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Genre (Los Angeles, Calif.) Pub Date : 2021-12-01 DOI: 10.1215/00166928-9407610

James Zeigler

引用次数: 0

Modern Sentimentalism: Affect, Irony, and Female Authorship in Interwar America 现代感伤主义:两次世界大战之间美国的情感、讽刺与女性作家

Genre (Los Angeles, Calif.) Pub Date : 2021-12-01 DOI: 10.1215/00166928-9417662

Marta Figlerowicz

引用次数: 6

Spectral Characters: Genre and Materiality on the Modern Stage 光谱特征:现代舞台上的体裁与物质性

Genre (Los Angeles, Calif.) Pub Date : 2021-12-01 DOI: 10.1215/00166928-9417649

Julia Jarcho

{"title":"Spectral Characters: Genre and Materiality on the Modern Stage","authors":"Julia Jarcho","doi":"10.1215/00166928-9417649","DOIUrl":"https://doi.org/10.1215/00166928-9417649","url":null,"abstract":"Sarah Balkin’s Spectral Characters: Genre and Materiality on the Modern Stage is a noteworthy addition to works emphasizing ghostliness, material presence, and genre connections between nineteenth-century melodrama and the modern dramatic repertory. The book follows along similar lines as Marvin Carlson’s The Haunted Stage, Alice Rayner’s Ghosts: Death’s Double and the Phenomena of Theatre, Andrew Sofer’s Dark Matter: Invisibility in Drama, Theater, and Performance, and other books partaking in issues related to ipseity—how dramatic characters are susceptible to other people, the haunted past, and material things onstage—and also explores the reconfiguration of identity as it pertains to language and genre formation. Balkin analyzes the “apparent deadness of characters whose selves are made of other people, whose thoughts become exteriorized communication technologies, and whose bodies merge with walls and furniture” (3). As a consequence, the qualities of dramatic characters “mark a new relationship between the material and the imaginary in modern theater” (3). Balkin’s introductory chapter explores the rise of Gothic melodrama and the occult during the late nineteenth century. Scenography and dramaturgy in notable plays such as J. R. Planché’s The Vampire, Dion Boucicault’s The Corsican Brothers, and Leopold David Lewis’s The Bells influenced the three luminaries of modern drama: Ibsen, Wilde, Strindberg. These nineteenth-century plays and their stage technology, Balkin contends, “make visible what we might call the ‘material occult,’ a concept that emphasizes the materiality of supernatural and imaginary forces on the modern stage” (16). Balkin’s next four chapters examine those three playwrights (especially Strindberg), concluding with a final chapter on Jean Genet, Arthur Kopit, and Samuel Beckett—dramatists representing late modernist authors who “reinforce continuities among realism and modernism via shared bodies, dead matter, and generic hauntings” (25).","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"19 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80502377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

“I Like to Remember Things My Own Way”: Metaleptic Nostalgia in the Neo-noir Cinema of David Lynch “我喜欢用我自己的方式记住事情”:大卫·林奇新黑色电影中的元感性怀旧

Genre (Los Angeles, Calif.) Pub Date : 2021-12-01 DOI: 10.1215/00166928-9407597

E. Cameron

{"title":"“I Like to Remember Things My Own Way”: Metaleptic Nostalgia in the Neo-noir Cinema of David Lynch","authors":"E. Cameron","doi":"10.1215/00166928-9407597","DOIUrl":"https://doi.org/10.1215/00166928-9407597","url":null,"abstract":"This essay focuses on the possibility of articulating a form of nostalgia in film not tied to an opposition to irony. It concentrates on the neo-noir cinema of David Lynch precisely because he is a master of balancing nostalgic sincerity and postclassical irony within the same film. Therefore, the essay argues that the films of David Lynch present the viewer with a way out of the postmodern deadlock where nostalgia remains less radical than irony. To make this argument, the essay utilizes Giambattista Vico's notion of the ricorso from book 5 of The New Science in order to situate Lynch's unique position within the history of film noir as a genre. Vico's poetic developmental scheme, which relies on the “four master tropes” (metaphor, metonymy, synecdoche, and irony), is adapted to the historical evolution of film noir as a genre. The essay then translates Vico's ricorso into a fifth master trope, metalepsis, and connects Lynch's form of postnostalgic uncanny (and Vico's ricorso) to metalepsis (in both the tropological and narrative sense) to show how Lynch moves neo-noir beyond the structure of irony without flirting with the new sincerity or metamodernism.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89088384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Marxism and Deconstruction: Symposium at the Conference on Contemporary Genre Theory and the Yale School, 1 June 1984 《马克思主义与解构:当代体裁理论与耶鲁学派研讨会》，1984年6月1日

Genre (Los Angeles, Calif.) Pub Date : 2021-12-01 DOI: 10.1215/00166928-9664319

Barbara Johnson, Louis H. Mackey, J. Miller, J. Springer, Elizabeth McLemore

引用次数: 0

“An Indigenous Sovereignty of the Imagination”: Reenvisioning the Great Australian Novel in Alexis Wright's Carpenteria “想象的本土主权”:在亚历克西斯·赖特的《木匠》中重新构想伟大的澳大利亚小说

