The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to (...) them are intended to serve. (shrink)

An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed (...) as means of addressing particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (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 present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].

This article analyzes a rhetorical genre ecology emerging in the aftermath of a natural disaster in Ghana. Drawing on news articles and opinion pieces, a presidential speech, a government post-disaster assessment summary, and a World Bank Group action report, I argue that in their operation within the contingent environment of public spheres, genre uptakes may be highly unpredictable, but also serve multiple, varied functions that together respond to the multiplicity of exigences presented by the diffused contexts of publics. (...) The analysis explains how diffused contexts of genre interaction shape social action, and how these interactions, in turn, enact publics. (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)

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. On one influential diagnosis of imaginative resistance, the systematic difficulties are due to these particular propositions’ discordance with real-world norms. This essay argues that this influential diagnosis is too simple. While imagination is indeed by default constrained by real-world norms during narrative engagement, it can be freed with the power of genre conventions and expectations.

In the study of syntactic variation, genre has been an unstable term: fluctuating in the level of generality at which it is applied; intuiting rather than ascertaining the social situations it suggests. In contrast, rhetorical studies of genre have fixed genre at a low level of generality, in local socio-historical scenes, and claimed priority for situation over form. This chapter reviews the debates which led to genres rhetorical definition as "social action" (Miller 1984), and the benefit and (...) also the cost in disavowing form as definitive of genre. Rhetorical and variation studies of genre can seem fundamentally incompatible in their perspectives on form, yet there may be fertile meeting ground for them. Both invoke function for form, but each in ways incomplete for the study of genre: While rhetorical studies insist on the functionality of form in situation, they do not inquire into form itself; syntactic-variation studies also assume function for form, but define function at such a high level of generality as to fail to capture the social motives in genre's domain. By revisiting function as acutely sensitive to situation—responding to local exigencies and also indicating them—rhetorical and variation studies can meet on the common ground of form, each contributing to the others discoveries of genre as a site of social differentiation. (shrink)

Regardless of whether one agrees or disagrees with Stacie Friend’s claim that fiction is a genre, her notion of genre can be fruitfully applied to a paradigmatic genre such as science fiction. This article deploys Friend’s notion of genre in order to improve the influential characterization of science fiction proposed by Darko Suvin and to defend it from a criticism recently raised by Simon Evnine. According to Suvin, a work of science fiction must concern “a fictional (...) ‘novum’ validated by cognitive logic.” While Suvin conceives of his characterization as a necessary and sufficient condition for membership in the genre, I propose to cast the notions of “fictional novum” and “cognitive validation” as standard features of the genre, which works of science fiction should have but might lack. I argue that this amended version of Suvin’s characterization can better account for two basic properties of science fiction as a genre, namely its historicity and its relevance to appreciation. Lastly, I show that the amended version can shed some light on the affinity between works of science fiction and philosophical thought experiments. (shrink)

Carolyn Miller’s (1984) “Genre as Social Action,” the primary topic—or target—of Anne Freadman’s brilliant and thought-provoking article, holds a special place in genre research. If I pick up an unknown piece of research on genre, the first thing I do is look for Miller’s article in the bibliography. If it is not there, the text in my hand will probably be of little of value to my work for lack of orientation. Moreover, as Freadman (2012) notes, convention (...) in genre research suggests that when you mention the article, it is in good form to add a positive qualifier. It will often be framed as having “formative influence” (MacNeil, 2012), as a “landmark essay” (Feinberg, 2015), or as “seminal” (Andersen, 2008; Devitt, 2009a; Motta-Roth & Herbele, 2015; Møller, 2018; Paré, 2014; Tachino, 2012), “groundbreaking” (Bawarshi, 2000; Smart, 2003; Winsor, 2000), or “oft-cited” (Devitt, 2009b). More than just paying lip service to the greats in the field, adding this qualifier demonstrates that the author knows her way around Rhetorical Genre Studies and is mindful of Miller’s central place within it. This status as a classic text is in itself an example of the bidirectionality of uptake that holds a central place in Freadman’s work. “Genre as Social Action” could not be canonical when it was first published. A canon had to form, and the article’s central place within it had to be recognized by later researchers, before Miller’s text could be taken as oft-cited, seminal, or groundbreaking. (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)

