Genre theory, knowledge Genre theory, knowledge organisation and fictionorganisation and fiction

Dr Pauline RaffertyDr Pauline RaffertyDepartment of Information StudiesDepartment of Information Studies

Aberystwyth UniversityAberystwyth University

Brief OverviewBrief Overview

A theoretical paper whichA theoretical paper which

explores current genre theory and argues for an explores current genre theory and argues for an approach to the understanding of genre, and approach to the understanding of genre, and ultimately the description of genre, that is based ultimately the description of genre, that is based on a cultural-materialist, historical world-view. on a cultural-materialist, historical world-view.

Approaches to fiction Approaches to fiction

1919thth century approaches: treat fiction century approaches: treat fiction from a knowledge perspective (e.g. from a knowledge perspective (e.g. DDC literature for scholars)DDC literature for scholars)

2020thth century approaches: fiction as century approaches: fiction as cultural documentation; fiction for cultural documentation; fiction for leisure, for pleasureleisure, for pleasure

Literary warrant based: Clare Beghtol’s Literary warrant based: Clare Beghtol’s Experimental Fiction Analysis SystemExperimental Fiction Analysis System

CharacterCharacter

Events Events

Space Space

Time Time

““Other”Other”

User warrant based: Pejtersen and Austin’s Analysis User warrant based: Pejtersen and Austin’s Analysis and Mediation of Publications system (AMP) and Mediation of Publications system (AMP)

1. subject matter1. subject mattera. action and course of eventsa. action and course of eventsb. psychological development and descriptionb. psychological development and descriptionc. social relationsc. social relations  2. frame: setting2. frame: settinga. time: past, present, futurea. time: past, present, futureb. place: geographical, social environment, professionb. place: geographical, social environment, profession  3. author’s intentions3. author’s intentionsa. emotional experience a. emotional experience b. cognition and information b. cognition and information   4. accessibility4. accessibilitya. readabilitya. readabilityb. physical characteristics, literary formb. physical characteristics, literary form

Library of Congress, British Library, GSAFD and Genre

LC’s Guidelnes on Subject Access to Individual LC’s Guidelnes on Subject Access to Individual Works of Fiction, Drama etc genre terms include:Works of Fiction, Drama etc genre terms include:

Adventure (UF thriller, swashbuckler)Adventure (UF thriller, swashbuckler) Gangster film (UF crime film)Gangster film (UF crime film) Legal stories (UF novels that deal with law, legal Legal stories (UF novels that deal with law, legal

procedure, courts etc)procedure, courts etc) Mystery fiction (UF detective and mystery fiction, Mystery fiction (UF detective and mystery fiction,

murder mysteries, whodunnits, private eye murder mysteries, whodunnits, private eye stories, mysteries (generally), stories, mysteries (generally),

Robinsonades

Term RobinsonadesSNUse for works describing an individual's or a

small group's survival without the aid of civilization, as on a deserted island.

UFApocalyptic fantasiesUFEnd-of-the-world fantasiesBTAdventure fictionBTVoyages, ImaginaryMTRobinsonades [lcsh]

BL on genre in late 1990s

““Historically speaking, several genres have Historically speaking, several genres have only come into existence in the twentieth-only come into existence in the twentieth-century, for example, thrillers and modern century, for example, thrillers and modern love stories. To place classic, pre-love stories. To place classic, pre-twentieth-century novels in twentieth-twentieth-century novels in twentieth-century genres would be anachronistic”. century genres would be anachronistic”.

Jane Eyre/Charlotte Brontë[not 655 Love stories]650 Governesses-England-Fiction651 England-Social life and customs-19th century-

Fiction

Emma/Jane Austen[not 655 Domestic fiction]650 Young women-England-Fiction651 England-Social life and customs-19th century-

Fiction

Anat Vernitski and Intertextuality Anat Vernitski and Intertextuality (2007)(2007)

Developing an intertextuality-oriented fiction classification, Developing an intertextuality-oriented fiction classification, Journal of librarianship and information science,Journal of librarianship and information science, 39(1), 41-52 . 39(1), 41-52 .

QuotationQuotationExact quotationExact quotationmisquotationmisquotation

AllusionAllusionTitle allusionTitle allusionName allusionName allusion

AdaptationAdaptationSame theme, different formSame theme, different formSame form, different themeSame form, different theme

SequelsSequels

Literary Theory: Genre as ClassificationLiterary Theory: Genre as Classification

What constitutes a “class” in genre What constitutes a “class” in genre classification?classification?

What are the unit members of What are the unit members of classes in genre classification?classes in genre classification?