Genre (Los Angeles, Calif.) Pub Date : 2021-07-01 DOI: 10.1215/00166928-9263065

Liz Shek-Noble

{"title":"“An Indigenous Sovereignty of the Imagination”: Reenvisioning the Great Australian Novel in Alexis Wright's Carpenteria","authors":"Liz Shek-Noble","doi":"10.1215/00166928-9263065","DOIUrl":"https://doi.org/10.1215/00166928-9263065","url":null,"abstract":"Alexis Wright's second novel, Carpentaria, received critical acclaim upon its publication by Giramondo in 2006. As the recipient of the Miles Franklin Literary Award in 2007, Carpentaria cemented Wright's position as the country's foremost Indigenous novelist. This article places Carpentaria within contemporary discussions of “big, ambitious novels” by contemporary women novelists by examining the ways the novel simultaneously invites and resists its inclusion into an established canon of “great Australian novels” (GANs). While critics have been quick to celebrate the formal innovations of Carpentaria as what makes it worthy of GAN status, the novel nevertheless opposes the integrationist and homogenizing myths that accompany canonization. Therefore, the article finds that Wright's vision of a future Australia involves moments of antagonism and mutual understanding between white settler and Indigenous communities. This article uses the work of Homi Bhabha to argue that Carpentaria demonstrates the emergence of a third space wherein negotiation between these two cultures produces knowledge that is “new, neither the one nor the other.” In so doing, Wright shows the resilience of Indigenous knowledge even as it is subject to transformation upon contact with contradictory ideological and epistemological frameworks.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"13 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81957115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Telling Stories That Never End: Valeria Luiselli, the Refugee Crisis at the US-Mexico Border, and the Big, Ambitious Archival Novel 讲述永不结束的故事:瓦莱里娅·路易斯利，美墨边境的难民危机，以及雄心勃勃的大型档案小说

Genre (Los Angeles, Calif.) Pub Date : 2021-07-01 DOI: 10.1215/00166928-9263052

V. Román

{"title":"Telling Stories That Never End: Valeria Luiselli, the Refugee Crisis at the US-Mexico Border, and the Big, Ambitious Archival Novel","authors":"V. Román","doi":"10.1215/00166928-9263052","DOIUrl":"https://doi.org/10.1215/00166928-9263052","url":null,"abstract":"This essay argues that Valeria Luiselli's Lost Children Archive (2019) experiments with literary techniques often associated with the “big, ambitious novel” to represent the pervasive problems created by US racial construction. More specifically, it contends that Luiselli's novel evokes the archive in its fragmentation, recombinant organization, and narrative multiplicity as a means for demonstrating the complexity and relentlessness of the refugee crisis and the constructions of Latinx difference that develop alongside it. Creating a recursive, referential narrative form, Lost Children Archive highlights the absences of refugee voices, attends to the histories of violence that have led to their disappearance, and refuses to posit an answer to how the story of the crisis ends. This analysis reroutes theories of the big, ambitious novel through discussions of archival recovery, immigrant maximalism, and historical revision developed in feminist and critical race theory, and suggests that big, ambitious novel strategies like polyphony, fragmentation, and centripetal connectivity are the provenance of women and people of color at least as much as they are the domain of the white men often associated with the form.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90930715","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 3

Dynamic Form: How Intermediality Made Modernism 动态形式:中间性如何造就现代主义

Genre (Los Angeles, Calif.) Pub Date : 2021-07-01 DOI: 10.1215/00166928-9263144

L. Hornby

引用次数: 2

Paper Monsters: Persona and Literary Culture in Elizabethan England 《纸怪:伊丽莎白时代英国的人物角色与文学文化》

Genre (Los Angeles, Calif.) Pub Date : 2021-07-01 DOI: 10.1215/00166928-9263131

J. Werlin

引用次数: 0

Madeleine Thien's Chinese Encyclopedia: Facts, Musics, Sympathies 田德琳的中文百科全书:事实，音乐，同情

Genre (Los Angeles, Calif.) Pub Date : 2021-07-01 DOI: 10.1215/00166928-9263078

I. Delazari

{"title":"Madeleine Thien's Chinese Encyclopedia: Facts, Musics, Sympathies","authors":"I. Delazari","doi":"10.1215/00166928-9263078","DOIUrl":"https://doi.org/10.1215/00166928-9263078","url":null,"abstract":"This article explores the “encyclopedic” properties of Madeleine Thien's Do Not Say We Have Nothing (2016), seeking to define the novel as inherently comparative—that is, providing, in Edward Said's words, “a comparative or, better, a contrapuntal perspective” on the world with no need for a second counterpart text to draw cross-literary parallels. Written from a transpacific narratorial stance of a millennial Vancouver-based daughter of Chinese immigrants, the narrative communicates her secondhand knowledge about the traumatic twentieth-century history of the People's Republic of China, accumulated in multiple alternating substories of ordinary individuals’ “practical past” as opposed to official historiography. The article likens Thien's patchwork storytelling to Jorge Luis Borges's apocryphal “Chinese” encyclopedia and novel, to the premodern equation between language and reality discussed in Michel Foucault's “archaeology of knowledge,” to classical Chinese novels as described by Goethe and Franco Moretti, and to J. S. Bach's polyphonic layout of the Goldberg Variations. Constructing sympathetic networks of music and literature, Do Not Say We Have Nothing facilitates readerly immersion, yet its fictional storyworld may not feel universally plausible. Sharing its writer's experience of teaching Thien in Hong Kong, the article suggests that a critique of the novel's Western, nearly Orientalist standpoint with respect to sensitive issues of recent Chinese history does not dismiss the contrapuntal outlook Thien's readers are invited to adopt beyond their experiential backgrounds. Reading Thien, one learns to hear the world's polyphony. That, and not a comprehensive multitude of facts summarizing a national mentality and coherent knowledge about the world, makes Do Not Say We Have Nothing encyclopedic.","PeriodicalId":84799,"journal":{"name":"Genre (Los Angeles, Calif.)","volume":"91 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75966085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1