusions to the past, more so than in any other period in the genre's history. I find, contrary to common definitions of musical postmodernism, that allusions are typically meaningful and symbolic in recent postmodern operas. I briefly consider musical collage in operas that represent a proverbial ‘postmodern’ approach to the past, with operas by Cage and Corigliano serving as extreme cases. The core sections of the article are devoted to three of the most prominent contemporary composers whose operas illustrate the range of forms and motives musical allusion has taken over the past few decades: John Adams's Nixon in China (1987), Louis Andriessen's ‘film opera’ La Commedia (2008) and The Exterminating Angel (2016) by Thomas Adès. By detailing musical allusion in these works, I offer evidence in support of a revisionary understanding of these operas and the aesthetic stances of these composers, who each engaged extensively in musical allusion to varying degrees. I conclude with rather unexpected examples of operatic allusion by composers (Glass, Nova, Mazzoli) who typically do not reference the past in their works. For numerous recent composers, opera appears to function as a particularly powerful magnetic attraction to the past, pulling into its orbit the most unlikely figures and warping their proclaimed aesthetic profiles. For opera audiences, allusion is experienced differentially and shapes popular perceptions of the genre as a whole.

“Genuine Anecdotes about Peter the Great” by J. Shtelin (at the Origins of Historical Anecdote Genre in Russia)

The article is devoted to the study of the collection of historical anecdotes about Peter the Great by J. Shtelin (1709—1785), first published in 1785 in German in Leipzig. It is proved that historical anecdotes (about Peter the Great) as a genre of literature appeared in Russia in the second half of the 1730s. According to the author, they appeared on the basis of the stories about Peter the Great that were widespread in society. It is reported that the first collection of historical anecdotes about Peter the Great created by Jakob Shtelin is a collection of 34 anecdotes from 1744. It is noted that later on he created collections of 95, 110 and 117 anecdotes. The study has shown that Shtelin's historical anecdotes are the result of a deep literary reworking of the messages and legends he heard. It is revealed that Jakob Shtelin worked on the transformation of the sketches written by him, based on the oral stories he heard, into historical anecdotes for over 40 years. It is argued that as a result, the publication of his historical anecdotes in 1785 was a resounding success in Europe, including Russia, and marked the beginning of the flourishing of this genre in Russia in the late 18th and early 19th centuries.

Portraits and Philosophy, edited by Hans Maes

With few remarkable exceptions, portraiture has been a very much neglected topic in philosophy in general, and in aesthetics in particular. This might be due to a more or less implicit prejudice to the effect that there is not much philosophically interesting reflection to be had about the topic—at least not beyond the general area of pictorial representation which has received a great deal of attention—and/or to the decline in reputation of the genre in art history; just consider John Berger’s ominous pronouncement: ‘It seems to me unlikely that any important portraits will ever be painted again’ (cited in this volume, p. 239). Be this as it may, we are more exposed than ever to portraits—or to pictures we would pre-theoretically be inclined to consider portraits—and we might even be tempted to claim that we are witnessing a revival of portraiture. (As incidental evidence, only in the last year, two important art institutions in Madrid, the city where I live, have devoted exhibitions to this artistic genre: Fundación Juan March ‘Típicos Retratos’ and CaixaForum ‘La imagen humana’.) This book might be a response to this trend; it is a philosophical invitation to reconsider portraits as an artistic genre as well as an object of philosophical investigation. Chapter after chapter, ‘Portraits and Philosophy’ debunks all the underlying scepticism about the possibility of substantial reflection on this topic. This is philosophical aesthetics done at its best: the collection of eighteen original articles written by philosophers and art historians— plus an introduction and an epilogue by the editor—not only shows philosophical insight, but establishes a substantial dialogue between philosophy, art history and art practice that one frequently expects, but rarely finds, in the aesthetics literature.

