" Genre Fusion demonstrates how Spanish authors accurately represent the lived experience of Spain's history and collective memory by overlapping the genres of fiction and historiography."

Genre and Television proposes a new understanding of television genres as cultural categories, offering a set of in-depth historical and critical examinations to explore five key aspects of television genre: history, industry, audience, text, and genre mixing. Drawing on well-known television programs from Dragnet to TheSimpsons, this book provides a new model of genre historiography and illustrates how genres are at work within nearly every facet of television-from policy decisions to production techniques to audience practices. Ultimately, the book argues that through analyzing how television genre operates as a cultural practice, we can better comprehend how television actively shapes our social world.

The artist novel occupies a prominent place in literary history. Although research into this genre, which is usually perceived as especially rigid, may seem to be exhausted at a first glance, a closer look at the development of the artist novel reveals its sheer incomparable malleability and resilience. In this book Orla Flock turnes her attention to those types of artist novels, which she calls dual artist novels, which depict the artistic and personal development of both a male and a female artist. The juxtaposition of the male and the female artist narratives reveals both the rootedness of the genre in literary tradition and subverts established but outdated notions of genre and gender. On both a structural and a narrative level, the dual artist novel challenges established but confining views and demonstrates that even incremental, nuanced development over time can ultimately lead to vast transformation. By reshaping the formerly rigid genre of the artist novel to include numerous and diverse voices while staying true to the thematic tradition, the dual artist novel subverts both the notion of static genre definitions as well as limiting conceptions of gender.

This first definitive reference resource to take a broad interdisciplinary approach to the nexus between music and the social and behavioral sciences examines how music affects human beings and their interactions in and with the world. The interdisciplinary nature of the work provides a starting place for students to situate the status of music within the social sciences in fields such as anthropology, communications, psychology, linguistics, sociology, sports, political science and economics, as well as biology and the health sciences. Features: Approximately 450 articles, arranged in A-to-Z fashion and richly illustrated with photographs, provide the social and behavioral context for examining the importance of music in society. Entries are authored and signed by experts in the field and conclude with references and further readings, as well as cross references to related entries. A Reader's Guide groups related entries by broad topic areas and themes, making it easy for readers to quickly identify related entries. A Chronology of Music places material into historical context; a Glossary defines key terms from the field; and a Resource Guide provides lists of books, academic journals, websites and cross-references. The multimedia digital edition is enhanced with video and audio clips and features strong search-and-browse capabilities through the electronic Reader’s Guide, detailed index, and cross references. Music in the Social and Behavioral Sciences, available in both multimedia digital and print formats, is a must-have reference for music and social science library collections.

Living Genres in Late Modernity rehears the American 1970s through the workings of its musical genres. Exploring stylistic developments from the late 1960s through the early 1980s, including soul, funk, disco, pop, the nocturne, and the concerto, Charles Kronengold treats genres as unstable constellations of works, people, practices, institutions, technologies, money, conventions, forms, ideas, and multisensory experiences. What these genres share is a significant cultural moment: they arrive just after “the sixties” and are haunted by a sense of belatedness, loss, or doubt, even as they embrace narratives of progress or abundance. These genres give us reasons—and means—to examine our culture’s self-understandings. Through close readings and large-scale mappings of cultural and stylistic patterns, the book’s five linked studies reveal how genres help construct personal and cultural identities that are both partial and overlapping, that exist in tension with one another, and that we experience in ebbs and flows.

This volume bridges the divide between film and media studies scholarship by exploring audience expectations of film and TV genre in the age of digital streaming, using qualitative thematic and quantitative data-driven analyses. Through four ground-breaking surveys of audience members and content creators, the authors have empirically determined what audiences expect of various genres, the extent to which these definitions match those of scholars and critics, and the overall variation and complexity of audience expectations in the age of media abundance. They also examine audience habits and preferences, drawing from both theory and original empirical analyses, with a view toward the implications for the moving image in a rapidly changing media environment. The book draws from the data to develop a number of new concepts, including genre repertoire, genre hybridity, audience interest maximization, and variety seeking, and a new stage of genre development, genre bending. It is an ideal resource for students and scholars interested in the symbiotic relationship between audiences and the moving image products they consume, as well as the way the current digital media environment has impacted our understanding of film and TV genres.

An overview of the immensely rich literary criticism of the late eighteenth century and early nineteenth century in Germany