Parody, Popular Culture, and the Narrative of Javier Tomeo
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English Extension I
ENGLISH EXTENSION I Crime Genre Essay: “Genre sets a framework of conventions. How useful is it to understand texts in terms of genre? Are texts more engaging when they conform to the conventions, or when they challenge and play with conventions?” “Genres offer an important way of framing texts which assists comprehension. Genre knowledge orientates competent readers of the genre towards appropriate attitudes, assumptions and expectations about a text which are useful in making sense of it. Indeed, one way of defining genre is as a ‘set of expectations.’” (Neale, 1980) The crime fiction genre, which began during the Victorian Era, has adapted over time to fit societal expectations, changing as manner of engaging an audience. Victorian text The Manor House Mystery by J.S. Fletcher may be classified as an archetypal crime fiction text, conforming to conventions whilst The Skull beneath the Skin by P.D. James, The Real Inspector Hound by Tom Stoppard and Capote directed by Bennet Miller challenge and subvert conventions. The altering of conventions is an engaging element of modern crime fiction, and has somewhat, become a convention itself. Genre, Roland Barthes argues, is “a set of constitutive conventions and codes, altering from age to age, but shared by a kind of implicit contract between writer and reader” thus meaning it is “ultimately an abstract conception rather than something that exists empirically in the world.”(Jane Feuer, 1992) The classification of literary works is shaped – and shapes – culture, attitude and societal influence. The crime fiction genre evolved following the Industrial Revolution when anxiety grew within the expanding cities about the frequency of criminal activity. -
PHILOSOPHIES of CRIME FICTION by JOSEF HOFFMANN Translated by Carolyn Kelly, Nadia Majid & Johanna Da Rocha Abreu NEW TITLE
PHILOSOPHIES OF CRIME FICTION BY JOSEF HOFFMANN Translated By Carolyn Kelly, Nadia Majid & Johanna da Rocha Abreu NEW TITLE MARKETING: A groundbreaking book from an internationally respected writer/academic th Pub. date: 25 July 2013 who has a deep and unique expertise on crime fiction Price: £16.99 Hoffmann references a who’s who of top crime writers – Conan Doyle, ISBN13: 978-1-84344-139-7 Chesterton, Hammett, Camus, Borges, Christie, Chandler, Lewis Binding: Paperback Provides an utterly fresh understanding of the philosophical ideas which Format: Royal(234 x 156mm) underpin crime fiction Extent: 192pp Shows how the insights supplied by great crime writers enable key Rights: World philosophical ideas to be appreciated by a wide audience Market Confirms how much more accessible are crime writers than their philosophical None Restrictions: counterparts – and successful at putting across tenets of philosophy Philosophy / Literary Market: A book for students of philosophy of all ages – and for all crime fiction Theory / Crime Fiction devotees BIC code: HPX / DSA /FF MARKET: Rpt. Code: NP Popular philosophy, Literary Theory, Crime Fiction DESCRIPTION: 'More wisdom is contained in the best crime fiction than in conventional philosophical essays' - Wittgenstein For a review copy, to arrange an author Philosophies of Crime Fiction provides a considered analysis of the philosophical ideas interview or for further information, to be found in crime literature - both hidden and explicit. Josef Hoffmann ranges please contact: Alexandra Bolton expertly across influences and inspirations in crime writing with a stellar cast including +44 (0) 1582 766 348 Conan Doyle, G K Chesterton, Dashiell Hammett, Albert Camus, Borges, Agatha +44 (0) 7824 646 881 Christie, Raymond Chandler and Ted Lewis. -
Crime Fiction
Between the Lines Name: Secondary 2 Unit 5: Espionage Enrichment Date: Group: Crime Fiction Before Reading . Which TV programs or movies about crime do you like to watch? . What do you like or dislike about crime fiction? . Why do you think most people like crime stories? Crime fiction is an extremely popular literary While Reading genre, one that is often transformed into TV Activate prior knowledge shows or movies. These stories are often about . Think of novels, TV, movies, etc. the investigation of a crime and its motives. How many fictional detectives Crime fiction has many subgenres, such as or spies can you name? . Who is your favourite detective detective and spy novels, courtroom dramas, or spy? suspense and mystery. Crime fiction seems . Name any subgenres in crime modern only because the stories are never static; fiction you know. they change with the conventions of the times. Who was the first literary detective? . Who is your favourite crime writer? Authors of crime fiction or other genres sometimes Why? write novels and short stories very quickly in order to keep income flowing, or “to keep the pot boiling.” Called “potboilers,” they are not usually very successful, but on occasion they may wind up on the best-seller list or be made into movies that become blockbusters. The stories may contain violence, which is often directed against a spy or detective. There’s often a femme fatale who attempts to help or distracts the detective from his work. Crime fiction is known for its fascinating stories. Novels that tell stories that are so exciting that it is difficult to stop reading them are called page-turners. -