Epic Novel: to the problem of liberating terms from pseudo-meanings

The article examines the concept of an epic novel – a special historical genre phenomenon that arose as a result of the successful implementation by Russian classics of the second half of the 19th century. The author discusses the pseudo-names that appeared in Soviet literary criticism due to its politicisation and ideologisation back in the 1920s –30s and she shows that the terms of epic novel and epopee novel were used at the indicated time for the sake of the Communist party tasks, but contrary to their true meanings. As noted in the article, this required a rejection of the traditions of Russian classical literature, a rejection of the genetic memory of the universal vision of the world and human inherent in the epic novel. Analytical comprehension of the polemics of literary critics of different generations made it possible to show that a number of researchers who rightly saw the problem, forgot to “rehabilitate” the above concepts and transferred the line of denial of Soviet ideology to the terms themselves. The author of the article explains the importance of using the concept of an epic novel in its true meaning, in relation to the voluminous works of Russian classical literature.

El intercambio de invectivas en yambos latinos entre Bonaventura Vulcanio y Franz Nans

This paper consists of the first critical edition and translation of some Latin poems written in iambic meter by the Flemish Hellenists Bonaventura Vulcanius and Franciscus Nansius to attack each other. It also contains a commentary on their historical context, genre, meter, vocabulary and style.

THE LOST ‘BEAD’ OF “THE WITHERED LEAVES”

The paper deals with the poem by Ivan Franko “My soul! The soul of my soul!”, which wasn’t published during the poet’s lifetime. As one of the poems from Franko’s poetic cycle “The First Bunch” it might have been included in the forthcoming collection “The Withered Leaves”. That’s why the general context of this collection is relevant. The researcher reviews the genre and creative history of the poem and gives attention to its psychobiographical context. The comparison of the published text with the autograph revealed a discrepancy that modifies interpretation.
 The basis of this poetic reflection is the poet’s intimate feelings for Celina Żurowska (married name Zygmuntowska), so the paper focuses on this Polish woman, in particular her attitude to the poet and her influence on his work. The research focus also includes other works of the writer, which somehow relate to Celina. Her pride, stubbornness, and sometimes even contempt caused pain in the poet’s soul, which gave rise to poetic masterpieces. The memories of Franko’s contemporaries, as well as the ones of Celina herself, help to interpret the poem.
 The researcher analyzed the work in terms of its structure, poetic composition, emotional tone, and iconosphere. The images of the pearl (shell) and the soul, which are the central symbols of this work, show semantic similarity. The pearl is a symbol of love that grows and becomes stronger due to patience, and at the same time, it is a metaphor for the soul.
 The poetic language and versification have been examined as well.

Креативные возможности языка в интернет-коммуникации

The paper reports the findings of the study of the implementation of the creative function of language in Internet communication. This research perspective allows to consistently describe the functioning of language online and to explain the visible and controversially viewed by academics (as innovative or as destructive) processes in the language system, occurring under the influence of the Internet environment. The revision of traditional standards of communication when communicating via Internet occurs, first of all, due to extralinguistic factors (primarily, digital transformation) and, secondly, due to the Internet interlocutors’ (both the speaker and the listener) attitude towards creative use of the language. The new extralinguistic conditions of language (multimedia, non-linear nature, its modules, hypertextuality, etc.) primarily release its creative potential as the novelty is inherently creative and requires the updating of traditional, familiar, and already studied forms of communication.
 The influence of the creative function of the language can be traced both at the micro levels of the language system (especially at the phonetic and lexical levels) and at the macro level of the whole text (the emergence of new genres). At the phonetic level, influenced by the creative function, the language of the Internet acquires a special spoken-written character. Moreover, the imitation of orality in Internet communication is aimed not only at achieving maximum similarity of online communication to offline conversation, but also at the language play, emotionalism, updating the graphic code with emoji (for example, the use of emoji as ending punctuation marks, i.e., instead of period, exclamation mark, etc.). At the lexical level, the creative function of the language is evident in the emergence of proper Russian neologisms and borrowings for more accurate, sometimes more succinct denotation of the new reality. At the textual level, the study, e.g., of the model Internet genre of multimedia history, the identification of its special narrative structure and the multimedia nature of presenting the information suggests the creative potential of new genres in the online communication.

Forskare eller ögonvittne?

