The subject of this paper is the theoretical fiction genre as a manifestation of interdiscursive relations between fiction and theory/criticism. Firstly, this paper offers a brief overview of the constitutive features of the theoretical fiction genre; and secondly, these features are interpretatively confirmed through the novel Papokot na svetot (Navel of the World) by the Macedonian writer, Venko Andonovski.
MK
The subject of this paper is the theoretical fiction genre as a manifestation of interdiscursive relations between fiction and theory/criticism. Firstly, this paper offers a brief overview of the constitutive features of the theoretical fiction genre; and secondly, these features are interpretatively confirmed through the novel Papokot na svetot (Navel of the World) by the Macedonian writer, Venko Andonovski.
The lecture is one of the most common forms of instruction in universities throughout the world being used as a form of studies, with the aim of conveying knowledge to a large number of students. The article looks at the nature of the academic lecture genre, its specific characteristics in comparison to other types of written or spoken modes of different genres. It introduces key theories of Genre Schools, such as New Rhetoric Studies, Systemic Functional Linguistics and English for Specific Purposes, explores the peculiarities of the university lecture as a separate genre, looks at its structure and studies the characteristic features.
In humour research, intertextuality has been extensively studied with the aim of understanding how humorous texts are constructed on the basis of previous texts. In this paper, we elaborate on the sociopragmatic functions of intertextuality, pointing out not only how humorous texts rely on previous texts and background knowledge, but also what sociopragmatic functions intertextuality serves in actual communicative situations, e.g. the effect the recognition (or not) of intertextual references has on the segmentation of recipients into various groups. To this end, the paper discusses intertextuality in relation to such traditional concepts as textuality and genre, and adds a focus on the speaker’s intention and the recipient’s interpretation. The paper serves as a framing introduction to six other papers in the special issue on the topic of “Intertextuality and humour”, articulating a common research position and arguing for the extension of scholarly attention to such applied domains as critical literacy education, marketing communication, and the legal framework regulating the creation and reception of humorous texts and artefacts.
The article relates to the circulation of sayings in the press discourse, which leads to create a media event and to determine its social meaning. The press discourse is intrinsically heterogeneous because of the references to statements of public life actors and to various texts. Those mentions are not always manifest, so we are dealing with intertextuality and interdiscursivity as well. The article presents several marks of both on example of articles from Le Figaro and Le Monde related to the “bonnets rouges” manifestations in November 2013. It shows how intertextuality and interdiscursivity influence the meaning of the media event and why it is interesting to distinguish them. The analysis is mainly inspired by the theories of S. Moirand (2007).
The present study addresses the mixing of different genres, discourses and author identities in two autobiographically oriented documentaries. Based on the theory of communicative genres, the genres of (social) documentary, video diary and home movie are characterized. Then the relations between the elements of social documentary and video diary in the films Český žurnál: Exekuce (Czech Journal: Don’t Take My Life) and Epidemie svobody (Epidemic of Freedom) are analyzed. On the level of the internal structure of both films, two different thematically defined discourses are identified, realized through verbal and visual semiotic modes: autobiographical and social discourse. The analysis reveals that in Exekuce, social discourse prevails and elements of both discourses are mostly juxtaposed (discontinuous mixing), while in Epidemie svobody, characterized by the predominance of the autobiographical component, the two discourses are more interconnected (continuous mixing). Elements of social discourse can mostly be attributed to the genre of social documentary in both films, while the autobiographical discourse does not fully correspond to the genre of the video diary: these records of the authors’ lives have a hybrid character, thus representing a kind of “documentary diary”.
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.