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)

In his book, The Philosophical Discourse of Modernity, and especially in the “Excursus on Leveling the Genre Distinction between Philosophy and Literature” (pp. 185-210), Jürgen Habermas criticizes the work of Jacques Derrida. My aim in this paper is to show that this critique turns upon itself. Habermas accuses Derrida of effacing the distinctions between literature and philosophy. Derrida indeed works to subvert the distinction between fictional and argumentative writing, but in doing so he works with the genres he is (...) mixing. It is Habermas’ own insistence on subordinating all genres to argumentative rationality that truly effaces these genre distinctions. (shrink)

From 1909 onward, the Canadian suffrage debate was heavily influenced by reports on suffrage militancy from Great Britain and the United States. Militancy played an influential role in Canadian suffrage history not through its practice–there was no Canadian militant campaign–but through an ongoing discussion of its meaning. Using Anne Freadman's notions of genre and uptake, this paper analyzes the discursive uptake of suffrage militancy—from news reports on front pages, to commentary on women's pages, to reviews of Emmeline Pankhurst's Canadian (...) speaking engagements. The Canadian debate about militancy is a fertile site for drawing out the roles of genre and uptake in the political positioning of both suffragists and suffrage sceptics. Talk about militancy serves as a way to regulate the uptake of this particular genre of political action, whereby both sides tended to share the optimistic view that Canadian suffragists where not yet in need of militancy. (shrink)

This study aimed to explore the rhetorical moves of article abstracts in Taiwanese Chinese philosophy journals. The most common theory for the discourse analysis of research abstracts is proposed by Hyland（2000）. Most of the research abstracts in the field of social sciences and natural sciences are composed of Hyland’s five rhetorical moves: introduction, purpose, method, results, and conclusion. Therefore, the question to be explored in this research is how to compose the rhetorical moves of abstracts of Chinese philosophy journal articles. (...) What is the frequency and order of each rhetorical move in the abstract of each paper? Do they reflect some particular type of distribution? Are there any rhetorical moves that occur exceptionally rarely? Does the abstract of research articles in Chinese philosophy journals apply the framework of the same five rhetorical moves? What are the conventions of the philosophy writing community reflected in the rhetorical moves of abstracts of academic journal articles in philosophy? -/- To answer the above questions, this research collected the abstracts of 18 papers from the representative Chinese philosophy journal "SOOCHOW JOURNAL OF PHILOSOPHICAL STUDIES " in Taiwan in the past five years (2017-2021) and used the five moves of Hyland（2000） one by one to answer the above questions. The rhetorical moves of each abstract were analyzed and presented in tables to show the frequency, order, and type of each rhetorical move. -/- The results of this study found that "method (M)" and "conclusion (C)" are not the rhetorical moves that constitute the abstract of articles in Taiwanese philosophy journals, but the rhetorical move "purpose (P)" is "necessary" to appear. In the Purpose move, the subject is usually "this article"; the verbs are "argue" or "inquire." Although "introduction (I)" is a "conventional" move, the total number of words in the introduction is the highest in the whole abstract. This study also shows rhetorical move variation of the abstracts of philosophy journal articles, reflecting the writing culture and conventions of the academic philosophy community. -/- Finally, this study proposes three teaching guidelines for abstract writing of academic papers in philosophy, which will be useful for philosophy scholars and graduate students to consult when writing and submitting abstracts of philosophy in conference or journal papers. -/- Keywords: philosophy, journal article, abstract, discourse analysis, rhetorical move . (shrink)

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)

Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ and, (...) on the other, groove is the psychological feeling (induced by music) of wanting to move one’s body. Further, I argue that recent work in music psychology shows that these two concepts do not converge on a unified set of musical features. Finally, I also argue that these two concepts play different functional roles in the appreciative practices of jazz and popular music. This should cause us to further consider the mediating role genre plays for aesthetic concepts and provides us with reason for adopting a more communitarian approach to aesthetics which is attentive to the ways in which aesthetic discourse serves the practices of different audiences. (shrink)

In this paper, I expand my upon earlier linguistic research (Lian, 2023), which delved into the genre of abstracts from Western philosophical papers. I engage with the philosophical ramifications emanating from the guidelines established for crafting philosophy paper abstracts (Lian, 2023) and underscore their significance in the domain of academic philosophical writing. A pivotal focus of this research is to navigate the intricate philosophical challenges posed by cross-disciplinary investigations bridging applied linguistic statistics with philosophical paper composition, specifically, the nuanced (...) interpretation of linguistic findings in a manner palatable to philosophers. My exploration probes into the dynamics of various concepts within Inter-Disciplinary Research (IDR), highlighting the complexities in reconciling semantic intuitions related to the notions of "Method (M)" and "Conclusion (C)". I delineate three philosophical stances: (1) deferring to scientific authority, (2) recognizing domain-specific terminologies, and (3) interrogating peripheral scientific theories. I posit that these stances significantly influence the ways philosophers engage with and resolve the cross-disciplinary semantic and theoretical contentions stemming from the rhetorical structures of "Method (M)" and "Conclusion (C)". This work proposes avenues to attain either "theoretical coherence" or "disciplinary synthesis", thereby fostering enhanced cross-disciplinary collaboration and fortifying academic discourse across diverse fields. -/- Keywords: Inter-Disciplinary Research (IDR), Applied linguistics, Philosophical writing, Genre Analysis, Rhetorical Moves . (shrink)

The article presents a conceptual framework for distinguishing different sorts of heterogeneous digital materials. The hypothesis is that a wide range of heterogeneous data resources can be characterized and classified due to their particular configurations of hypertext features such as scripts, links, interactive processes, and time scalings, and that the hypertext configuration is a major but not sole source of the messiness of big data. The notion of hypertext will be revalidated, placed at the center of the interpretation of networked (...) digital media, and used in the analysis of the fast-growing amounts of heterogeneous digital collections, assemblages, and corpora. The introduction summarizes the wider background of a fast-changing data landscape. (shrink)

L’article poursuit un double objectif. D’une part, il propose une revue de l’articulation des concepts de genre et de sexe au prisme de la biologie de l’évolution dans le champ des études féministes francophones (cette délimitation tenant à la fois à des raisons de place, de pertinence scientifique et d’accessibilité au public non spécialiste). A cette fin, il propose également une définition du concept de constructivisme qui soit compatible avec le naturalisme, s’inscrivant en cela dans l’état contemporain de la (...) philosophie générale des sciences. Une fois mis en place ces éléments de cartographie du débat, le second objectif de l’article consiste à prendre au sérieux la diversité actuelle des concepts de sexe en biologie. Il insiste sur la nécessité d’une clarification conceptuelle des différents niveaux impliqués, et propose pour cela d’en finir avec la terminologie unique du sexe : celle-ci, en favorisant des confusions entre différents concepts, constitue un coût cognitif qu’il faut dépasser. Ce coût cognitif s’articule à un coût social. En effet, un tel flou conceptuel favorise en même temps dans la sphère publique une naturalisation abusive – puisque scientifiquement douteuse – de comportements sociaux inégalitaires. L’approche constructiviste ne consiste donc pas à nier la contrainte empirique de la nature. Il s’agit plutôt, à partir de la mise en évidence de la circulation des représentations entre la société en général et la science en particulier, de se doter d’outils d’analyse réflexifs et scientifiquement maîtrisés pour aborder les problématiques éthiques, politiques et épistémiques impliquées par cette circulation. (shrink)