Not every research article manages to stay relevant for an entire century, remaining an object for discussion even one hundred years after its composition. In 1921–1922, an American Lukan scholar, and later professor of the New Testament at Harvard University, Henry J. Cadbury, published three articles about the Lukan preface. These articles, and in particular one of them, are still discussed among Lukan scholars today. The aim of my article is to highlight this achievement of Cadbury's. Cadbury was not the first to write about the Lukan preface. The preface had generally been interpreted as evidence that Luke was a historian, and that hisgospel was a result of historical research about the events relayed in the story of Jesus. Cadbury did not fully agree. While he agreed that Luke was a historian, he did not agree that what he wrote constituted historical research. Instead, Luke claimed to have himself been present and person­ally experienced at least some of the events that he relates in Luke–Acts, especially the "we-passages" in Acts of the Apostles. The purpose of his narrative was to defend Christianity against false reports and accusations. His experiences of and close contact with the course of events allowed him to do so. Of course, such a profiled understanding of Luke's pref­ace has caused much discussion and critique. I summarize contributions from three scholars: Ernst Haenchen, Loveday Alexander, and David P. Moessner. Following the interventions of these scholars, especially if we are listening to Moessner, the status quaestionis emerges that Luke was neither a reviewing historian nor an eyewitness but rather a well-informed tradent and interpreter of traditions with which he had been familiar for some time. Of course, Moessner does agree that Luke's preface operates within the framework of the historical genre, but the perfect participle παρηκολουθηκότιαρηκολουθηκότι ("having followed") in Lk. 1:3 does not mean "having investigated" but rather "having followed with the mind" or "having an informed familiarity with" all things that have happened. Thus, at least according to Moessner, Cadbury was both right and wrong.

DOSTON IS A DEVELOPED GENRE OF FOLKLORE IN UZBEKISTAN (DESCRIBTION OF THE MAIN HERO OF EPIC POEM ALPAMYSH)

Folklore is highly developed in our republic and doston is one of the most interesting and historical genre of folklore. In the article general information about doston, types of dostons according to the meaning and some historical attitudes are explained. Alpamysh is not only famous epic poem, which describes Uzbek culture, but also it helps take important information about the history, geographical position, old Turkic languages, tribes and so on. In the article by the examples of the description of the main hero Alpamysh author explained the importance of the concepts time and place.

The Life after Texts, the Life within Them

The Life after Texts, the Life within Them

PROSPECTS OF DIGITAL SILK ROAD IN CENTRAL ASIA

The article is devoted to the analysis of commemorative trends in the social consciousness of the masses and the role of myth-making as one of the tools for constructing the present and future on the example of the fine art of Kazakhstan. The particularity of the situation is that the cultural and historical material of the past is in demand by all layers of the modern postcolonial society of the republic. At the same time, in the background of another transitional moment in history, the establishment of state sovereignty of post-Soviet countries is complicated by the enormous social upheavals of the XXI century. Technological innovations and the general dynamics of the development of the modern world have created opportunities for a variety of manipulations of human consciousness, but its fundamental needs in the search for identity have remained the same. In this connection, the text of the article gives a brief description of the situation that contributed to the development of the modern context of the culture of Kazakhstan. The methodological framework of the research was the fundamental works of scientists, on the issues of historical and collective cultural memory, as well as the study of modern mythology in the culture of the XX-XXI centuries. It is claimed, that the reconstruction of the historical context leads the Kazakh masters to create new mythologies, and the creative thinking of the artist allows him to build the lost, through the prism of human mythological consciousness. The article focuses on the historical genre, also provides examples from the works of artists made by State orders and according to their own author's requests, where the most characteristic features are epic, monumental, and narrative compositions.