John Frow (2006), John Frow (2006), schemaschema and class and class

Genre as cues enabling us to interpret Genre as cues enabling us to interpret knowledge in relation to specific domainknowledge in relation to specific domain

Genre also an operative function which in Genre also an operative function which in the right context activates the relevant the right context activates the relevant conceptual meaningconceptual meaning

Frow’s “projected worlds”Frow’s “projected worlds”

““a relatively bounded and schematic domain of a relatively bounded and schematic domain of meanings, values and affects, accompanied by a meanings, values and affects, accompanied by a set of instructions for handling them.set of instructions for handling them.

Any world can be described through a coherent set Any world can be described through a coherent set of propositions, and generated reality-effects of propositions, and generated reality-effects specific to it: some worlds claim a high reality specific to it: some worlds claim a high reality status, others announce themselves as fictional status, others announce themselves as fictional or hypothetical” (86). or hypothetical” (86).

Fowler, A. (1982), Fowler, A. (1982), Kinds of LiteratureKinds of Literature, , Oxford, ClarendonOxford, Clarendon

““[i]f genres are to be represented in feature [i]f genres are to be represented in feature space, therefore, a series of synchronic space, therefore, a series of synchronic maps will be required, in order to do some maps will be required, in order to do some justice to their changing relationship. No justice to their changing relationship. No existing maps, however, make much of an existing maps, however, make much of an attempt to take the diachronic existence attempt to take the diachronic existence of genres into account” (249). of genres into account” (249).

Methodological ProcedureMethodological Procedure

Identify the range of texts that might be considered part of the Identify the range of texts that might be considered part of the genre and decide on a formulation of inclusion.genre and decide on a formulation of inclusion.

Identify pre-texts. Identify pre-texts.

Identify the syntagms (narrative chains) and paradigms (dominant Identify the syntagms (narrative chains) and paradigms (dominant genre type, characters, locations) within the initial (1969-1970) genre type, characters, locations) within the initial (1969-1970) novels. novels.

Using an historical framework, locate each novel within its Using an historical framework, locate each novel within its appropriate “slot” in the frame for analytical purposes. appropriate “slot” in the frame for analytical purposes.

Code each novel against initial set of codes. A picture of small Code each novel against initial set of codes. A picture of small transformations emerges from this analysis which provides a rich transformations emerges from this analysis which provides a rich diachronic analysis.diachronic analysis.

Methodological ProcedureMethodological Procedure

Paradigms: Paradigms: the choice of specific signifiers in opposition to the choice of specific signifiers in opposition to other possible signifiers. For critical social semioticians other possible signifiers. For critical social semioticians these choices involve ideological implications. these choices involve ideological implications.

In this study, paradigmatic choice relates to the types of In this study, paradigmatic choice relates to the types of characters, e.g heroes and villains. characters, e.g heroes and villains.

Syntagms: Syntagms: are combinations or chains of elements that are combinations or chains of elements that form a meaningful whole within a text. form a meaningful whole within a text.

In this study, syntagmatic combinations refer to plot and In this study, syntagmatic combinations refer to plot and narrative. The range and types of plots circulating in novels narrative. The range and types of plots circulating in novels at any synchronic moment is of interest, as are the at any synchronic moment is of interest, as are the transformations in plots over time.transformations in plots over time.

Mapping the novelsMapping the novels

ReplicationReplication: used for novels which adhere closely to the : used for novels which adhere closely to the conventions of Troubles genre identified through an conventions of Troubles genre identified through an examination of the earliest texts. The heroes will tend to be examination of the earliest texts. The heroes will tend to be British Security Services, villains will be IRA operatives, and British Security Services, villains will be IRA operatives, and women will be depicted as girlfriends or victims. women will be depicted as girlfriends or victims.

ModificationModification: used for novels which generally adhere to : used for novels which generally adhere to

the conventions of Troubles genre, but which may display the conventions of Troubles genre, but which may display specific differences.specific differences.

ChallengeChallenge: used for novels that do not adhere to the : used for novels that do not adhere to the conventions of the Troubles genre but construct alternative conventions of the Troubles genre but construct alternative representations. Novels which critique conventional representations. Novels which critique conventional representations will also be included in this category. This representations will also be included in this category. This category will be much smaller than the other two.category will be much smaller than the other two.

Hall, S., (2001), “Encoding/Decoding”, in Durham, Hall, S., (2001), “Encoding/Decoding”, in Durham, M.G. and Kellner, D. M., (eds.), Media and Cultural M.G. and Kellner, D. M., (eds.), Media and Cultural Studies: Keyworks, Oxford, Blackwells, pp.166-177Studies: Keyworks, Oxford, Blackwells, pp.166-177

Dominant Dominant : when the viewer decodes the message in : when the viewer decodes the message in terms of the reference code in which it has been encoded, terms of the reference code in which it has been encoded, operating inside the dominant code (2001, 174). operating inside the dominant code (2001, 174).

