"An important contribution to contemporary jurisprudential debate and to legal thought more generally, Just Interpretations is far ahead of currently available work."--Peter Goodrich, author of Oedipus Lex "I was struck repeatedly by the clarity of expression throughout the book. Rosenfeld's description and criticism of the recent work of leading thinkers distinguishes his work within the legal theory genre. Furthermore, his own theory is quite original and provocative."--Aviam Soifer, author of Law and the Company We Keep.

This chapter explores the rather striking manner in which at key moments in the history of philosophy, in the discipline’s attempts at self-definition, the genre or literary form of poetry plays a key role. Philosophy, at these moments, has been defined, inter alia, as the enemy of poetry, the guiding light for the philosopher who can only try and inevitably fail to emulate its brilliance, or as the anomalous guest at the philosophical table with whom the host discipline has (...) relations which result in either generative or degenerative effects. Insofar as it lays claim to or liaises with philosophy – as we have come to know it today – poetry has thus played a part in the self-definition of genre theory. The aim of this chapter is to capture a very specific set of transfers, transpositions, metonymies and other modes of reversible relations of substitution and surrogacy between philosophy and poetry, and along the way between genre-theory-as-philosophy and poetry. (shrink)

This chapter explores the rather striking manner in which at key moments in the history of philosophy, in the discipline’s attempts at self-definition, the genre or literary form of poetry plays a key role. Philosophy, at these moments, has been defined, inter alia, as the enemy of poetry, the guiding light for the philosopher who can only try and inevitably fail to emulate its brilliance, or as the anomalous guest at the philosophical table with whom the host discipline has (...) relations which result in either generative or degenerative effects. Insofar as it lays claim to or liaises with philosophy – as we have come to know it today – poetry has thus played a part in the self-definition of genre theory. The aim of this chapter is to capture a very specific set of transfers, transpositions, metonymies and other modes of reversible relations of substitution and surrogacy between philosophy and poetry, and along the way between genre-theory-as-philosophy and poetry. (shrink)

This book puts a creative new reading of Hans-Georg Gadamer's philosophical hermeneutics and literary genre theory to work on the problem of Scripture. Reading texts as Scripture brings two hermeneutical assumptions into tension: that the text will continually say something new and relevant into the present situation, and that the text has stability and authority over readers. Given how contested the Bible's meaning is, how is it possible to 'read Scripture' as authoritative and relevant? Rather than anchor meaning (...) in author, text or reader, Gadamer's phenomenological model of hermeneutical experience as Spiel ('play') offers a dynamic, intersubjective account of how understanding happens, avoiding the dead end of the subjective-objective dichotomy. Modern genre theory addresses some of the criticisms of Gadamer, accounting for the different roles played by readers in different genres using the new term Lesespiel ('reading game'). This is tested in three case studies of contested texts: the recontextualization of psalms in the book of Acts, the use of Hagar's story (Genesis 16) in nineteenth-century debates over slavery and the troubling reception history of the rape and murder in Gibeah (Judges 19). In each study, the application of ancient text to contemporary situation is neither arbitrary, nor slavishly bound to tradition, but playful. (shrink)

Affect Theory, Genre, and the Example of Tragedy employs Silvan Tomkins' Affect-Script theory of human psychology to explore the largely unacknowledged emotions of disgust and shame in tragedy. The book begins with an overview of Tomkins' relationship to both traditional psychoanalysis and theories of human motivation and emotion, before considering tragedy via case studies of Oedipus, Hamlet, and Death of a Salesman. Aligning Affect-Script theory with literary genre studies, this text explores what motivates fictional characters (...) within the closed conditions of their imagined worlds and how we as an audience relate to and understand fictional characters as motivated humans. (shrink)

Le Yaoundé PhD Seminar-Theories of Justice est un séminaire international et pluridisciplinaire qui se tient depuis 2012 à Yaoundé. Il réunit des professeurs et des doctorants africains et non africains ainsi que des professionnels et des représentants de la société civile autour de questions de justice sociale et de politique publique. À l'initiative de doctorants africains et non africains, il a été mis en place conjointement par la Chaire Hoover de l'Université catholique de Louvain et par le Centre d’études et (...) de recherches sur la justice sociale et politique de l’Université catholique d’Afrique centrale dans le but de bâtir une véritable solidarité entre le Nord et le Sud dans le domaine de la formation académique et de la recherche. The Yaoundé PhD Seminar-Theories of Justice is an international and multidisciplinary seminar which is held since 2012 in Yaoundé. It brings together teachers and African and non-African doctoral students as well as professionals and representatives of civil society around issues of social justice and public policy. At the initiative of African and non-African students, it has been implemented jointly by the Hoover Chair of the Catholic University of Louvain and the Centre of studies and research on social justice and political of the Catholic University of Central Africa in order to build a genuine solidarity between the North and the South in the field of academic training and research. (shrink)

Providing an alternative to pyschoanalytically based descriptions, this major study presents a unique, new theoretical account of the way emotions and thought patterns interact in creating aesthetic effects in films. Using diverse examples, Torben Grodal shows how films activate effects in the viewer and how these effects are moulded by genres which determine the way in which characters will react in given situations.