Writing and genre scholarship has become increasingly attuned to how various nontextual features of written genres contribute to the kinds of social actions that the genres perform and to the activities that they mediate. Even though scholars have proposed different ways to account for nontextual features of genres, such attempts often remain undertheorized. By bringing together Writing, Activity, and Genre Research, and Multimodal Interaction Analysis, the authors propose a conceptual framework for multimodal activity-based analysis of genres, or Multimodal (...) Writing, Activity, and Genre (MWAG) analysis. Furthermore, by drawing on previous studies of the laboratory notebook (lab book) genre, the article discusses the rhetorical action the genre performs and its role in mediating knowledge construction activities in science. The authors provide an illustrative example of the MWAG analysis of an emergent scientist’s lab book and discuss its contributions to his increasing participation in medical physics. The study contributes to the development of a theoretically informed analytical framework for integrative multimodal and rhetorical genre analysis, while illustrating how the proposed framework can lead to the insights into the sociorhetorical roles multimodal genres play in mediating such activities as knowledge construction and disciplinary enculturation. (shrink)

The value of this essay is not to reiterate the extant views on horror literature, but to make available for the first time to the world at large the textual foundations of considering horror literature as a genre by itself. The Gothic is a different genre altogether though most of us want to conflate and confuse between these two genres. Someday I shall write at length about the nature of the horrific. Suffice to say for now that the (...) focus is that long ago, H. P. Lovecraft in his essay mentioned within this essay distinguished between the gothic as a literary genre and horror literature as another literary genre. And Lovecraft showed us that the horror as a literary genre is by far the greater of the two genres. This essay does not get into the literary values of either the gothic or the horror novel. That has been treated in a fuller manner by this author in his PhD thesis. (shrink)

EAP course teaches how the program concerns and provides us with a valuable way of organizing our thinking about conceptual disciplinary within the particular community. The area of EAP is referred with genres. The process of writing academically requires creating a text where the writer takes it for granted the reader is about to recognize. To group texts together, writers utilize language in order to respond to recurring situations and this case is +represented with the term genre.

The alien in science fiction has not often been seen as part of an imperial colonial discourse. By examining John W. Campbell’s founding golden age SF text, “Who Goes There?” (1938), this paper explores the ways in which the alien adheres to an invisible mythos of whiteness that has come to be seen through a colonizing logic as isomorphic with the human. Campbell’s alien-monster comes to disseminate and invade both self and world and as such serves as an interrogation of (...) what whites have done through colonization. It is thus part and parcel of imperial domination and discourse and appears as the very nightmare of whiteness in the form of its liminal and estranged shadow side. Part of what has made Campbell’s text so influential is that it offers a new type of alien invasion in the figure of “contagion,” which speaks “to the transition from colonial to postcolonial visions of modernity and its attendant catastrophes” (Rieder, 124), and which can be further examined as a race metaphor in American SF—indeed, as the white man’s fear of racial mixing that has a long and dehumanizing history. Through its threat of mixture, I read the alien as a creolizing figure that both troubles and undoes the white/black, human/nonhuman binary in science fiction, which I also read as being a creolizing, i.e., hybrid and plastic, genre. (shrink)

