Core Collections in Genre Studies Romance Fiction
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Problems of Mimetic Characterization in Dostoevsky and Tolstoy
Illusion and Instrument: Problems of Mimetic Characterization in Dostoevsky and Tolstoy By Chloe Susan Liebmann Kitzinger A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Slavic Languages and Literatures in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Irina Paperno, Chair Professor Eric Naiman Professor Dorothy J. Hale Spring 2016 Illusion and Instrument: Problems of Mimetic Characterization in Dostoevsky and Tolstoy © 2016 By Chloe Susan Liebmann Kitzinger Abstract Illusion and Instrument: Problems of Mimetic Characterization in Dostoevsky and Tolstoy by Chloe Susan Liebmann Kitzinger Doctor of Philosophy in Slavic Languages and Literatures University of California, Berkeley Professor Irina Paperno, Chair This dissertation focuses new critical attention on a problem central to the history and theory of the novel, but so far remarkably underexplored: the mimetic illusion that realist characters exist independently from the author’s control, and even from the constraints of form itself. How is this illusion of “life” produced? What conditions maintain it, and at what points does it start to falter? My study investigates the character-systems of three Russian realist novels with widely differing narrative structures — Tolstoy’s War and Peace (1865–1869), and Dostoevsky’s The Adolescent (1875) and The Brothers Karamazov (1879–1880) — that offer rich ground for exploring the sources and limits of mimetic illusion. I suggest, moreover, that Tolstoy and Dostoevsky themselves were preoccupied with this question. Their novels take shape around ambitious projects of characterization that carry them toward the edges of the realist tradition, where the novel begins to give way to other forms of art and thought. -
Write Yourself As the Antihero
Write yourself as the Antihero What is an Antihero and why do we love them? The best way to define an Antihero is to define what an anti-hero isn’t. An Antihero is not the traditional hero. A hero often has no flaws. Yes, Superman has his kryptonite, but if it were not for that, nothing would stop him. Antiheroes are more flawed than heroes simply because they are malleable and human. And, typically, their greatest flaw is what makes them relatable to readers and fun to write. Is an Antihero a Villain? Often people confuse the Antihero with the villain. Because Antiheroes might lie, cheat, murder, and steal, some say the line between the two and distinction might be subjective. Experts say that the stark difference between the Antihero and the villain is their end goal. Villains often just want to watch the world burn, or they are only out for themselves. Antiheroes usually have a justification for their choices or a noble objective that the reader can get on board with. You can make your character (YOU) both likeable and unlikeable by presenting a story that generates empathy and justifies their/your choices. Examples of Antiheroes The three types: Morally Grey Is Jack Sparrow a protagonist? (Why or why not?) Choices not favored by reader. Still likeable in his own right. Can be humorous if done right. Nonthreatening Character arc of Tyrian Lannister Low expectations from other characters. Little desire to be effectual. This changes over the course of the story arc. Villainous Walter White vs Lisbeth Salander Someone who does things what we cannot/ would not/might not do. -
A Natural History of the Romance Novel
A romance novel is a work ofprosefiction that tells the story of the courtship and betrothal ofone or more heroines. As this definition is neither widely known nor accepted, it ' -requires no little defense as well as some teasing out of dis- tinctions between the term put forward here, "romance novel," and terms in widespread use, such as .''E'&&nq~and "novel." I begin with the broadest term, "roman$< . ' The term "romance" is confusing~~iiiclp~~,meaning one ' .* - thing in r suncy- of me&eval lit entire& &&cc, in a cbntmhporary store for r copy of the h&mt Dartbur axit$:& &k will take you m the 'literacure" $t&on: a glance a; prdksintroduction will inform you that Malory's prose a~$$t,~4:f King Arthur is called a "romance." Ask for a roman<L d$he clerk will take t y. '%- you to the (generally) large section G& & &e stocked with Harlequins, Silhouettes and single-title releases by writers such as Nora Roberts, Amanda Quick, and Janet Dailey. Can Mal- 07's Mortc Dartbur and Quick's Dcctptwn both be romances? , They can be and are, but only Dcctption is also a romance novel . as I am defining the term here. Robert Ellrich hazards a definition of the old, encompassing term "romance": "the story of iridividual human beings pursu- :.hg their precarious existence with+ the circumscription of ~d,moral, and various other hs-worldly problems. the ce . means to show the &r what steps must be taken to reach a desired goal, sqresented often though not m the guise of a spouse" @f4-75). -
Stephen Colbert's Super PAC and the Growing Role of Comedy in Our