ЕКСПЛІКАЦІЯ АРХЕТИПІВ І СИМВОЛІВ У СУЧАСНИХ УКРАЇНСЬКИХ ХУДОЖНІХ ФІЛЬМАХ

<p><strong><em>The purpose</em></strong><em> of the article is to explicate archetypes and symbols in modern Ukrainian historical films those were made during 2015–2021 term. As an object of research, we selected precisely those modern films of the historical genre, the titles of those are identical to the main character or characters names in the films. At the same time, the fact how real or pseudo-real the prototypes of the main characters of the films selected for analysis were, was not taken to consideration.</em></p><p><strong><em>Research methodology.</em></strong><em> The main general scientific methods that are used in this article are the analysis of literature on the issue under study (on the explication of archetypes and symbols and their use in modern Ukrainian feature films of the historical genre), description (of selected films according to the main criteria – release date, director’s name, screened work), comparative analysis (to clarify the similarities and differences between the archetype and the symbol and types of national archetypes), the method of explication (to clarify the essence of national types of archetypes). In addition, the article uses the following empirical methods: rolling sample (for the selection of relevant films) and content analysis with elements of qualitative analysis (to clarify the use of predominant national archetypes and symbols in the film as means of their implementation).</em></p><p><strong><em>Results.</em></strong><em> It is being explicated that the archetype and symbol are the key concepts of research, although they belong to different fields of study – subconscious, intangible and conscious, material, but complement to each other, expressing the archetypal-symbolic meaning of the message. Therefore, these concepts are not identical or interchangeable, but are closely related. It has also been suggested that national archetypes are based on universal human archetypes.</em></p><p><em>In modern Ukrainian feature films with the main character – a historical or pseudo-historical person</em><em> </em><em>– the following archetypes are clearly expressed: first, the archetype of the earth, which begins to form with the help of shots from the Ukrainian landscape proper and to generalize about Ukraine as a state as a whole; secondly, the archetype of a strong knight, which is overwhelmingly the main character of the film; thirdly, the archetype of freedom, which is created in the process of a knight's struggle for his native land.</em></p><p><strong><em>Novelty.</em></strong><em> It has been identified that in selected modern Ukrainian feature films of the historical genre, three national Ukrainian archetypes prevail – the archetype of the earth, the strong knight and freedom they are closely related.</em></p><p><strong><em>Practical significance.</em></strong><em> The results of the research can be used in writing screenplays and staging them, reviewing films, as well as in the educational process of specialty 021 </em><em>«</em><em>Audiovisual art and production</em><em>»</em><em> students.</em></p><p><strong><em>Key words:</em></strong><em> archetype, ethnocultural and national archetypes, symbol, explication, modern Ukrainian feature film, historical genre, archetype of earth, freedom and a strong knight.</em></p>

Дети эпохи или раб своего времени (о системе образов и образе эпохи в литературе)

In human culture, since ancient times, fiction has developed as a mirror of time. Therefore, a dual understanding of time is reflected in the poetics of the work: firstly, it is the time that is connected with the narrative and is developed in the plot of the work (artistic time), and secondly, it is the time, the epoch of writing the work itself (historical time). The artistic image of the time is reflected not only in historical genres, but also in all other genres and styles of literature. The historical era of writing a work can be captured in the thoughts and worldview of the characters, in the conflict being developed, the subject matter and the problems involved. The relevance of the study is related to the fact that the tragic periods of history depicted in the work must be analyzed through the worldview and moral standarts of the people. In this regard, the purpose of this article is to identify the philosophical and aesthetic connection between the artistic time continuum and the historical epoch. The subject of the research in this article is the novelette of the literary scholar and prose writer Georgy Fedorov “Ai, mantaran hir mulkaci” ("Oh, poor hare »). In the course of the study, the following results were obtained: in an artistic and philosophical work, the category of time becomes both a method of deepening the character's personality, and an indicator of the figurative model of the world, and the subject of research.

Almost Shakespeare – But Not Quite

Taking Emily St. John Mandel’s Station Eleven and Gary Schmidt’s Wednesday Wars as test cases, this article explores generic considerations in modern novels that employ Shakespeare but do not retell or recast the plot of any particular work by Shakespeare. Questions to be considered include how the works employ the Shakespearean genres of comedy, tragedy, history, romance and tragicomedy to create their own genres – and, conceivably, to transcend them. The article will also consider the mainstream appropriation of Shakespeare in Mandel and Schmidt. The Three Fates by Linda Lê will be briefly examined as a less straightforward reworking of the material of a single Shakespeare play (King Lear).