This article examines two manga, Stop!! Hibari-Kun! and No Bra, which prefigure the increasingly popular anime and manga genre of otokonoko from a queer studies perspective. Otokonoko, also known as otoko no musume, is a genre of manga in which persons assigned male at birth (AMAB) wear women’s clothing and are perceived as attractive women. The term otokonoko (男の娘) is pronounced identically to the term男の子, meaning boy-child; however, due to a pun in the kanji which replaces "child" (子) (...) with "daughter"/"girl" (娘), it translates to “boy-girl”, “boy-daughter”, or sometimes“boy-princess”. It is often translated into English as “cross-dresser”. The genre emerged in the early 2000s and has since become a popular point of reference and conversation both within and outside of anime and manga communities. Both the genre, and its titular characters have become iconic within both Japanese and Western online culture. As with most genres, the otokonoko genre is trope heavy, so I decided to look at works that prefigure the genre to better understand the appeal without the weight of the traditions of the genre weighing too heavily on the content. Both Stop!! Hibari-Kun! and No Bra follow the story of a boy who becomes increasingly attracted to a gender ambiguous character assigned male at birth, but who appears female to most. Both manga are centrally about this conflict between the love interests’ perceived maleness and the protagonists perceived heterosexuality. The article analyses the appeal of each work to both male and trans feminine readers, because what would later become the otokonoko genre is popular with both male and trans feminine readers. It also argues that these manga offer something unique from Western depictions of transgender lives, based on the popularity of manga and anime among Western trans feminine readers. (shrink)

This paper explores trans poetics as a way of doing trans philosophy. I begin by giving an overview of the current state of trans philosophy. I then give examples of other literatures wherein poetics is taken to be philosophically robust. After giving a brief history of trans poetics, I turn to the poetics statements and poetry of three trans poets—D'Lo, Ching-In Chen, and micha cárdenas—featured in the 2013 anthology Troubling the Line. I show how poetry is often uniquely able to (...) capture the ambiguity of the WTF of trans experience in ways that differ from philosophical argumentation. I conclude by suggesting that poetics might move us away from a potential politics of suffering in trans philosophy to a politics of liberation. (shrink)

The article aims at clarifying the historical status and cognitive potentials of such a genre of contemporary historiography of philosophy as biographical encyclopedia (dictionary). Based on extensive bibliographic material, the author demonstrates that in the late XX – early XXI centuries in the English-speaking countries there was a real outbreak of interest in encyclopedias and dictionaries, compiled from personalized articles about the life and works of philosophers of certain epochs, countries, trends, etc. According to the author, the increasing popularity (...) of this genre can be considered as a logical continuation of the historical and biographical turns that took place in the Anglo-American (analytic) philosophy in the 1980s and 1990s, respectively. The author specifically emphasizes that it caused the appearance of a significant number of encyclopedias and dictionaries, which contain the well-known facts as well as the significant elements of scholar novelty. The article also shows that similar tendencies have taken place in the contemporary Ukrainian historiography of philosophy. It is shown that Ukrainian experts also made their own significant contribution to the development of this genre. They have successfully developed a special approach, which presupposes the focus on life and works of the representatives of a particular academic institution. The intellectual value of this approach is demonstrated by the example of the recently published two-volume encyclopedia “Kyiv Theological Academy in Names: 1819-1924”. It contains a systematic and very informative presentation of the biographies of many representatives of the national philosophy, whose activities were associated with this institution. The author also shows that from the perspective of the historiography of philosophy, the general methodological foundations of this encyclopedic research is a matter of special interest. (shrink)

Reading Todorov’s The Fantastic: A Structural Approach to a Literary Genre - Irfan Ajvazi.

Quel message est apporté par le courant littéraire de la négritude, et comment procède-t-il pour le transmettre? C'est par le biais d'une écriture introspective que la diaspora noire a conquis sa dignité et dépassé le stade victimaire, par-delà le seul cadre de la communauté francophone. A travers l'histoire de la traite et de la colonisation, notre lecture procédera en trois phases: une phase locutoire, consacrée à un rappel chronologique du contexte noir dans l'Histoire; une phase illocutoire, où seront exposées les (...) différentes réactions de l'intelligentsia noire face à la ségrégation et au passif colonial; une phase perlocutoire, qui conclura l'étude en observant l'impact de la négritude sur la réalité sociale du genre noir. Au-delà du courant historique francophone, l'idée de négritude incarne le problème des constructions d'identité et illustre parfaitement la difficulté de la condition humaine: être ce que nous voulons de ce que les autres veulent faire de nous. (shrink)