Murder by the Book: Using Crime Fiction As a Bibliotherapeutic Resource
Title: Murder by the book: using crime fiction as a bibliotherapeutic resource Author: Liz Brewster Postal address: Lancaster Medical School, Faculty of Health and Medicine, Lancaster University, Lancaster, LA1 4YW, UK. Email: [email protected] Telephone: 015245 95018 Keywords: reading, mental health, well-being, creative therapies, literature, crime fiction Word count: 5311 Acknowledgments: The author thanks the participants in this research and Dr Barbara Sen and Dr Andrew Cox, Information School, University of Sheffield as PhD supervisors. Competing interests: None declared. Ethics approval: University of Sheffield Research Ethics Committee Funding: The original study was funded by a University of Sheffield PhD studentship 1 Murder by the book: using crime fiction as a bibliotherapeutic resource ABSTRACT Crime is a popular genre of fiction, widely read but sometimes seen as ‘throw-away’. Disregarding this type of fiction because it is seen as low-quality does not take into account its value to readers. Reading has been established as a means of improving mental health and well-being – often known as bibliotherapy. This often focuses on fiction considered to have literary merit rather than genre fiction like crime. However, in framing therapeutic reading in this way, the impact of texts considered to have low cultural value such as crime has been concealed. Examining reader responses as a starting point identifies some reasons why crime fiction fulfils a need. Readers in an empirical study spoke about the strong narrative as a distraction, the predictability as a comfort and the safe distance from events as a reassurance that left them feeling that reading crime fiction was a refuge from the world. -
Translating a Tiger: Indonesian 'Crime Fiction'
INTERNATIONAL JOURNAL OF INDONESIAN STUDIES SPECIAL ISSUE: SOUTHEAST ASIAN NOIR Translating a Tiger: Indonesian ‘Crime Fiction’ in International Literary Circuits Meghan Downes Biodata: Meghan Downes recently completed a postdoctoral research fellowship at the National University of Singapore’s Asia Research Institute, after receiving her Doctorate from the Australian National University. She is the recipient of two Australian government Endeavour Awards for her research on contemporary Indonesian film, literature, media, and the politics of popular culture. Her publications include ‘Who wants to be a (Muslim) Millionaire?’ in the collected volume Contemporary Culture and Media in Asia (edited by D. Black, O. Khoo and K. Iwabuchi), ‘Hybridities and Deep Histories in Indonesian Wayang Manga Comics,’ in the journal Situations, and ‘Critical Pleasures: Reflections on the Indonesian Horror Genre and its Anti-Fans’ in the journal Plaridel. [email protected] Abstract In 2015, Indonesian author Eka Kurniawan achieved huge critical success in the English-speaking world with his translated novels Beauty is a Wound and Man Tiger. Man Tiger has been described in the international media as a novel that both deploys and subverts many classic tropes of the crime genre, with a distinctly Indonesian twist. Originally published in Indonesian language more than a decade earlier in 2004, Lelaki Harimau did not initially achieve huge critical acclaim or attention locally. In this paper, I examine Eka Kurniawan’s rise to literary prominence, the labelling of his novel as crime fiction, as well as the power relations involved in the processes of translation, global distribution, and international reception, that have impacted upon his local reputation. -
James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series Editors
