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| O Género Literário - Norma e Transgressão | 190 Seite(n) |
The Literary Genre - Norm and Transgression
John Greenfield (ed . )
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| – from the 12 th to the 21 st centuries – produced in English, French, German and Portuguese, and on within defined norms, or the most long running discussions in the field . A brief review of the differing positions from Plato to Todorov shows different ontological, epistemological, aesthetic and methodological viewpoints of the question of genre, will discuss it from within their own very definitions) . Fully aware of these limitations, the members of the Porto University research group NEL – Núcleo de Estudos Literários, decided to look into the question of genre from their own often very different perspectives, in the hope that recent articles and monographs which are devoted to this subject are clear proof that, within the area of literary criticism, Introduction From their very beginning, critical studies in literature have focused on the question of genre . The number of the theoretical questions surrounding their production . It is clear, therefore, that the NEL researchers, while taking account of the research group is composed of internationally recognised scholars at the University of Porto whose critical interests centre on literary texts the critical debate, to reach definitive answers to this question (indeed, that it is probably impossible to find universally acceptable how wide ranging the opinions expressed on genre are – and how difficult it has been, within the confines of some new light might be shed on this problem if it were addressed in a multifaceted way . The NEL genre is still one of the most important, controversial and widely debated problems, and has led to one of the particular contexts; common to all NEL researchers, however, is the attempt to determine the degree to which literary genres function |
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| research institutions in Germany, Portugal, Spain and the United States, discussed the question of norm and transgression in the concept genre and its correlatives norm and transgression . She regards the question not only from the stand point of poetics, Modernity, through the common practice of quotation and ironic deconstruction, literary genres have been fused to such an extent that Literary Genre – Norm and Transgression, in which members of the group, as well as specially invited guest speakers from first contribution of this collection, by Celina Silva, gives a theoretical framework to the discussion, using as a starting point the NEL group organised a series of lectures in 2004 and 2005, and a Colloquium in June 2005, on The the critical positions of Jean Marie Schaeffer . Silva looks into the complexity inherent to the concept of the literary of genre, basing their analyses on the study of particular vectors within this scholarly debate, and using as a starting vi extent to which individual literary manifestations should rather be understood as transgressions from the norm . To this end, but goes on to discuss the mode in which literary history has treated the topic; Silva concludes that in Post of the literary genres has been on the criteria for their classification, a question which is analysed in the following in regard to acoustic perception, there are clear differences between these two medieval to classify the narrative modes of courtly romance and heroic epic poetry through the category of perception: he notes that, point some of the more recent positions in the current critical discussion . The present volume represents the texts of there are cases in which works are quite simply unclassifiable . Indeed, one of the central problems in the discussion the papers given at the Colloquium, as well as a selection of the lectures given by guest speakers . The article by John Greenfield . Greenfield focuses on the texts of the medieval period and argues that it is possible |
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| genre . Using one of Walther von der Vogelweide’s most famous poems, Fuchs Jolie discusses the principle of the love to discuss the impact of some of the modern readings, renditions and adaptations of Shakespeare’s works, questioning the extent to the flexibility of the text of the medieval love lyric . The flexible nature of the lyric genre is also Classical and Neo Classical periods (16 th and 18 th centuries) . In particular, Anastácio discusses three problems concerning the here classification is discussed in relation to the question of the order which verses and stanzas are given in lyric interpretations and subversions . Ribeiro concludes that the written word of Shakespeare’s text and the Fuchs Jolie gives not only a new interpretation to Walther’s text, but also gives important insights into our view of vii genres, as sounds which have a certain aesthetic literary objective in the romance are shown to be classified in rigidity of the lyric genre at this time . The two following contributions look into the discussion surrounding the dramatic manuscript writer, as the latter was forced to reconstruct the song (rather like the modern reader) . Through this analysis which our understanding of the original dramatic text is influenced by the impact of the ‘meteoric precipitation’ of these new lyric genre in these periods: a) the difference between the theoretical, normative texts on poetic production and the poetic practice itself; b) the importance of local and ‘imported’ traditions and c) the non rigid state of the lyric genre . a different way in heroic epic . Classification in medieval poetry is also the theme of Stephan Fuchs Jolie’s article: genre . Nuno Ribeiro questions the stability of the construction of genre in William Shakespeare, particularly in regard to its Anastácio demonstrates the extent to which modern critics need a more open minded approach to the question of the supposed poem’s construction (i . e . its basic grammar) as the achievement of the author, not the achievement of a the subject of Vanda Anastácio’s article: in her contribution, Anastácio discusses the problems inherent to lyric poetry in the Portuguese reception . Ribeiro notes the imprecision of the distribution of Shakespeare’s work between comedies, histories and tragedies; he goes on |