Cartoon is a journalistic genre that is presented in simple, sort and catchy formats, which appeal to human sense and consequently allows for quick reception of the messages being communicated. Adejuwon & Alimi in Bello (2022) argued that cartoons serve as medium through which people are informed, educated, and entertained by presenting societal happenings in a hilarious manner. According to Bello, editorial cartoons are designed to satirise current political issues, and offer subtle criticism cleverly coated with humour and satire. (...) Cartoons amuse, yet they are veritable means of exposing social ills and strategic way of conveying messages of deep meaning magnitude. (shrink)

Language, science and politics go together and learning these genres is to learn a language created for codifying, extending and conveying scientific and political knowledge. Grammatical metaphor is divided into two broad areas: ideational and interpersonal. This article focuses on the first type of grammatical metaphor, i.e. the ideational one, which includes process types and nominalization. The principal objective of the current work is to analyze a corpus comprising 10 scientific and 10 political texts. The Ideational Grammatical Metaphor framework was (...) used to carry out an analysis on these texts to pinpoint their similarities and dissimilarities. The analysis indicates that Ideational Grammatical Metaphor has dominated political and scientific texts and is used approximately with the same frequency in both genres and the prevailing process types in both are material and relational types. Consequently, the tone of the writing is more abstract, pretentious and formal. In science, instances of IGM enable technicalizing and rationalizing; and in politics they deal with dominance, provocation, persuasion toward an intended objective. Based on the findings of this study, some implications can be drawn for academic writing and reading as well as translators and teachers involved in writing and reading pedagogy. (shrink)

Video-game play (particularly “action” video-games) holds exciting promise as an activity that may provide generalized enhancement to a wide range of perceptual and cognitive abilities (for review see Latham et al., 2013a). However, in this article we make the case that to assess accurately the effects of video-game play researchers must better characterize video-game experience and expertise. This requires a more precise and objective assessment of an individual's video-game history and skill level, and making finer distinctions between video-games that fall (...) under the umbrella of “action” games. Failure to consider these factors may partly be responsible for mixed findings (see Boot et al., 2011). (shrink)

This paper proposes a reading of Galileo’s Letter to the Grand Duchess Christina as analogous to a legal brief submitted to a court en banc. The Letter develops a theory of the general issues underlying the case at hand, but it is organized around advocacy for a particular judgment. I have drawn two architectonic implications from this framework, each of which helps to resolve an issue still standing in the literature. First, the Letter anticipates varying degrees of acquiescence to its (...) general account, and provides ‘hooks’ for different readers to interpret variously while still converging on the particular judgment. This reading allows for a coherent Galilean interpretation of passages that notoriously concede priority to Scripture, while also explaining their dialectical function. Galileo is neither self-contradictory nor dissimulating here, but strategically leaves the specification of key distinctions for the reader. Second, the Letter, and particularly its apparent shifting of the burden of proof, must be understood in light of the tripartite ‘adversarial-judicial’ framework that Galileo sets up. The burden of proof is shifted to anti-Copernicans within the Church, not as a rhetorical trick, but because of the benefits of adversarial procedure that will accrue to the Church as the responsible judge. (shrink)

Among the works of the ancient Greek satirist Lucian of Samosata, well-known for his scathing and obscene irony, there is the novel True History. In this work Lucian, being in an intense satirical mood, intended to undermine the values of the classical world. Through a continuous parade of wonderful events, beings and situations as a substitute for the realistic approach to reality, he parodies the scientific knowledge, creating a literary model for the subsequent writers. Without doubt, nowadays, Lucian’s large influence (...) on the history of literature has been highlighted. What is missing is pointing out the specific characteristics that would lead to the placement of True History at the starting point of Science Fiction. We are going to highlight two of these features: first, the operation of “cognitive estrangement”, which aims at providing the reader with the perception of the difference between the convention and the truth, and second, the use of strange innovations (“novum”) that verify the value of Lucian’s work by connecting it to historicity. (shrink)