If science fiction is a genre, then attempts to think about the nature of science fiction will be affected by one’s understanding of what genres are. I shall examine two approaches to genre, one dominant but inadequate, the other better, but only occasionally making itself seen. I shall then discuss several important, interrelated issues, focusing particularly on science fiction : what it is for a work to belong to a genre, the semantics of genre names, the (...) validity of attempts to define genres, and the connections between genre and normativity. One important but neglected clue to the nature of genres lies in the kinds of disagreements they generate over the assignment of works to genres. I conclude by explaining why these disagreements tell us something about the nature of genres, and discussing in some detail two famous cases of disagreement about whether some work or works are science fiction. (shrink)

The aim of this paper is to interpret systematically M. M. Bakhtin’s views on genre. Although Aristotle was the first philosopher—and one of the first thinkers in general who focused on the issues of artistic and rhetorical genres, philosophy as such did not treat these issues for a considerably long time. One of the first philosophers who approached the genre issue within the larger context of the philosophy of language was Mikhail M. Bakhtin, a Russian philosopher and a (...) literary scholar. As early as the 1920s he founded philosophical thinking on the so-called small speech genres, which later served as the basis for a remarkable theory of primary and secondary genres. Bakhtin is a world renowned theoretician on the novel, but his genre theory is nevertheless very topical, too, since it relates to issues focused on by philosophers much later. (shrink)

Literary genre theory and rhetorical genre theory have stopped speaking to each other. Outside the lively trading station named Bakhtin, exchanges between the two fields are rare. Even though literary scholarship has turned from questions of genre identification to broader examinations of relations among genres, and rhetorical genre theory has focused not only on the social functioning of genres but also on their identifying features, each critical practice is cut off from the resources (...) of the other. It is possible to read very widely in genre theory without encountering a single cross-citation.This article argues that both rhetorical and literary genre theory are constrained by a controlling metaphor of .. (shrink)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of embodiment. (...) Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

This article examines genre as knowledge organization. Genres are fluid and historically changing categories, and there are different views about the scope and membership of specific genres. The literature generally agrees that genre is a matter of discrimination and taxonomy, and that it is concerned with organising things into recognisable classes, existing as part of the relationship between texts and readers. Genre can be thought of as a sorting mechanism, and genres are not only a matter of (...) codes and conventions but also call into play systems of use and social institutions. This article explores the history of genre analysis across a broad range of disciplines, including literary studies, rhetorical and social action studies, and English for academic and professional purposes. It considers genre theory as a framework for librarianship and knowledge organization and explores the use of genre within librarianship and knowledge organization. Finally, the article discusses the Library of Congress Genre/forms Terms for Library and Archival Materials which, itself an evolving and changing standard, offers a step towards standardisation regarding genre terms and the scope of genre categories. (shrink)

Edward S. Small _Direct Theory: Experimental Film/Video as Major Genre_ Carbondale and Edwardsville: Southern Illinois University Press, 1994 ISBN 0-8093-1920-9 122 pp.

This study investigates the cognitive-pragmatic motivations for the emergence of a genre of health communication called Patient Decision Aid. It elucidates genre as struggle, i.e. how the emerging genre exemplifies various struggles on three strata: the difficulties facing patients, doctors, and health providers at practice level; the changes anticipated to take place at discourse level; and the tensions in the pragmatics-cognition-society nexus. Particularly illustrated here are five struggles that characterize changes or breakthroughs that PDAs are anticipated to (...) make. It suggests that the five struggles roughly correspond to five principles for genre theory proposed by Berkenkotter and Huckin, with some modification of the latter. It also illustrates that genre intervenes in the complexity between social issues and social cognition and that PDAs as a new genre involve restructuring, reshaping and redesigning the key discourse facets. Based on examples of Chinese-language PDAs officially released in Taiwan and on information from health professionals, policy makers, and PDA developers, this study contributes empirical evidence toward a better understanding of an emerging genre. (shrink)

For sociologists, interpretations of cultural objects, whether grouped into genres or taken individually, are intermediate steps toward understanding more fully the contexts in which they are produced. This does not deny the satisfaction implicit in grasping the significance of aspects of objects themselves; I hope that the analysis I have presented lends viewing the Sangatsu-dō sculptures a degree of comprehension, and pleasure, not present before. The ultimate test, however, and the justification for undertaking any sociological examination of cultural objects, is (...) the usefulness of the resulting account in confirming or rejecting ideas about the social conditions surrounding their production. The important question in judging the appropriateness of examining individual objects is therefore not whether sociologists (as opposed, for example, to art historians) ought to concern themselves with such analysis; it is whether such analyses increase the ability of objects to serve as evidence in investigations of interesting social phenomena. My goal is not therefore to supplant generic analysis with a focus on individual objects: it is as possible to fetishize the study of the object as it is to ignore its potential. In fact, it is most useful to see the two approaches as complementary, making possible fuller analyses than each can enable separately. We would do well to take more seriously the benefits of locating objects in the contexts in which people deal with them most commonly: as distinct elements in more inclusive fields, in which meaning and appeal are closely tied to difference. (shrink)

Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused (...) on capturing all of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with far too many genres because they call a wide class of mere categories of art genres. I call this the problem of genre explosion. In this paper, I survey the existing accounts of genre and describe the kinds of considerations they employ in determining whether a work is a work of a given genre. After this, I demonstrate the ways in which the problem of genre explosion arises for all of these theories and discuss some solutions those theories could adopt that will ultimately not work. Finally, I argue that the problem of genre explosion is best solved by adopting a social view of genres, which can capture the difference between genres and mere categories of art. (shrink)

The paper takes as its point of departure a more modern, pragmatics-based concept of “genre” at the base of which is the a notion of a social activity in a specific configuration or actional purpose, with use of language embedded in and determined by these pragmatic, language-external vectors. Such a concept lends itself more easily to a conceptualization of a complex social action like mobbing as a unitary, coordinated activity, with all component actions steered by a joined overarching goal. (...) Testing the notion of “genre” on such a complex borderline case will at the same time bring out both defining structural properties of mobbing actions and the theoretical issues incumbent on the notion of “genre”, especially how far the concept can be stretched to cover complex, multimedial social actions. (shrink)

In the present paper I sketch three genres of sociology of knowledge and trace their roots to Marx and Marxist literature while reconstructing two causal and one hermeneutic strand in this context. While so doing the main focus is set on György Lukács and György Márkus and their interpretation of Marx’s contribution to sociologically minded theories of knowledge. As a conclusion I point out that Marx-inspired sociologies of knowledge are more sensitive to the relation of larger-scale social and historical processes (...) than to the actual practices of knowledge production, and that recent developments in science studies tend to integrate larger- and smaller-scale sociological sensitivities. (shrink)

Standard theories define fiction in terms of an invited response of imagining or make-believe. I argue that these theories are not only subject to numerous counterexamples, they also fail to explain why classification matters to our understanding and evaluation of works of fiction as well as non-fiction. I propose instead that we construe fiction and non-fiction as genres: categories whose membership is determined by a cluster of nonessential criteria, and which play a role in the appreciation of particular works. I (...) claim that this proposal captures the intuitions motivating alternative theories of fiction. (shrink)

Genre theory, as it has developed in the last forty years, has made use of what I call a constitutive concept of genre, a concept that has built into it the assumption that genre plays a central epistemic role in the interpretation of verbal discourse. In this paper I argue that there are theoretical problems with such a concept that have not been recognized and that make it unsuitable as a critical instrument in literary history and (...) literary studies. A fruitful concept of literary genre needs to be pragmatic with only a heuristic and not an epistemic function. As an example, the article looks at the criticism produced in connection with the picaresque novel and in particular at the account given of the origin of the genre, an account that could not have been given if one had employed a constitutive concept of genre. (shrink)

Like most topics in aesthetics, that of genre is far from simple and for the literary critic has an uninviting air. The questions which arise from its consideration fall under two heads: first, what is a genre? and second, what does it contribute to our understanding of a work of art that we can describe it as belonging to this or that genre? A clear answer to either of these questions is not readily forthcoming: the literary critic (...) who is content to be a critic here very properly hesitates where the philosopher is perhaps inclined to go further. If he does so he will find that the two primary questions about genre have many ramifications, some of which may be suggested by a quotation from René Wellek and Austin Warren's book, Theory of Literature . They ask one question about genre and then re-phrase it: but as they re-phrase their original question it is quite transformed. (shrink)

Why are bookstore shelves filled with mysteries, horror stories, romances, Westerns and other genre fiction? Why should one spend time reading narratives that are so similar? Why, for that matter, should one write works that are so similar to those of other authors? One philosopher, Noel Carroll, in fact, refers to the phenomenon as the ?paradox of junk fiction?. Are there works in political theory as well that share characteristics with these genres? And is there also a paradox (...) involved among both these readers and authors? This essay reviews both the criticisms and defenses of popular generic texts focusing on arguments that defend the complexity of genre texts and those that deny the distinction between generic works and others. Utopias are identified as counterparts in political theory and are applied to this genre debate. I conclude by revising the genre paradox. (shrink)

Genres inform our appreciative practices. What it takes for a work to be a good work of comedy is different than what it takes for a work to be a good work of horror, and a failure to recognize this will lead to a failure to appreciate comedies or works of horror particularly well. Likewise, it is not uncommon to hear people say that a film or novel is a good work, but not a good work of x (where x (...) is the genre of that work). A work can be good all things considered, but genre membership provides us with an additional set of evaluative criteria over and above those of the medium, which colors how we interpret and appreciate the work. Given this importance, it is not surprising that philosophers of art have been interested in providing an account of what, exactly, a genre is. Despite this interest, there is not widespread agreement about what it takes for something to be a genre, nor what kinds of considerations are relevant in determining whether a work is a member of that genre. Beyond this, we might also want to know to what degree we ought to consider genre in evaluating a work of art and why it should matter at all. Here, I explore the variety of recent theories that philosophers have taken up on the topic of genre and why we should ultimately think of genres as artistic practices rather than the alternatives. (shrink)