24 Matching Annotations
  1. Jul 2022
    1. Extracted from a Family Paper

      This phrase indicates that Moonstone is probably an epistolary novel, a type of genre that presents the story as a compilation of letters, diary entries, or in Moonstone 'family paper' as opposed to the direct narration of a single narrator. Here are links to information about epistolary novels from Oregon State University and Wikipedia. https://liberalarts.oregonstate.edu/wlf/what-epistolary-novel https://en.wikipedia.org/wiki/Epistolary_novel

  2. Feb 2022
  3. Jan 2022
    1. « Je cherchais un apprentissage chez un tailleur homme et il m'a fait comprendre que c'était un univers masculin et qu'il ne prenait pas d'apprentie fille. »
  4. May 2021
  5. Mar 2021
    1. o occult cont

      Macbeth has occult content, but every high school reads it! gothic literature has supernatural elements, too! How can a literary element be praised within one genre and criticized within another?

  6. Jan 2021
    1. Sur l’éducation : Conscient de la particulière vulnérabilité des mineurs et jeunes adultes transgenres et saisi de plusieurs réclamations, le Défenseur des droits recommande aux établissements scolaires et universitaires de respecter l’identité de genre des élèves et de favoriser leur inclusion. Cela doit passer par l’utilisation du prénom et pronom choisi par l’élève, le choix de l’habillement, la prise en considération de l’identité de genre pour l’accès à certains espaces (vestiaires, toilettes ou dortoirs) ou encore la création d’un guide de bonnes pratiques et de formation à destination des équipes éducatives et de campagnes de prévention pour lutter contre la transphobie.
  7. Nov 2020
    1. A Romance

      The term "Romance" is distinct from "Novel" in the 19th C, and their generic differences were thoughtfully debated by writers like Hawthorne, Cooper, and Simm (McCall 115). The former genre is fantastic and latter realistic. Therefore, when we try to solve the mystery of The Moonstone, we may need to look to the fantastical, not logical/plausible.

  8. Jun 2020
  9. Dec 2019
    1. Tempest and Midixsummer Night’s Dream

      Two of Shakespeare's more fanciful plays, The Tempest and A Midsummer Night's Dream explore the limits of the human form through its characters: the grotesque monster-human hybrid Caliban in The Tempest and the comical Bottom from Midsummer, a human with the head of an ass.

      Shelley is conscious of Frankenstein's play with generic convention, and the role genre has in its agreement with representation of reality. In his review of the first edition in 1818 for Edinburgh Magaizine, Sir Walter Scott seems cognizant of the shift in consciousness. He notes: "The real events of the world have, in our day, too, been of so wondrous and gigantic a kind--the shiftings of the scenes in our stupendous drama have been so rapid and various, that Shakespeare himself, in his wildest flights, has been completely distanced by the eccentricities of actual existence."

    2. Shakespeare, in the Tempest and Midv1_ixsummer Night’s Dream

      Despite the comparison of these Shakespeare plays to Greek tragic poetry, The Tempest and A Midsummer Night's Dream are romances, not tragedies. Nonetheless, both romance and tragedy are genres to which this novel is deeply indebted.

  10. Feb 2019
  11. Oct 2018
  12. Jun 2018
  13. Feb 2018
    1. Bean an tSeanduine - Sean Nós 2

      ‘Bean an tSeanduine’ features all of the conventions of the malmariée genre we have previously encountered in ‘An Seanduine Cam’. Also, it is a good example of the speaker blaming her parents for her plight, which is another regular feature of this song type.

      As well as being one of the finest examples of the genre, it is perhaps the most well-known and commonly sung, owing in large part to the simplicity and catchiness of its monosyllable end-rhymes.

      As well as Ó Tuama, Meidhbhín Ní Úrdail has written about the common features of the chanson de la malmariée. Her article ‘The Representation of the Feminine: Some evidence from Irish language sources’ in Eighteenth-Century Ireland/Iris an Dá Chultúr is a rich source of information on the topic. In ‘Bean an tSeanduine’, we have a fine example of what Ní Úrdail calls the description of ‘the plight of a beautiful young woman, trapped in an unhappy marriage to an impotent elderly spouse who is ignorant of her mental and physical frustration’. However, when we consider the particular humour of this song, we can identify how it serves to empower the female speaker.

      ‘Bean an tSeanduine’ differs from ‘An Seanduine Cam’ in that there is no third-person narrator. Like ‘An Seanduine Cam’, the humour of the song relies on a ridiculing of the old man, although here the young woman herself is his detractor. Each of his brags meet a witty riposte. When he claims wealth, she calls him a miser, and when he wonders what would become of his if he died during the night, she jokes that death is an immanent danger. When mockery of this kind is voiced by the female speaker, it serves to empower her, and inspire in the listener a sense of sympathy and respect.

    1. An Seanduine Cam - Corn Uí Riada 2016

      The song’s first two verses are spoken by a third-person narrator. In its humorous exaggeration, the first verse caricatures recognized conventions of arranged marriage. This narrative consciously situates itself in a genre whose familiarity to the listener is a necessary part of the humour. It addresses the economic incentives which were the major precipitating factors of marriage arrangements in rural Ireland during the eighteenth century. It also invokes the misery which such marriages often visited upon young women.

      In his essay ‘Love in Irish Folksong’, Seán Ó Tuama identifies among typical features of the malmariée genre that ‘a young woman speaks (in the first person) of her anguish,’ that ‘the description of the husband can be unbelievably grotesque and ribald: he is humped, crippled; he coughs, grunts, whines at night; most of all, he is cold as lead, important, and completely fails to satisfy her desires’, and that ‘she discloses that she is going to leave him for a young man’ (149). ‘An Seanduine Cam’ provides clear examples of all of these traits.

      Moreover, because these tendencies find expression in a debate form, and are redoubled in response to the unfeeling man, the resistant character of the put-upon young woman is strongly emphasized.

  14. Dec 2016
    1. What is annotation as a genre? I think what he observed in the annotations was a wide range of reader responses, some highly engaging, others less clearly so.

      This question seems like it should be more specific to disciplines. What is annotation in the legal world? How about for scientists? For beginning readers?

      If I'm annotating a text to make meaning, that's different than if I'm a prof annotating a historical text to provide relevant background. The two notes have only their "noteness" in common, I'd say.

  15. Oct 2016
    1. Television genres scholar Jason Mittell defines the situa-tion comedy as featuring “an established setting and small group of ongoing char-acters who each week encounter low-stakes comedic mishaps that are happily resolved by the end of the half-hour epi-sode” (248).

      Scholarly definition of "situation comedy."

    2. situation comedy genre

      Genre is central to this argument. Why? see p. 197 re: definition and social function of sitcom genre.

  16. Apr 2016
    1. As sociologists, we study and teach about women’s devalued place in society. But the stigma against the romance genre is so strong that even our background as scholars in the sociology of gender wasn’t enough to inoculate us against the stigma. If anyone was going to know better, it should have been us.

      Greyson and Lois establish the pervasive and deeply ingrained pejorative attitude toward the popular romance novel. Admit their own assumptions about the genre mirrored that of our culture.

  17. Mar 2015
  18. Nov 2014
    1. This is an ongoing attempt at an algorithmically-generated, readability-adjusted scatter-plot of the musical genre-space, based on data tracked and analyzed for 1306 genres by The Echo Nest. The calibration is fuzzy, but in general down is more organic, up is more mechanical and electric; left is denser and more atmospheric, right is spikier and bouncier.