Genre - text - interpretation
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Contents
Reviews
Language
English
ISBN
978-952-222-738-6
Title
Copyright
Contents
Preface
Acknowledgements
Introduction
At the Intersection of Text and Interpretation
Roots of Western Genre Theory
Genre and Text
From Text to Interpretation
Genre Theory Today and Tomorrow
A Multivocal Discussion
I Theoretical Approaches to Genre
II Relations between and within Genres
III Between Folklore and Literature
IV Emic and Etic Definitions
V The Politics of Meaning-Making
Multifaceted Perspectives
I Theoretical Approaches to Genre
1. “Genres, Genres Everywhere, but Who Knows What to Think?”
The Term “Genre”
Toward a Definition
Genre as Social Semiotic
A Usage-Based Approach
Aspect 1: Form
Aspect 2: Content/Enactment
The Form–Content/Enactment Relation
Aspect 3: Practice
The Form–Content/Enactment–Practice Constellation
Aspect 4: Functions
The Four-Aspect Model of Emergent Genre
A Usage-Based Approach to Variation
Problems of Horizons and Historical Genres
Cultural and Cross-Cultural Genre Typologies
Genres, Social Resources and Application
2. Genres as Real Kinds and Projections
What is the Purpose of Genre Classification?
Genres as Homeostatic Property Clusters
Laments as a Local Kind – or a Universal One?
People, Their Genres, and the Historicity of Genres
Genres, Classes, and Theories: Some Consequences
II Relations between and within Genres
3. The Legend Genre and Narrative Registers
Classificatory Ideal and Its Critique in Legend Studies
Terminological Problems – What Do We Mean by Fabulate?
Contemporary Legends and the Widening Perspective
Genre as Practice
Narrative Genres in Linguistics
Genre and Register
Narrative Registers as Instantiations of Legend
Conclusion
4. Genre, Prayers and the Anglo-Saxon Charms
“Charms” and “Prayers”
Case Study: Cambridge, Corpus Christi College 41
Conclusions
5. Notes on Reflexivity and Genre in Stand-Up Comedy Routines
Stand-Up Routines as Generic Texts
Politics of Presentation
Genres as Tools of Stand-Up Routines
Managing the Performance: Framing and Footing
Lindström’s Elephant Routine
And Then What?
6. The Poetics of Quotation
From Proverb to Proverbial Speech
Proverbial Couplets as Formulae
Representing Proverb Performances
From Proverb to Aphoristic Poem
Composition in Proverb Performance
The Poetics of Quotation
III Between Folklore and Literature
7. The Genre of Reminiscence Writing
The Bakhtinian Idea of Genre as a Dialogic Framework
The External Orientation of Reminiscence Writings
The Internal Orientation of the Genre
Eeva Kilpi’s Works
Levels of Intertextuality
Conclusions
8. The Chronotope of the Legend in Astrid Lindgren’s Sunnanäng
Chronotope, Genre and Intertext
The Generic Chronotope of Short Stories and Belief Legends
The Red Bird
My Nightingale Is Singing
Towards a Third Level of Chronotopes?
9. Genre and the Prosimetra of the Old Icelandic fornaldarsögur
Saga Genre in Manuscript Compilations
The Role of Verse in the Prose Sagas
Poetry and the Development of the fornaldarsaga Corpus
Divisions of the fornaldarsaga Subgenre
Genealogies and Regnal Lists
Fornaldarsögur Related to konungasögur
Germanic Heroic Legend
The Hrafnista Family Sagas
Romances
Fornaldarsögur without Verse
Conclusions
10. From Traditional to Transitional Texts
Direct Copying and the Notion of Fixed Textuality as Literary Features
Basic Characteristics of Transitional Texts
Transitional Texts in South Slavic Tradition Composed by Literate Authors
Transitional South Slavic Texts Documented from Oral Singers
Comparative Analysis of the Songs about the Battle against Mahmut Pasha
Towards a Consistent Theoretical Model of Transitional Texts
IV Emic and Etic Definitions
11. Proverbs – A Universal Genre?
Features Typical of the Proverb Genre
The Chinese
The Oral Culture of the Arabs
The Maoris
The Chamula Indians
Africa: Akan Rhetoric
Hawaii
The Universal Analytical Type
12. The Proverb Genre
Various Conceptions of the Proverb
Some Features Connected with the Concept of the Proverb in Finnish
Finnish Proverbs in Oral Tradition and Literary Use
Finnish Proverbs in the Frame of the Emic–Etic Discussion
Changes in Contexts and Proverbs
Conclusions
13. Major Generic Forms of Dogri lok gathas
A Dynamic View of Genre
Dogri and the Jammu Region
Dogri lok gathas
Karak gathas [‘Sacred narrative songs’]
Bar gathas [‘Heroic gathas’]
Yogi gathas [‘Gathas of the Yogis’]
Pranya gathas [‘Love gathas’]
Chettri gathas or Dholru gathas and Bar saware (Secular Seasonal gathas)
Seasonal Ritual gathas (Gusten gathas)
Anjaliyas
Chijji
The Composition and Re-Composition of lok gathas
Karak gathas as Illustrative of the Traditional Structuring of lok gathas
The lok gatha Genre Debate
Dogri lok gathas and Folklore Research
Defining šala
What Is Humor, Actually?
So, What about the Ordinary šala?
But How Does the šala Function?
Retelling of šale
Conclusion
V The Politics of Meaning-Making
15. Genre as Ideology-Shaping Form
Form and Ideology: The Twelfth Parade
Form and Ideology: Local Character Anecdotes
Genre, Ideology, and Pascal’s Wager
16. The Use of Narrative Genres within Oral History Texts
Early Classification of Collection Campaign Texts in Finland
In the 1980s and 1990s: Still on the Margins of Folklore Studies
Since the 2000s: A Literate Branch of Oral History
Case Study: Interpreting the Aftermath of the Civil War of 1918
Individual Approaches to the Political Past
Closing Remarks
17. The Reputation of a Genre
Distinguishing Rumor
Early Rumor Research: Psychological Approach to the Study of Rumor
World War II and the Study of Rumor
Sociological Approaches to Rumor
Rumors, Plausibility, and Credibility
Context and Rumor
Forging a New Approach to Rumor
Conclusion
18. Textual Politics of the Interpretative Act
The Foundations of the Metaphysical Detective Story
The Quest for Genres
Reading as Guessing
The Quest and the Repetition
To Speak of the Reading…
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