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| extent to which the historical novel can be seen as an autonomous genre in regard to its closest relation – viii created images of the different mises en scene complement and enrich each other . The article by Cristina Marinho . The three final contributions of this book discuss questions relating to the narrative genre . Fátima Marinho analyses the genres and of discourse is the subject of the contribution by Maria João Reynaud: here the author looks at this to the necessities which this reality demands of it . After having discussed a number of Portuguese historical novels of of structural importance often circulate without mention of the author’s name and convert comedy into farce; she concludes by demonstrating in the 18 th century, the dramatic translations into Portuguese of those works by Molière in which amorous melancholy is and what it is – between its sense and its sound . She then goes on to examine the work reaches its climax (the prose being ‘decanted’ from version to version) in the search for the synthesis of all genres of Raul Brandão, a work characterised by its discursive hybridism, and demonstrates that in Brandão’s Humus the sense of composition the modulation of genre in his comedies, particularly in view of the role played by melancholy . Marinho shows that, question from a different perspective, using a corpus from the late 19 th and early 20 th centuries . Reynaud’s normalisation, the concept of genre is intimately linked to the cultural reality which underlies it, since it attempts to respond then looks at the reception of another great author of the dramatic genre, Molière, in Portugal, with special regard to the novel tout court : Marinho’s starting point is the understanding that, despite all attempts at a systemisation and a starting point is Paul Valéry’s contention that the power of verse resides in the indefinable harmony between what it says the 19 th and 20 th centuries, Marinho concludes that it is not fundamental to reach a homogenous classifi the hybrid nature of the dramatic genre and sub genres at the time . The hybrid nature of the literary |
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| This collection of essays represents the first number in a series of volumes, entitled ‘Studies in Literature’, edited by NEL a process of narrative expansion from the short story to the novel – indeed, to various novels; the author’s work in conjunction with the Martin Meidenbauer Verlag, Munich . One of the objectives of the research council Fundação para a ix cation of this sub genre, but rather to analyse the way in which the writing gives structure to that performative determinations, correlated with certain content based semantic designs; Brandt argues that within such genres a fiction achieves its format, Ciência e a Tecnologia (FCT) is that the results of Portuguese researchers be internationalised, i . e . published outside Portugal . The organisers of these volumes hope that the publication of this series, with contributions in Portuguese and other of the frontiers which only artificially separate different narrative genres . Reis concludes that in Saramago’s own work, we witness which is real . In the last article to deal specifically with Portuguese literature, Carlos Reis analyses the shift from thereby allowing listeners and readers to know when to start interpreting: each genre thus develops its own narrative semantics . one sub genre to another – from the short story to the novel – in the Nobel laureate José Saramago’s discourse are enunciation based pragmatic designs . Through a number of examples he demonstrates how they are equipped with functional thereby becomes an organic whole and it is in the context of this process that Saramago – through a superior work . After having discussed Saramago’s narrative and theoretical works, Reis notes how the author himself refers to the porosity artistic intervention and in the search for the fundamental order which has been lost – reaches an almost conclusive and global form . In the final contribution of the volume, Per Aage Brandt discusses the extent to which genres in |
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| Universidade do Porto 1 FCT Project POCTI SFA 18 754 to this ‘joint venture’; naturally, we are also grateful to the Fundação para a Ciência e a Tecnologia (FCT) 1 for the generous financial support which has made this series of publications possible . John Greenfield Núcleo de Estudos Literários, go to the Martin Meidenbauer Verlagsbuchhandlung, Munich – and in particular to Dr . Jörg Meidenbauer – for having agreed x major languages, will enable the researchers of the NEL group to reach a wider critical audience . Our thanks |
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