NegotiatedNegotiated: decoding within the negotiated version : decoding within the negotiated version accords the privileged position to the dominant definitions accords the privileged position to the dominant definitions of events while reserving the right to make a more of events while reserving the right to make a more negotiated pplication to local conditions, to its own more negotiated pplication to local conditions, to its own more corporate positions (2001, 175).corporate positions (2001, 175).

OppositionalOppositional: A viewer might perfectly to understand both : A viewer might perfectly to understand both the literal and the connotative inflection given by a the literal and the connotative inflection given by a discourse but to decode the message in a globally discourse but to decode the message in a globally contradictory way. He/she decodes within some alternative contradictory way. He/she decodes within some alternative framework of reference. (2001, 175).framework of reference. (2001, 175).

Categories in Data Gathering Sheets Description and function

Bibliographic information The information will include recording author, title, publisher, date of publication, place, nationality of author, where known

Dominant affective genre The dominant genre type that best describes the novel will be recorded.

Plot summary label A plot summary statement will be recorded for each novel.

Representations of key characters Paradigmatic choices about heroes, villains and female characters.

Modality markers Where possible modality markers will be established and identified. These might include reference to the material world (places, people, institutions, events).

Ideology stance Ideological stance is related to positive, neutral or negative attitudes towards the personnel, policies, politics and activities relating to the Troubles in Northern Ireland.

Relation to genre conventions Replicate, modify, challenge

Biblio

Dominant Affective Genre

Plot Summary Label

Representation of key characters (heroes, women, activists, security personnel)

Modality Marker

Ideology Marker

The Killing of Yesterday’s Children, M.S. Powers, Chatto and Windus, 1985

Thriller (intrigue and dirty tricks)

Arthur Apple, ex-diplomat, fronts a betting shop to launder IRA money for Seamus Reilly. Apple reports to the British Colonel Maddox who works closely with John Asher of the RUC. Apple dislikes Asher. Martin Deeley is to kill Maddox at his Berkshire home but kills Maddox’s driver Reilly leaks Deeley’s name to Maddox. Apple offers Deeley safe haven in his house. Deeley kidnaps Asher. Apple and Deeley negotiate a deal to get Deeley out of Ireland. Maddox negotiates with Reilly who agrees to rescue Asher if the IRA can have Apple and Deeley. Reilly and the IRA invade Apple’s house, recapture Asher and shoot Deeley. Apple dies of a heart attack and they plant the gun on him.

Hero: Mr Arthur Apple: eccentric. Talks with spirits, Sepher and Mr Divine. He was tortured in South America. He believes that he and Deeley are connected and their fates are intertwined. Women: Daphne, the prostitute who is in love with Martin Deeley. Republicans: Martin Deeley: He is a 26 years old killer. His father and brother were killed by the British Army wrongly suspected of being in the IRA. He realises that Apple is clever and wiser than he appears, and he grows fond of Apple Seamus Reilly: IRA godfather. Dapper and well presented, he doesn’t kill himself but organises other operatives to kill for him. He “talent-spotted” Martin Deeley. British: Colonel Maddox: an aesthetic looking English colonel. Apple likes Maddox who has views about loyalty and playing straight. RUC: John Asher: hard and ruthless, Asher does deals with the IRA and manages Belfast in a fairly complex, and corrupt way.

No reference to real historical events. Lots of metaphysical content – explicitly in relation to Apple’s visions and visitations - but also in relation to other characters e.g. the bond of sympathy between Maddox and Reilly at the negotiation interview (p. 249). Set in Belfast and Berkshire.

The Troubles consist of the IRA, the RUC and the British Army. The way in which the situation is managed is complex and corrupt, so that there are deals going on between the big players in the IRA, RUC and the Army. Young boys, barely children, are recruited, involved and killed, and it doesn’t make any difference, nobody really notices.