STEPHEN COLBERT’S SUPER PAC AND THE GROWING ROLE OF COMEDY IN OUR POLITICAL DISCOURSE BY MELISSA CHANG, SCHOOL OF PUBLIC AFFAIRS ADVISER: CHRIS EDELSON, PROFESSOR IN THE SCHOOL OF PUBLIC AFFAIRS UNIVERSITY HONORS IN CLEG SPRING 2012 Dedicated to Professor Chris Edelson for his generous support and encouragement, and to Professor Lauren Feldman who inspired my capstone with her course on “Entertainment, Comedy, and Politics”. Thank you so, so much! 2 | C h a n g STEPHEN COLBERT’S SUPER PAC AND THE GROWING ROLE OF COMEDY IN OUR POLITICAL DISCOURSE Abstract: Comedy plays an increasingly legitimate role in the American political discourse as figures such as Stephen Colbert effectively use humor and satire to scrutinize politics and current events, and encourage the public to think more critically about how our government and leaders rule. In his response to the Supreme Court case of Citizens United v. Federal Election Commission (2010) and the rise of Super PACs, Stephen Colbert has taken the lead in critiquing changes in campaign finance. This study analyzes segments from The Colbert Report and the Colbert Super PAC, identifying his message and tactics. This paper aims to demonstrate how Colbert pushes political satire to new heights by engaging in real life campaigns, thereby offering a legitimate voice in today’s political discourse. INTRODUCTION While political satire is not new, few have mastered this art like Stephen Colbert, whose originality and influence have catapulted him to the status of a pop culture icon. Never breaking character from his zany, blustering persona, Colbert has transformed the way Americans view politics by using comedy to draw attention to important issues of the day, critiquing and unpacking these issues in a digestible way for a wide audience. -
Beyond the Bodice Ripper: Innovation and Change in The
© 2014 Andrea Cipriano Barra ALL RIGHTS RESERVED BEYOND THE BODICE RIPPER: INNOVATION AND CHANGE IN THE ROMANCE NOVEL INDUSTRY by ANDREA CIPRIANO BARRA A dissertation submitted to the Graduate School—New Brunswick Rutgers, the State University of New Jersey In partial fulfillment of the requirements For the degree of Doctor of Philosophy Graduate Program in Sociology Written under the direction of Karen A. Cerulo And approved by _______________________________________________________ _______________________________________________________ _______________________________________________________ _______________________________________________________ New Brunswick, New Jersey OCTOBER 2014 ABSTRACT OF THE DISSERTATION Beyond the Bodice Ripper: Innovation and Change in the Romance Novel Industry By ANDREA CIPRIANO BARRA Dissertation Director: Karen A. Cerulo Romance novels have changed significantly since they first entered the public consciousness. Instead of seeking to understand the changes that have occurred in the industry, in readership, in authorship, and in the romance novel product itself, both academic and popular perception has remained firmly in the early 1980s when many of the surface criticisms were still valid."Using Wendy Griswold’s (2004) idea of a cultural diamond, I analyze the multiple and sometimes overlapping relationships within broader trends in the romance industry based on content analysis and interviews with romance readers and authors. Three major issues emerge from this study. First, content of romance novels sampled from the past fourteen years is more reflective of contemporary ideas of love, sex, and relationships. Second, romance has been a leader and innovator in the trend of electronic publishing, with major independent presses adding to the proliferation of subgenres and pushing the boundaries of what is considered romance. Finally, readers have a complicated relationship with the act of reading romance and what the books mean in their lives. -
Owen Glendower and the Failure of Historical Romance
52 53 Yankee puritanism and Southern aristocracy, was evinced in American literature as early as the works of James Fenimore Cooper. More recently, revisionist historical works, such as Stephen Saunders Webb, 1676: The End of American Independence (New York: Knopf, 1984) and Francis Jennings, The Invasion of America, have The Mythology of Escape: Owen expanded on the Cooper vision of the upstate New York-native Glendower and the Failure of American connection. These works have enhanced the sense of the Historical Romance native Americans as historical actors, not just passive primitives. This is far more Powysian in spirit than a view of the Indians as noble, poetic savages, transatlantic "Celts." Ian Duncan 12 Powys's interest in this area was, as usual, clairvoyant and prophetic; it went unmatched in any visible American literary production until the recent appearance of William Least Heat Owen Glendower, so melancholy in its Moon's PriaryErth, (Boston: Houghton Mifflin, 1991). preoccupation with lost origins, was the novel of John Cowper Powys's "homecoming." In 1934, Powys imposed a deceptive narrative closure upon the first sixty years of his life in the great Autobiography, and left America, where he had written his Wessex romances, to return to Britain, eventually settling in Wales in 1936. Powys's Welsh essays, collected in Obstinate Cymric (1947), record the identification of his "philosophy up-to-date" with "the idea of Wales" as a configuration of landscape, mythology and race.l Yet Powys had never lived there; the place of -
