Modern Genre Theory by Duff David

Author:Duff, David
Language: eng
Format: epub, azw3
ISBN: 9781317879312
Publisher: Taylor & Francis Ltd

Notes

1.

This was revived by the Third International Congress of Modern Literary History, held in Lyon in May 1939 (‘Travaux du 3e Congrès international d’Histoire littéraire moderne’, Helicon 2 (1940)), which was devoted to the genre problem that had been declared dead by Croce and that thereby provoked his scornful protest. Cf. G. ZACHARIAS, ‘B. Croce und die literarischen Gattungen’, dissertation, University of Hamburg, 1951. For further discussion cf. J. POMMIER, ‘L’idée de genre’, Publications de l’École Normale Supérieure, Section des Lettres, II (Paris, 1945), pp. 47–81; RENÉ WEIXEK and AUSTIN WARREN, Theory of Literature (New York, 1942), ch. 17: ‘Literary Genres’; and W. RUTTKOWSKI, Die literarischen Gattungen (Bern, 1968), useful for its bibliography.

2.

H. KUHN, ‘Gattungsprobleme der mittelhochdeutschen Literatur’, in Dichtung und Welt im Mittelalter, 2nd edn (Stuttgart, 1969), p. 45.

3.

Cf. ibid., p. 7: ‘But what does one do with the unsung maxim, rhymed discourse, the fable, with all the types that play, without boundaries, across the didactic, the novelistic, the allegorical, from the smallest forms up to the great forms? Should the passion play function as tragedy, the Fasnachtspiel as comedy? Can the didactic and the religious literature of all forms constitute their own genres, since, as “epic”, “lyric” or “dramatic”, they are only pseudotypes. And once again, prose of all kinds, literary and pragmatic, religious and scholarly and practical, with the most varied transitions into poetry: rhymed prefaces to Lucidarius and Sachsenspiegel, rhymed and prose chronicles world-historical as well as locally historical, the ritual literature?’

4.

Croce’s aesthetics were mediated in the United States through J.E. Spingarn, who counts among the ground-breakers of New Criticism; cf. SPINGARN, ‘The New Criticism’ (1910), in The Achievement of American Criticism, ed. C.A. Brown (New York, 1954), pp. 525–46, and J. HERMAND, ‘Probleme der heutigen Gattungsgeschichte’, in Jahrbuch für internationale Germanistik 2 (1970), pp. 85–94.

5.

On the founding of an historical aesthetics, cf. PETER SZONDI, ‘Einleitung’ to Theorie des modernen Dramas (Frankfurt a.M., 1956), and his ‘La théorie des genres poétiques chez Friedrich Schlegel’, Critique (March 1968), 264–92 [Eng. ‘Friedrich Schlegel’s Theory of Poetical Genres: A Reconstruction from The Posthumous Fragments’, in SZONDI, On Textual Understanding and Other Essays, trans. Harvey Mendelsohn (Manchester, 1986)].

6.

BENEDETTO CROCE, Estetica, 2nd edn (Bari, 1902), p. 40 [see above, p. 27].

7.

Ibid., pp. 40, 75.

8.

The two names, Erlebnisästhetik and Genieästhetik, refer, respectively, to criticism represented by Dilthey’s Das Erlebnis und die Dichtung (1907), and the late eighteenth-century theories of Hamann, Herder, and ‘Sturm und Drang’ (Tr.).

9.

WOLF-DIETER STEMPEL, ‘Pour une description des genres littéraires’, in Actes du Xlle Congrès international de linguistique Romane (Bucharest, 1968), p. 565, on the fundamental condition of any theory of discourse: ‘Every act of linguistic communication is reducible to a generic and conventional norm, composed, on the level of the spoken language, of the social index and the situational index as a unity of behavior.’

10.

F. SENGLE, Die literarische Formenlehre (Stuttgart, 1966), p. 19.

11.

According to E. COSERIU, ‘Thesen zum Thema “Sprache und Dichtung”’, in Beiträge zur Textlinguistik, ed. Wolf-Dieter Stempel (Munich, 1971), pp. 183–8, esp. section II, 2; cf.

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