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Genre (2016) 49 (3): 303–329.
Published: 01 December 2016
... is a deliberate and vital influence, applied to guide the reader's response to the text but also to expose the possibilities for a modern sort of tragedy. Focusing on these works, this essay argues that the bourgeois novelistic universe can also be fertile ground for devastating tragic events, that the conflict...
Genre (2018) 51 (2): 105–131.
Published: 01 July 2018
... late fiction, a countercurrent the article reads in terms of Jamesian camp. Combining the reader-response theory of Wolfgang Iser with recent work in affect theory—specifically Sianne Ngai’s work on tone—the article offers readings of James’s The Sacred Fount (1901) and The Golden Bowl (1904) in terms...
Genre (2016) 49 (1): 27–50.
Published: 01 April 2016
... moment even to a reader to whom the political outcome is known. Thus Bowen's changes to narrative discourse produce a tension between the focalized present and the project of looking back at history, conveying an ambivalent mixture of lamentation, critique, and tentative responsibility that characterizes...
Genre (2018) 51 (1): 53–79.
Published: 01 April 2018
... thus calls for a more holistic response to cultural conflicts while inviting readers to reflect on the contradictions and repressions of modern reason. Tragedy in Ian McEwan’s The Children Act tammy amiel houser Contemporary encounters between differing worldviews in democratic, multi...
Genre (2020) 53 (1): 53–77.
Published: 01 April 2020
... the faithful will be saved, invites the reader to question the nature and scope of the Greek emergency (is it of apocalyptic proportions?) and to ask, Who are the abominations? The text s cascade of insults provokes many responses, revealing that the rant s performance of precarity cannot promise catharsis...
Genre (2021) 54 (2): 245–264.
Published: 01 July 2021
... level of immersion in order to be successful. For horror, as Noël Carroll ( 1990 : 8) and its name suggest, is “designed to produce an emotional effect.” At first glance, then, it would appear as though the response of the reader (or viewer) to a given text would be the determining factor in its success...
Genre (2021) 54 (1): 17–42.
Published: 01 April 2021
... Ferris's book is unaffected by negative reactions to this transgressiveness, championing transgression and ignored voices as the mode of expression best suited to the big, ambitious novel of our times. The book's heroine and purported author of the book touches readers and moves them through the monstrous...
Genre (2009) 42 (1-2): 165–186.
Published: 01 March 2009
... Adena , “ Darkening the Reader: Reader-Response Criticism and Heart of Darkness ,” in Conrad , pp. 148 - 69 . Schleifer Ronald , A. J. Greimas and the Nature of Meaning: Linguistics, Semiotics, and Discourse Theory . London : Croom Helm , 1987 . ------, Rhetoric and Death...
Genre (2021) 54 (2): 293–305.
Published: 01 July 2021
... response, or agents of moral vision and behavior” (4). By contrast, Aaron Kunin's Character as Form insists that we have hardly any other way of talking about them. “Most readers,” Kunin declares early in his book, “think that the job of a character is to individuate,” which is why we tend to approach...
Genre (2022) 55 (2): 117–139.
Published: 01 July 2022
... like Cluedo (Clue in the United States), and, more recently, the escape room. There is ample evidence, therefore, that a crucial aspect of reader response within the detective genre is the sports(wo)manlike acceptance of the challenge to solve the mystery (see Caillois 1998 : 170; Symons 1985 : 104...
Genre (2017) 50 (1): 139–152.
Published: 01 April 2017
... of narratology and reader-response criticism. Kukkonen’s approach is nevertheless quite different than mine, for despite her analysis of one eighteenth-century novel, Frances Burney’s Eve- lina (1778), she is more interested in employing “current Bayesian, probabilistic approaches to cogni- tion [from...
Genre (2021) 54 (3): 371–393.
Published: 01 December 2021
... that it was not good for this particular group of people to study that work. What would my ethical responsibilities be? We really have a triple responsibility. It would be a responsibility to Paradise Lost simply as a kind of ethical imperative, that is, the ethical responsibility of the reader to the text to tell...
Genre (2013) 46 (3): 265–284.
Published: 01 December 2013
... elicits a personal response from both narrator and reader. Whereas many of Joyce’s and Woolf’s day-novel narrative methods suggest — albeit in different ways — immediate readerly access to characters’ thoughts without narratorial mediation, the narrator of Jameson’s novel expresses personal...
Genre (2005) 38 (1-2): 145–178.
Published: 01 March 2005
... these characters take on the role of audience to a mentor, their self reflec- tion provides an unusually direct opportunity for the poet to model a reader's response, whether an ideal one as in Wordsworth's case, or an all too human reluctance and resistance as in Heaney's. Wordsworth's persona expresses...
Genre (2001) 34 (1-2): 101–124.
Published: 01 March 2001
... career on insights gained from his study, as Millichap traces. For other consideration of his earlier, more schematic borrowings from the Commedia to depict human flaws or to guide the reader's response to his novels, see Longley and Shepherd (710-11), as well as Warren's own comments in interviews...
Genre (2000) 33 (3-4): 269–277.
Published: 01 September 2000
... is precisely to regu- REMOVING THE EGGSHELLS 277 late that tempo, to control at least in part, the reader's response by using rhythm and sound repetition, lineation and pause, to create the tempo in question. And so the "nonsense" of Wittgenstein's prescription...
Genre (2002) 35 (2): 253–282.
Published: 01 June 2002
...' dis- cursive texts—such as Saul's own The Unconscious Civilization—actually are, and whether the sense of a logical and systematic pursuit of core arguments is not in fact the reader's response to a particular rhetoric. No doubt a great deal of labour must be expended in order to provide...
Genre (2015) 48 (3): 341–381.
Published: 01 December 2015
... of fully sorting through our emotionally inflected ethical responses to these situations: “Readers who cannot fully come to grips with Septimus’s suicide and Clarissa’s gladness must return again and again to the complicated scene of pleasure at another’s despair and death — for its empathy...
Genre (2007) 40 (3-4): 17–58.
Published: 01 September 2007
... context (what we might call the status quo dynamic of all historicist reading) and the ideology whereby the text means only what an interpretive community makes it mean in a contemporary context (what we might call the relativistic emphasis of all reader-response oriented theory). As Harold Bloom...
Genre (2022) 55 (1): 27–48.
Published: 01 April 2022
... the transnationalism of crime fiction itself and the (more recent) internationalization of crime fiction studies. 3. In an otherwise insightful essay on German reader responses to “international crime fiction,” Margrit Schreier ( 2009 : 37) similarly defines this category as crime novels “written by foreign...