THEORY AND INTERPRETATION OF NARRATIVE James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series Editors Narrative Theory Core Concepts and Critical Debates DAVID HERMAN JAMES PHELAN PETER J. RABINOWITZ BRIAN RICHARDSON ROBYN WARHOL THE OHIO STATE UNIVERSITY PRESS | COLUMBUS Copyright © 2012 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Narrative theory : core concepts and critical debates / David Herman ... [et al.]. p. cm. — (Theory and interpretation of narrative) Includes bibliographical references and index. ISBN 978-0-8142-5184-3 (pbk. : alk. paper) — ISBN 0-8142-5184-6 (pbk. : alk. paper) — ISBN 978-0-8142-1186-1 (cloth : alk. paper) — ISBN 0-8142-1186-0 (cloth : alk. paper) — ISBN 978- 0-8142-9285-3 (cd-rom) 1. Narration (Rhetoric) I. Herman, David, 1962– II. Series: Theory and interpretation of nar- rative series. PN212.N379 2012 808.036—dc23 2011049224 Cover design by James Baumann Text design by Juliet Williams Type set in Adobe Minion Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materi- als. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Preface ix Acknowledgments xiii Part One Perspectives: Rhetorical, Feminist, Mind-Oriented, Antimimetic 1. Introduction: The Approaches Narrative as Rhetoric JAMES PHElan and PETER J. Rabinowitz 3 A Feminist Approach to Narrative RobYN Warhol 9 Exploring the Nexus of Narrative and Mind DAVID HErman 14 Antimimetic, Unnatural, and Postmodern Narrative Theory Brian Richardson 20 2. Authors, Narrators, Narration JAMES PHElan and PETER J. -
Elements of Crime Fiction in Martin Mcdonagh's Play
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Croatian Digital Thesis Repository Sveučilište u Zadru Odjel za anglistiku Preddiplomski studij engleskog jezika i književnosti (dvopredmetni) Ines Kajdiž Elements of Crime Fiction in Martin McDonagh’s Play ‘The Pillowman’ Završni rad Zadar, 2017. Sveučilište u Zadru Odjel za anglistiku Preddiplomski studij engleskog jezika i književnosti (dvopredmetni) Elements of Crime Fiction in Martin McDonagh’s Play ‘The Pillowman’ Završni rad Student/ica: Mentor/ica: Ines Kajdiž dr.sc. Monika Bregović Zadar, 2017. Izjava o akademskoj čestitosti Ja, Ines Kajdiž, ovime izjavljujem da je moj završni rad pod naslovom Elements of Crime Fiction in Martin McDonagh's Play 'The Pillowman'rezultat mojega vlastitog rada, da se temelji na mojim istraživanjima te da se oslanja na izvore i radove navedene u bilješkama i popisu literature. Ni jedan dio mojega rada nije napisan na nedopušten način, odnosno nije prepisan iz necitiranih radova i ne krši bilo čija autorska prava. Izjavljujem da ni jedan dio ovoga rada nije iskorišten u kojem drugom radu pri bilo kojoj drugoj visokoškolskoj, znanstvenoj, obrazovnoj ili inoj ustanovi. Sadržaj mojega rada u potpunosti odgovara sadržaju obranjenoga i nakon obrane uređenoga rada. Zadar, 29. rujna 2017. Kajdiž4 TABLE OF CONTENTS: 1. Introduction…………………………………………………………………………...6 2. The Pillowman.…....…………………………………………………………………..7 3. Crime Fiction Genre…………………………………………………………………..9 3.1. The Historical Evolution of the Genre……………………………………......9 3.2. The Audience and Status…………………………………………...................10 4. The Narrative of Crime Fiction……………………………………………………....12 4.1. Fabula and Sjuzet?……………………………………………………………12 4.2. Narrative anachronies………………………………………………………..14 4.3. Embedded story………………………………………………….....................15 4.4. -
OH, PRETTY PARODY: CAMPBELL V. ACUFF-ROSE MUSIC, INC
Volume 8, Number 1 Fall 1994 OH, PRETTY PARODY: CAMPBELL v. ACUFF-ROSE MUSIC, INC. Lisa M. Babiskin* INTRODUCTION For the second time ever, the Supreme Court addressed the affirmative defense of fair use to copyright infringement in the context of parody in Campbell v. Acuff-Rose Music, Inc. ~ The unanimous opinion found a parody rap version of Roy Orbison's song "Oh, Pretty Woman" by the group 2 Live Crew could be a fair use within the exceptions to the protections of the Copyright Act of 1976. 2 The fair use defense is an inconsistent and confusing area that has been called "the most trouble- some [issue] in the whole law of copyright. "3 The Campbell decision helps preserve the flexible, case-by-case analysis intended by Congress and recognizes the value of parody both as a form of social criticism and catalyst in literature. The decision affords wide latitude to parodists, emphasizing the irrelevance of the judge's personal view of whether the parody is offensive or distasteful. It is unclear whether future courts will interpret this holding to be limited to fair use of parody in the context of song, or whether they will construe it more broadly to confer substantial freedom to parodists of all media. It is also unclear what effect this decision will have on the music industry's practice of digital sampling. This article will review the historical background of fair use in the context of parody and the case law preceding the Supreme Court's decision. A detailed discussion of the lower courts' decisions will be followed by analysis of the Supreme Court's decision and its implications for the future. -
Downloaded from Brill.Com09/30/2021 04:37:43PM Via Free Access 178 Downes