К определению содержания этнонимов «савроматы» и «сарматы»

The tendency to transfer the early names of peoples to the later inhabitants of same places was characteristic for the historical and geographical genres of ancient literature, regardless of the kinship between them. In that way the ethnonym “Sauromatians” was used to name certain groups of the Eastern European steppes nomads until the first centuries AD, although an analysis of all the sources, including archaeological ones, suggests that Sauromatians cease to exist as an independent ethno political formation since the middle of 4th century BC, perhaps a little earlier. The reason for that was the migration of the South Ural nomads who had occupied the territory that previously belonged to the Sauromatians. Simultaneously with that process, a new ethnonym “Sirmati”, associated with Tanais (Don), appears in the works of ancient authors. The names “Sarmatia” and “Sarmatians” start to be mentioned increasingly since the 3rd century BC in written sources, including epigraphic ones. I believe, that indicates emerging of a new nomadic unity led by the Sarmatians east of the Don, located in the Volga-Ural steppes, existed before the beginning or middle of the 2nd century BC. Its disintegration is associated with the migrations of the first half – middle of the 2nd century BC, with the epicenter in Central Asia. These events led to significant changes in the ethnic composition of the population between Caspian Sea and the Dnieper, recorded by Strabo. Separate ethno-tribal associations were located here: Aors, Siraks, Roksolans, later Yazygs, Alans, with their own history and destiny, but all of them were often continued to be called Sarmatians in written sources. All this should be taken into account by modern researchers, since uncritical approach to the ancient authors often leads to incorrect historical reconstructions.

Acknowledgments

Previous articleNext article FreeAcknowledgmentsFull TextPDF Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreThis volume grew out of a multiyear collaboration on “Global Medical Cultures and Law” that sought to bring together historians, anthropologists, sociologists, and legal scholars to explore a shared set of historical questions. We received generous support from the Buffett Institute for Global Studies and the Science in Human Culture Program at Northwestern University. I am especially grateful to the Buffett Institute’s then director, Bruce Carruthers, and to my collaborators: Carol Heimer, Laura Pedraza-Fariña, Rebecca Seligman, Jeannette Colyvas, and, most recently, Adia Benton. For their unflagging encouragement, I am indebted to Ken Alder and Steve Epstein; and for their advice and thoughts before the project got off the ground, my thanks to Mitra Shirafi and Heinz Klug. Natasha Dennison and Janet Hundrieser provided terrific administrative assistance, while the indomitable Shan Chen Pu did helpful background research. My coordinating role was supported in part by a Buffett Institute Faculty Fellowship and my research by a Scholars Award from the National Science Foundation (Award #1456984).Several scholars enriched our conversations along the way by taking part in events that led to this volume, including Mark Harrison, Linda Barnes, Kaushik Sunder Rajan, Rosemary Coombe, Chidi Oguamanam, Madhavi Sunder, Siri Suh, Guillaume Lachenal, Bridie Andrews, Noelle Sullivan, David Schoenbrun, Richard Rottenburg, and Nancy Hunt. For their astute comments on earlier drafts, our special thanks to Claire Wendland, Paul Ramírez, Steven Palmer, Peter Locke, and two incredibly helpful anonymous reviewers.Without the Osiris editorial board’s willingness to take a risk on us, this volume never would have been possible. And without the sustained engagement from W. Patrick McCray and Suman Seth, it would have been much the poorer. To all the contributors who were willing to take up new projects, rewrite and reframe chapters, and explore genres of history writing (and storytelling) that were unfamiliar, my enduring gratitude. It has been an honor and a joy to think with–and learn alongside–one and all. Previous articleNext article DetailsFiguresReferencesCited by Osiris Volume 362021Therapeutic Properties: Global Medical Cultures, Knowledge, and Law Published for the History of Science Society Article DOIhttps://doi.org/10.1086/713421 Views: 267 © 2021 History of Science Society. All rights reserved. Crossref reports no articles citing this article.