Author Title Date Genre Replicate Modify Challenge

Grant, David Emerald Decision 1980 Thriller (chase, dirty tricks) X

McNamara, Michael The Sovereign Solution 1980 Thriller (two brothers) X

Leitch, Maurice Silver's City 1981 Thriller (chase) X

Bradford, Roy. The Last Ditch 1981 Thriller (political) X

Holland, Jack. The Prisoner’s Wife, 1981 Thriller (IRA in-fighting) X

Judd, Alan. A Breed of Heroes. 1981 Thriller (army memoirs) X

North, Michael Mission to Ulster 1981 Thriller (revenge) X

Higgins, George, V. The Patriot Game 1982 Thriller (chase) X

Holloway,Rupert The Terrorist Conspiracy 1982 Thriller (Terror International) X

Gibson, Tom A Wild Hope 1983 Thriller (chase) X

Harriott, Ted No Sanctuary. 1983 Thriller (chase) X

Seymour, Gerald Field of Blood 1985 Thriller (supergrass) X

Gill, Bartholemew McGarr and the Method of Descartes 1985

Thriller (foiled Republican plot) X

Higgins, Jack Confessional 1985 Thriller (chase) X

Power, M.S. The Killing of Yesterday’s Children. 1985 Thriller (dirty tricks) X

Shannon, James A Game of Soldiers 1985 Thriller (revenge) X

Howlett, John Orange. 1985 Thriller (foiled Loyalist operation) X

Powers, Maurice. S Lonely the Man Without Heroes 1986 Thriller (dirty tricks) X

Ould, Chris A Kind of Sleep, 1986 Thriller (revenge of ex-IRA man) X

Power, M.S A Darkness in the Eye 1987 Thriller (dirty tricks) X

Newman, Gordon.F. The Testing Ground. 1987 Thriller (dirty tricks) X

Anthony, Evelyn No Enemy but Time 1987 Thriller (IRA chase ex-IRA man) X

Clancy, Tom Patriot Games 1987 Thriller (Terror International) X

Gilbert, Michael. Trouble 1987 Thriller (Terror International) X

Armstong, Campbell Jig 1987 Thriller (chase) X

Kelly, James. The Marrow from the Bone 1987 Thriller (political) X

Murphy, James Juniper 1987 Thriller (dirty tricks,) X

Rankin, Ian Watchman, 1988 Thriller (chase, dirty tricks) X

Michaels. Sarah .J. Justice: One Man’s War against the IRA. 1988 Thriller (revenge) X

Joyce, Joe Off the Record 1989 Thriller (political) X

1980s Modification thrillers1980s Modification thrillers

Author Title Date Genre Replicate Modify Challenge

Grant, David Emerald Decision 1980 Thriller (chase, dirty tricks) X

Bradford, Roy. The Last Ditch 1981 Thriller (political) X

Holland, Jack. The Prisoner’s Wife, 1981 Thriller (IRA in-fighting) X

Seymour, Gerald Field of Blood 1985 Thriller (supergrass) X

Higgins, Jack Confessional 1985 Thriller (chase) X

Power, M.S. The Killing of Yesterday’s Children. 1985 Thriller (dirty tricks) X

Powers, Maurice. S Lonely the Man Without Heroes 1986 Thriller (dirty tricks) X

Power, M.S A Darkness in the Eye 1987 Thriller (dirty tricks) X

Newman, Gordon.F. The Testing Ground. 1987 Thriller (dirty tricks) X

Kelly, James. The Marrow from the Bone 1987 Thriller (political) X

Murphy, James Juniper 1987 Thriller (dirty tricks,) X

Rankin, Ian Watchman, 1988 Thriller (chase, dirty tricks) X

Joyce, Joe Off the Record 1989 Thriller (political) X

Bildungsromans NovelsBildungsromans Novels

Figure 2: Overview of the complete set of bildungsromans in the data set

Author Title Date Replicate Modify Challenge

Johnston, Jennifer

Shadows on our Skin 1977 X

Woods, Una The Dark Hole Days 1984 X

Gibson, Elizabeth

The Water is Wide 1984 X

Molloy, Mary No Mate for the Magpie 1985 X

Madden, Deirdre

Hidden Symptoms 1986 X

Morrison, Danny

West Belfast. 1989 X

Wilson, Robert McLiam

Ripley Bogle 1989 X

Patterson, Glenn

Fat Lad 1989 X

Park, David The Healing 1992 X

Patterson, Glenn

Burning your Own 1993 X

Paisley, Rhonda.

Lost Fathers 1995 X

Beattie, Geoffrey

The Corner Boys. 1998 X

Using genre theory in a KO framework Using genre theory in a KO framework

This study bridges the This study bridges the gapgap between between the discussion of genre as an the discussion of genre as an abstracted macro-level abstracted macro-level systemsystem

and and individualindividual novels as novels as instantiations of genre is bridged by instantiations of genre is bridged by the empirical, descriptively-based the empirical, descriptively-based method. method.

Genre theory, KO and fictionGenre theory, KO and fiction

In the analysis of genre formation, the In the analysis of genre formation, the relationship between relationship between

the macro-level perspective of generic system the macro-level perspective of generic system and the micro-level perspective of specific and the micro-level perspective of specific

novelists and specific novels novelists and specific novels

is best explored through specific concrete is best explored through specific concrete description and comparisons of material texts description and comparisons of material texts both at the level of the synchronic moment and both at the level of the synchronic moment and diachronically. diachronically.

Genre theory, knowledge organisation Genre theory, knowledge organisation and fictionand fiction

Dr Pauline RaffertyDr Pauline Rafferty

Department of Information StudiesDepartment of Information Studies

Aberystwyth University Aberystwyth University

Thank you very much for listening!Thank you very much for listening!