Since Aristotle, genre has been one of the fundamental concepts of literary theory, and much of the world's literature and criticism has been shaped by ideas about the nature, function and value of literary genres. Modern developments in critical theory, however, prompted in part by the iconoclastic practices of modern writers and the emergence of new media such as film and television, have put in question traditional categories, and challenged the assumptions on which earlier genre theory was based. This has led not just to a reinterpretation of individual genres and the development of new classifications, but also to a radically new understanding of such key topics as the mixing and evolution of genres, generic hierarchies and genre-systems, the politics and sociology of genres, and the relations between genre and gender. This anthology, the first of its kind in English, charts these fascinating developments. Through judicious selections from major twentieth-century genre theorists including Yury Tynyanov, Vladimir Propp, Mikhail Bakhtin, Hans Robert Jauss, Rosalie Colie, Fredric Jameson, Tzvetan Todorov, Gérard Genette and Jacques Derrida, it demonstrates the central role that notions of genre have played in Russian Formalism, structuralism and post-structuralism, reception theory, and various modes of historical criticism. Each essay is accompanied by a detailed headnote, and the volume opens with a lucid introduction emphasising the international and interdisciplinary character of modern debates about genre. Also included are an annotated bibliography and a glossary of key terms, making this an indispensable resource for students and anyone interested in genre studies or literary theory.
Overall this is a very useful collection of literary theory about genre. Most folks familiar in the least with literary theory know Bakhtin and Derrida. However, the essay by Yury Tynyanov titled "The Literary Fact"--written in 1924 and published here in English for the first time--is quite good.
Tynyanov looks at how genres form and collapse, that is, how the meanings attached to generic forms dislocate. As demonstrated by history, the process is inevitable. The essay describes a generic realm where individual genres float in relation to one another, with different genres representing the generic core at different historical moments. Tynyanov recognized already in 1924 that the choices people make about genre are never value‐neutral. “Like all contemporaries, we place an equal sign between ‘new’ and ‘good,’” he wrote.
If the subject of genre form and function interests you, this book is a necessity. If you're already familiar with the subject, it's still worth seeking this out for the Tynyanov essay, which will be new to most English readers.
A slim yet comprehensive anthology of articles illustrating different approaches to genre theory in the field of Western lit studies in the 20th century.
Duff’s Introduction and prefaces place each article in context, and as a whole the anthology forms an overview of how different schools of thought, as well as individual scholars, have crosspollinated their respective thinking.
The selection skews European and Russian, but Northern America makes a showing as well. All in all, an interesting and useful textbook for any lit student; without previous knowledge of lit discourse might be at times frustrating in its terminological density (looking at you, Derrida).
Very helpful introductions to each section, which are all kept to very digestible, manageable lengths. Definitely very heavily (or even exclusively) focused on literary applications, but such is the field. Nothing a little creative interpretation can't fix!