Interpretation And Genre

Kent proposes a general theory of genre classification arid applies this genetic model to American fiction written during the last half of the nineteenth century. Combining theory and application, Kent attempts to demonstrate that what we say about texts is related directly to our generic perception of them.

This book presents current discussions on the concept of genre. It introduces innovative, multidisciplinary approaches to contemporary and historical genres, their roles in cultural discourse, how they change, and their relations to each other. The reader is guided into the discussion surrounding this key concept and its history through a general introduction, followed by eighteen chapters that represent a variety of discursive practices as well as analytic methods from several scholarly traditions. This volume will have wide appeal to several academic audiences within the humanities, both in Finland and abroad, and will especially be of interest to scholars of folklore, language and cultural expression.

Genre is a key means by which we categorize the many forms of literature and culture. But it is also much more than that: in talk and writing, in music and images, in film and television, genres actively generate and shape our knowledge of the world. Understanding genre as a dynamic process rather than a set of stable rules, this book explores: the relation of simple to complex genres the history of literary genre in theory the generic organisation of implied meanings the structuring of interpretation by genre the uses of genre in teaching. John Frow’s lucid exploration of this fascinating concept will be essential reading for students of literary and cultural studies.

William Elford Rogers proposes a genre-theory that will clarify what we mean when we speak of literary works as dramatic, epic, or lyric. Focusing on lyric poetry, this book maintains that the broad genre-concepts need not be discarded but can be preserved by a new interpretive model that gives us conceptual knowledge not about works but about interpretation. Originally published in 1983. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This second edition of John Frow’s Genre offers a comprehensive and accessible introduction to the area. Genre is a key means by which we categorize the many forms of literature and culture, but it is also much more than that: in talk and writing, in music and images, in film and television, genres actively generate and shape our knowledge of the world. Understanding genre as a dynamic process rather than a set of stable rules, this book explores: the relation of simple to complex genres the history of literary genre in theory the generic organisation of implied meanings the structuring of interpretation by genre the uses of genre in teaching. John Frow’s lucid exploration of this fascinating concept has become essential reading for students of literary and cultural studies, and the second edition expands on the original to take account of recent debates in genre theory and the emergence of digital genres.

This book critically assesses Dworkin's methodological turn away from analytical jurisprudence towards a theory of interpretation.

A hermeneutics book for the common person. Readers will appreciate the scholarly, yet readable style of Roy Zuck, former Professor of Bible Exposition at Dallas Theological Seminary.

The Interpretation of Old English Poems (1972) is a challenging approach in the critical appreciation of Old English poems. Professor Greenfield argues in particular against two inhibiting orientations in criticism of Anglo-Saxon poetry: an insensitive and too-narrowly defined historicism, and a blinkered philological tradition. He suggests ways in which the practical criticism of Old English poetry and poems can be conducted, and provides the means for a student to form his own critical approach. The book is particularly challenging in that it brings literary criticism into a field which has hitherto belonged largely to historians and linguists.