The currently standard approach to fiction is to define it in terms of imagination. I have argued elsewhere that no conception of imagining is sufficient to distinguish a response appropriate to fiction as opposed to non-fiction. In her contribution Kathleen Stock seeks to refute this objection by providing a more sophisticated account of the kind of propositional imagining prescribed by so-called ‘fictive utterances’. I argue that although Stock's proposal improves on other theories, it too fails to provide an adequate criterion (...) of fictionality. I conclude by sketching an alternative account according to which fiction is a genre. (shrink)

This article uses rhetorical genre theory to discuss methods for writing studies research in light of increasing participation of Indigenous scholars and students in disciplines throughout the academy. Like genres, research methods are embedded in systems of interaction that create subject positions and social relations. Using rhetorical genre theory to understand methods as the cultural tools of research communities, we argue that methods can be enacted as flexible resources in the interest of advancing ethical knowledge. In the context (...) of Indigenous epistemological activism, researchers can then take a contingent stance toward method, a stance we name “principled uncertainty.”. (shrink)

In this paper, we develop an analysis of unrealistic fiction that captures the everyday sense of ‘unrealistic’. On our view, unrealistic fictions are a species of inconsistent fictions, but fictions for which such inconsistency, given the supporting role we claim played by genre, needn’t be a critical defect. We first consider and reject an analysis of unrealistic fiction as fiction that depicts or describes unlikely events; we then develop our own account and make an initial statement of it: unrealistic (...) fictions are those that invite us to believe something false. We further develop this account and restate it in terms of the notion of “import-export inconsistency.” That is, unrealistic fictions invite us to import certain propositions true in the actual world then invite us to export propositions entailing the negation of those imported. Finally, we consider whether for fiction being unrealistic is always an aesthetic flaw. (shrink)

Occlusion is most commonly presented as an aspect of certain genres: occluded genres. Here, occlusion is proposed as a property of the processes by which genres are taken up. While routine use of genres creates expectations around when the genre’s uptake is commonly occluded, such expected practice can be subverted by deliberate disclosure. Occlusion and disclosure in the process of genre uptake thus become argumentative and powerful moves in communicative interaction. In three case studies, I analyze processes of (...) occlusion in relationship to the genre of the letter to the university president. (shrink)

In the small but growing literature on the philosophy of country music, the question of how we ought to understand the genre’s notion of authenticity has emerged as one of the central questions. Many country music scholars argue that authenticity claims track attributions of cultural standing or artistic self-expression. However, careful attention to the history of the genre reveals that these claims are simply factually wrong. On the basis of this, we have grounds for dismissing these attributions. Here, (...) I argue for an alternative model of authenticity in which we take claims about the relative authenticity of country music to be evidence of ‘country’ being a dual character concept in the same way that it has been suggested of punk rock and hip-hop. Authentic country music is country music that embodies the core value commitments of the genre. These values form the basis of country artists’ and audiences’ practical identities. Part of country music’s aesthetic practice is that audiences reconnect with, reify, and revise this common practical identity through identification with artists and works that manifest these values. We should then think of authenticity discourse within country music as a kind of game within the genre’s practice of shaping and maintaining this practical identity. (shrink)

Narrative representations can change our moral actions and thoughts, for better or for worse. In this article, I develop a theory of fictions' capacity for moral education and moral corruption that is fully sensitive to the diversity of fictions. Specifically, I argue that the way a fiction influences our moral actions and thoughts importantly depends on its genre. This theory promises new insights into practical ethical debates over pornography and media violence.

Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. Philosophers have primarily theorized about this phenomenon from the armchair. In this paper, we demonstrate the utility of empirical methods for investigating imaginative resistance. We present two studies that help to establish the psychological reality of imaginative resistance, and to uncover one factor that is significant for explaining this phenomenon but low in psychological salience: genre. Furthermore, our studies have the methodological upshot of (...) showing how empirical tools can complement the predominant armchair approach to philosophical aesthetics. (shrink)

Although the character of the “lady detective”is a staple of the cozy mystery genre, we contend that there are no great lady detectives to rival Holmes or Poirot. This is not because there are no clever or interesting lady detective characters, but ratherbecause the concept of greatness is sociallyconstructed and, like coolness, depends on public acclaim and perception. We explore the mechanics of genre formation, arguing that the very structure of cozy mysteries precludes female greatness. To create a (...) “great”character,theauthor cannot just endowher with certain attributes; she must actively work to overcome her audience’s tendency to import structures of oppression into the story, and she must wrestle against the conventions of the genre. In doing so, however, authors risk setting their stories in a wholly different genre. (shrink)

We refine a line of feminist criticism of pornography that focuses on pornographic works' pernicious effects. A.W. Eaton argues that inegalitarian pornography should be criticized because it is responsible for its consumers’ adoption of inegalitarian attitudes toward sex in the same way that other fictions are responsible for changes in their consumers’ attitudes. We argue that her argument can be improved with the recognition that different fictions can have different modes of persuasion. This is true of film and television: a (...) satirical movie such as Dr. Strangelove does not morally educate in the same way as a realistic series such as The Wire. We argue that this is also true of pornography: inegalitarian depictions of sex are not invariably responsible for consumers' adoption of inegalitarian attitudes toward sex in reality. Given that pornographic works of different genres may harm in different ways, different feminist criticisms are appropriate for different genres of pornography. (shrink)

at seek to identify the necessary and sufficient conditions for a work to count as fiction. She argues that this goal cannot really be achieved; instead, she appeals to the notion of genre to distinguish between fiction and nonfiction. This notion is significantly more flex- ible, since it invites us to identify standard—but not necessary—and counter-standard features of works of fiction in light of our classificatory practices. More specifically, Friend argues that the genre of fiction has the (...) class='Hi'>genre of nonfiction—and only that genre—as its con- trast class. I will refer to the particular way in which Friend elaborates this claim as the contrast view. I have, nevertheless, the impression that this view unnecessarily narrows down the array of perspectives and attitudes from which we can approach works of fiction. I will thus develop a line of reasoning to the effect that the contrast view should rather be construed as picking out a particular way of relating to works of fiction that lies at the end of a continuum defined by different degrees of reflectivity and estrangement. This implies that the contrast view is false as a general claim about how we experience works of fiction, even though this view may appropriately de- pict a specific way of approaching such works. (shrink)

I claim that we should reject a sharp distinction between fiction and non-fiction according to which documentary is a faithful representation of the facts, whilst fiction films merely invite us to imagine what is made up. Instead, we should think of fiction and non-fiction as genres: categories whose membership is determined by a combination of non-essential features and which influence appreciation in a variety of ways. An objection to this approach is that it renders the distinction too conventional and fragile, (...) undermining our justification for criticising documentaries like Bowling for Columbine or The Hunting Ground for playing fast and loose with the facts. I argue that this objection is misguided, misidentifying the justification for criticising non-fiction films that mislead or deceive. I develop an alternative account that explains why we also criticise many fictions for inaccuracy. (shrink)

Methodologically, philosophical aesthetics is undergoing an evolution that takes it closer to the sciences. Taking this methodological convergence as the starting point, I argue for a pragmatist and pluralist view of aesthetic explanations. To bring concreteness to discussion, I focus on vindicating genre explanations, which are explanations of aesthetic phenomena that centrally cite a work's genre classification. I show that theoretical resources that philosophers of science have developed with attention to actual scientific practice and the special sciences can (...) be used to make room for genre explanations in aesthetics. In turn, making room for genre explanations also demonstrates the plausibility of the pragmatist and pluralist view of aesthetic explanations. (shrink)