COLORONYMS AND LUXONYMS AS A MEANS OF CREATING ARTISTIC IMAGE IN HISTORICAL PROSE BY V. IPATOVA AND V. KARATKEVICH

The article examines the color and light vocabulary, with the help of which the authors create a figurative system of artistic text. It is a universal tool for creating a figurative and expressive characteristics of a real, ethnocultural space. The use of coloronyms and luxonyms in the historical prose of the authors, their linguistic interpretation indicates the determination of the individual author’s specificity of the perception of color by the writer and the adequate associative connection of color combinations arising from the reader.
 Creating a masterfully figurative picture or model of a certain ethnic group in the context of a work of art is an important task of every writer who conveys his vision of the world through different semantic groups of words as elements of artistic imagery. This also applies to the corresponding group of vocabulary denoting color and light.
 The semantic group of words denoting color is used in any work of art: in one the frequency of use of color designations is greater, in the second - less. Selected literary works on historical themes by V. Ipatova and V. Korotkevich are widely saturated with color vocabulary, which deserves a multifaceted analysis.
 The perception of the artistic word is an individualized phenomenon and is unique in the history of national literature and culture in general. The writers virtually penetrated into ancient events, rites and customs, skillfully described their heroes, national color, ethnic culture, social and spiritual life not only of Belarusians but also of other nations. The authors have made extensive use of the color palette, which involuntarily attracts the attention of readers and affects their figurative imagination.
 The peculiar style of writing of each author, the lexical and systemic organization of their texts, which organically include coloronyms, give the opportunity to vividly imagine the verbal picture of the world created by the writer. It should be noted that when describing a broad historical panorama, the authors often use color in the lexical microsystem as a means of creating a highly artistic text. Language in works of art of the historical genre acts not only as a means of communication, but also as a carrier of artistic imagery.

Spectralizing the White Terror: Horror, Trauma, and the Ghost-Island Narrative in Detention

This article treats the Detention franchise as a cultural phenomenon from three interrelated angles. First, this article examines the historical significance and political reconstruction of the White Terror in response to the development and adaptation of Detention, while taking into account its multi-layered source material in history, cult culture, literature, and cinema. Historically bound, Detention blends foreign and local horror, fostering the gamers’ and viewers’ imagination of darkness embedded in the realm of the unknown and the dead. Second, this article brings into focus the mix of historical pain and horror genre with respect to the ghostly youth and monstrous past in Detention. The digital and cinematic remakes of the White Terror mediate the unaccountable trauma via the techno-enhanced immersive horror across screens. This unique strategy speaks to the gamers and spectators alike, especially the young generation, with profundity in the new age of entertainment. Third, this article identifies Detention as a political allegory in relation to the socio-cultural anxieties shared by the majority of the Taiwanese subjects in the contemporary era. In a political light, it not only echoes the ongoing campaign of transitional justice as promoted by the ruling Democratic Progressive Party (DPP) on the island, but also points to the universal pursuit of freedom and democracy against any totalitarian regime in the twenty-first century.

Narrative and analytical interplay in history texts: recalibrating the historical recount genre

ABSTRACT Based on Systemic Functional Linguistics (SFL) informed genre theory, this paper investigates the interplay between narrative and analytical representations of the past in texts used for history-educational purposes. In this paper, it is argued that the role of narrative merits further attention in history genre descriptions. Thirteen history texts, selected from a lower-secondary history-instructional unit about European colonization, are examined. The examination of stages, narrative elements, and the way historical significance is expressed in these texts arrives at a re-calibration of the historical recount genre suggesting four distinct historical recount types with different configurations of a narrative-analytical interplay. The findings have implications for our understanding of the role of narrative elements in history texts, and further for genre-based approaches to instruction that concern reading and writing history texts.

Nuclearity

ABSTRACT This article revisits Kohut’s concept of the nuclear self, a concept oft criticized as a reification, a relic of a bygone era that idealizes separateness and autonomy. In an alternative view, I interpret Kohut’s nuclear self not as a thing one carries along in one’s mind but as a story gathering shape over time through our interactions with others, closer to the Greek idea of fate than to Freud’s psychic apparatus. We are each of us heading through a series of transformations toward a surprising way of being that in the end feels preordained. A primary object of psychoanalysis is to track the sources and progress of this nuclear self. I coin the word “nuclearity” in contrast to Mitchell’s “relationality” and Freud’s “reality.” All three words describe a condition of the world as well as a value system, a way of thinking that shows us what we are looking for. This circularity is not a problem so long as we understand that the views we see from our viewpoints are constrained as though by literary genre. We can be truthful within a historical genre, but we cannot arrive at a final viewpoint from which to see everything. The genre or viewpoint of nuclearity is one in which the patient’s ever-evolving sense of coming into being organizes the psychoanalytic encounter.