Crossmedia Adaptation and the Development of Continuity in the Dc Animated Universe
“INFINITE EARTHS”: CROSSMEDIA ADAPTATION AND THE DEVELOPMENT OF CONTINUITY IN THE DC ANIMATED UNIVERSE Alex Nader A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2015 Committee: Jeff Brown, Advisor Becca Cragin © 2015 Alexander Nader All Rights Reserved iii ABSTRACT Jeff Brown, Advisor This thesis examines the process of adapting comic book properties into other visual media. I focus on the DC Animated Universe, the popular adaptation of DC Comics characters and concepts into all-ages programming. This adapted universe started with Batman: The Animated Series and comprised several shows on multiple networks, all of which fit into a shared universe based on their comic book counterparts. The adaptation of these properties is heavily reliant to intertextuality across DC Comics media. The shared universe developed within the television medium acted as an early example of comic book media adapting the idea of shared universes, a process that has been replicated with extreme financial success by DC and Marvel (in various stages of fruition). I address the process of adapting DC Comics properties in television, dividing it into “strict” or “loose” adaptations, as well as derivative adaptations that add new material to the comic book canon. This process was initially slow, exploding after the first series (Batman: The Animated Series) changed networks and Saturday morning cartoons flourished, allowing for more opportunities for producers to create content. References, crossover episodes, and the later series Justice League Unlimited allowed producers to utilize this shared universe to develop otherwise impossible adaptations that often became lasting additions to DC Comics publishing. -
Introduction
Abstract: This essay looks at the interconnections between the cultural industry of popular romance and best-selling novels set in an Irish historical context. In particular, it examines two best-selling novels by North American author Karen Robards, which have not yet been examined in academia: Dark of the Moon (1988) and Forbidden Love (2013; originally published in 1983). Although this small selection constitutes only a preliminary study of an expanding popular genre, it is my hope that it will serve as a relevant example of how Ireland is exoticised in the transnational cultural industry of romance. Drawing on several studies on popular romance (Radway 1984; Strehle and Carden 2009; and Roach 2016), and on specific sources devoted to the study of historical romance, in particular when set in exotic locations (Hughes 2005; Philips 2011; Teo 2012; 2016), I intend to demonstrate how these novels by Karen Robards follow the clichés and conventions of the typical romances produced in the 1980s. As I show, the popularity that Robards’ novels still enjoy reflects the supremacy of the genre and the wide reception of this kind of fiction in the global market. Keywords: Cultural industry; popular romance; Irish context; market. Introduction In her semi-academic, ethnographic study Happily-Ever-After, Catherine Roach (4) identifies romance as “the prime cultural narrative of the modern Western world”. This is a best-selling genre which dominates the publishing industry, particularly in North America and other Western European countries. It is generally a woman-centred genre, as most authors and readers are female (110). The basic plot of the (heterosexual) romance narrative revolves around a hero and a heroine, who fall in love, work through many trials and tribulations and end up happily. -
International Journal of Computer Science & Information Security
IJCSIS Vol. 13 No. 5, May 2015 ISSN 1947-5500 International Journal of Computer Science & Information Security © IJCSIS PUBLICATION 2015 Pennsylvania, USA JCSI I S ISSN (online): 1947-5500 Please consider to contribute to and/or forward to the appropriate groups the following opportunity to submit and publish original scientific results. CALL FOR PAPERS International Journal of Computer Science and Information Security (IJCSIS) January-December 2015 Issues The topics suggested by this issue can be discussed in term of concepts, surveys, state of the art, research, standards, implementations, running experiments, applications, and industrial case studies. Authors are invited to submit complete unpublished papers, which are not under review in any other conference or journal in the following, but not limited to, topic areas. See authors guide for manuscript preparation and submission guidelines. Indexed by Google Scholar, DBLP, CiteSeerX, Directory for Open Access Journal (DOAJ), Bielefeld Academic Search Engine (BASE), SCIRUS, Scopus Database, Cornell University Library, ScientificCommons, ProQuest, EBSCO and more. Deadline: see web site Notification: see web site Revision: see web site Publication: see web site Context-aware systems Agent-based systems Networking technologies Mobility and multimedia systems Security in network, systems, and applications Systems performance Evolutionary computation Networking and telecommunications Industrial systems Software development and deployment Evolutionary computation Knowledge virtualization -
Plot? What Is Structure?