Bijdragen tot de Taal-, Land- en Volkenkunde 175 (2019) 177–195 bki brill.com/bki Found in Translation Eka Kurniawan and the Politics of Genre Meghan Downes Monash University [email protected] Abstract Indonesian author Eka Kurniawan achieved huge critical success globally during 2015– 2016 with his translated novels Beauty is a wound and Man tiger, which have been praised for their sweeping historical scope, ‘magical realist’ elements, and experiment- ation with voice and genre. First published in the Indonesian language more than a decade earlier as Cantik itu luka and Lelaki harimau, these novels initially faced a rel- atively lukewarm reception locally. Only once Eka Kurniawan’s work had been ‘found in translation’ was he taken more seriously in Indonesian media coverage. This article charts Eka Kurniawan’s rise to literary fame, paying particular attention to the shifting tone and content of reviews, marketing, cover art, and media representations, as the translated novels circulated globally. I use this case to examine two key issues: firstly, the ways in which certain genres such as horror and crime are ‘othered’ in the Indone- sian literary landscape; and secondly, how processes of translation, distribution, and reception outside Indonesia can significantly impact local interpretations of an author and their work. In doing so, this article demonstrates that the politics of genre and the power relations of international publishing both contribute to complex patterns of inclusion and exclusion from ‘local’ and ‘global’ literary canons. Keywords translation – literature – Indonesia – genre – media © meghan downes, 2019 | doi:10.1163/22134379-17502019 This is an open access article distributed under the terms of the prevailing CC-BY-NC license at the time of publication. -
Postmodernist Poetics and Narratology: a Review Article About Mchale's Scholarship
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 16 (2014) Issue 3 Article 15 Postmodernist Poetics and Narratology: A Review Article about McHale's Scholarship Biwu Shang Shanghai Jiao Tong University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Shang, Biwu. -
Theory and Interpretation of Narrative) Includes Bibliographical References and Index
Theory and In T e r p r e Tati o n o f n a r r ati v e James Phelan and Peter J. rabinowitz, series editors Postclassical Narratology Approaches and Analyses edited by JaN alber aNd MoNika FluderNik T h e O h i O S T a T e U n i v e r S i T y P r e ss / C O l U m b us Copyright © 2010 by The Ohio State University. All rights reserved Library of Congress Cataloging-in-Publication Data Postclassical narratology : approaches and analyses / edited by Jan Alber and Monika Fludernik. p. cm. — (Theory and interpretation of narrative) Includes bibliographical references and index. ISBN-13: 978-0-8142-5175-1 (pbk. : alk. paper) ISBN-10: 0-8142-5175-7 (pbk. : alk. paper) ISBN-13: 978-0-8142-1142-7 (cloth : alk. paper) ISBN-10: 0-8142-1142-9 (cloth : alk. paper) [etc.] 1. Narration (Rhetoric) I. Alber, Jan, 1973– II. Fludernik, Monika. III. Series: Theory and interpretation of narrative series. PN212.P67 2010 808—dc22 2010009305 This book is available in the following editions: Cloth (ISBN 978-0-8142-1142-7) Paper (ISBN 978-0-8142-5175-1) CD-ROM (ISBN 978-0-8142-9241-9) Cover design by Laurence J. Nozik Type set in Adobe Sabon Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48-1992. 9 8 7 6 5 4 3 2 1 Contents Acknowledgments vii Introduction Jan alber and monika Fludernik 1 Part i. -
“A Nice Pair of Guns” by Nick Kolakowski from Thuglit, January/February 2016 with Short Stories, Space
The First Two Pages: “A Nice Pair of Guns” By Nick Kolakowski From ThugLit, January/February 2016 With short stories, space is always at a premium, and you must often use that limited word-count to convey an immense amount of information—all while making sure the narrative itself doesn’t slow down overmuch. It’s a tricky balancing act, one that’s often caused me to tear my hair out (metaphorically speaking; I’m bald, and not because of word limits!). When I wrote the first draft of “A Nice Pair of Guns,” a short story that appeared in the late (and very missed) Thuglit magazine, I made the initial mistake of opening in medias res, at a moment of high tension and danger for the main character, a bounty hunter trying to recover a pair of assault rifles stolen from him by the local meth kingpin. As any writer will tell you, there are times when you’ll finish a draft and know there’s something fundamentally wrong with it—but you can’t quite figure out why. In the case of “Guns,” I eventually decided that opening in mid-story, with a lot of action, forced me to push way too much plot into the middle and end of the tale; I might have succeeded in grabbing the reader’s attention at the outset, but the story as a whole felt profoundly unbalanced. So when it came time to write the second draft, I decided to discard my fears about my hypothetical reader’s attention span, and begin at the beginning.