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A Few (Skeptical) Notes on the Theoretical Ramifications of Genres in the Contemporary Public Space

100%

Cap P.

tom 11

nr 1

3-17

This paper is a tentative attempt to identify some basic-level conceptual and theoretical problems underlying the mainstream genre theory, which adversely affect the analysis of rapidly evolving, complex and hybrid genres in the modern communicative space. Having discussed these problems, I go on to I argue that the space of contemporary public communication should be viewed as not only an “analytic problem”, but also/rather a domain whose explorations could potentially revise the existing principles of genre theory. In particular, I suggest such explorations should focus on the conception of (public communication) genres as (i) abstractions, (ii) activators and realizers of context, (iii) flexible macrostructures, (iv) social field entities, (v) assigners of interpersonal roles. Notwithstanding a possible advancement of genre theory resulting from this approach, I conclude that it is only a first and admittedly uncertain step in trying to establish a sound theoretical framework for communicative genres in the modern discourse space.

Definiując urban fantasy i romans paranormalny. Przekraczanie granic gatunków, mediów, a także siebie i innych w nowych nadprzyrodzonych światach

100%

McLennon L. M. , Olkusz K.

nr 1(58)

65-95

on-existent before the late 1980s, in recent years urban fantasy / paranormal romance has become the prevailing form of the monstrous Gothic in popular culture. In little more than two decades, urban fantasy has evolved from striking new genre innovations, coming to constitute a set of nowfamiliar genre conventions. Yet while urban fantasy has risen meteorically in popularity, especially in the last decade, it remains surprisingly understudied as a coherent genre. McLennon in the article Defining Urban Fantasy and Paranormal Romance: Crossing Boundaries of Genre, Media, Self and Other in New Supernatural Worlds provides a clear definition and history of urban fantasy / paranormal romance as a genre. She argues that this genre is both formally and thematically concerned with destabilising new Gothic boundaries—boundaries of genre, of media, of self and Other. Finally, McLennon suggests that these formal and thematic challenges to boundaries offer one explanation for this genre’s broad popularity. The article thus seeks to provide a platform from which we can better analyse and understand both this genre as a whole, and its individual texts, across a variety of media.

Kulturowe konteksty przemian gatunku (na przykładzie noweli i romansu)

88%

REJTER A.

tom 22

351-364

The article is devoted to describing the problem of cultural contexts of genre transformations, taking the example of chosen literary forms: short story and romance. A few aspects of text model have been analyzed: structural, stylistic and functional. There are three basic cultural contexts of genre changes: 1. archaecultural, 2. macrocultural, 3. microcultural. Each of them is connected with various factors and aspects of the genres. The analysis allows treating the two chosen genres as “drifting” ones, because they are very “fluent”, they migrate from a discourse to a discourse during their historyfrom the Old-Polish period to contemporary times.