Novel Structure What is plot? What is structure? • Plot is a series of interconnected events in which every occurrence has a specific purpose. A plot is all about establishing connections, suggesting causes, and and how they relate to each other. • Structure (also known as narrative structure), is the overall design or layout of your story. Narrative Structure is about both these things: Story Plot • The content of a story • The form used to tell the story • Raw materials of dramatic action • How the story is told and in what as they might be described in order chronological order • About how, and at what stages, • About trying to determine the key the key conflicts are set up and conflicts, main characters, setting resolved and events • “How” and “when” • “Who,” “what,” and “where” Story Answers These Questions 1. Where is the story set? 2. What event starts the story? 3. Who are the main characters? 4. What conflict(s) do they face? What is at stake? 5. What happens to the characters as they face this conflict? 6. What is the outcome of this conflict? 7. What is the ultimate impact on the characters? Plot Answers These Questions 8. How and when is the major conflict in the story set up? 9. How and when are the main characters introduced? 10.How is the story moved along so that the characters must face the central conflict? 11.How and when is the major conflict set up to propel them to its conclusion? 12.How and when does the story resolve most of the major conflicts set up at the outset? Basic Linear Story: Beginning, Middle & End Ancient (335 B.C.)Greek philosopher and scientist, Aristotle said that every story has a beginning, a middle, and an end. -
Con-Scripting the Masses: False Documents and Historical Revisionism in the Americas
University of Massachusetts Amherst ScholarWorks@UMass Amherst Open Access Dissertations 2-2011 Con-Scripting the Masses: False Documents and Historical Revisionism in the Americas Frans Weiser University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/open_access_dissertations Part of the Comparative Literature Commons Recommended Citation Weiser, Frans, "Con-Scripting the Masses: False Documents and Historical Revisionism in the Americas" (2011). Open Access Dissertations. 347. https://scholarworks.umass.edu/open_access_dissertations/347 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Open Access Dissertations by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. CON-SCRIPTING THE MASSES: FALSE DOCUMENTS AND HISTORICAL REVISIONISM IN THE AMERICAS A Dissertation Presented by FRANS-STEPHEN WEISER Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment Of the requirements for the degree of DOCTOR OF PHILOSOPHY February 2011 Program of Comparative Literature © Copyright 2011 by Frans-Stephen Weiser All Rights Reserved CON-SCRIPTING THE MASSES: FALSE DOCUMENTS AND HISTORICAL REVISIONISM IN THE AMERICAS A Dissertation Presented by FRANS-STEPHEN WEISER Approved as to style and content by: _______________________________________________ David Lenson, Chair _______________________________________________ -
Afrindian Fictions
Afrindian Fictions Diaspora, Race, and National Desire in South Africa Pallavi Rastogi T H E O H I O S TAT E U N I V E R S I T Y P R E ss C O L U MB us Copyright © 2008 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Rastogi, Pallavi. Afrindian fictions : diaspora, race, and national desire in South Africa / Pallavi Rastogi. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-0319-4 (alk. paper) ISBN-10: 0-8142-0319-1 (alk. paper) 1. South African fiction (English)—21st century—History and criticism. 2. South African fiction (English)—20th century—History and criticism. 3. South African fic- tion (English)—East Indian authors—History and criticism. 4. East Indians—Foreign countries—Intellectual life. 5. East Indian diaspora in literature. 6. Identity (Psychol- ogy) in literature. 7. Group identity in literature. I. Title. PR9358.2.I54R37 2008 823'.91409352991411—dc22 2008006183 This book is available in the following editions: Cloth (ISBN 978–08142–0319–4) CD-ROM (ISBN 978–08142–9099–6) Cover design by Laurence J. Nozik Typeset in Adobe Fairfield by Juliet Williams Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the Ameri- can 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 v Introduction Are Indians Africans Too, or: When Does a Subcontinental Become a Citizen? 1 Chapter 1 Indians in Short: Collectivity