THE CHORAL OUTLINE IN THE OPERA “ALEXANDRU LĂPUŞNEANU” BY GHEORGHE MUSTEA by Luminiţa GUŢANU

“… The music of Gheorghe Mustea displays a heterogeneous style, richly inspired by the compositional manner of the great composers of this genre (M. Mussorgsky, George Enescu), with elements of folk origin, of a special charm and richness. …”
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Women, war and cinema, 1939-1945: blitz on gender stereotypes? by Elizabeth de Cacqueray

“…En conclusion, l’article se demande dans quelle mesure ces rôles cinématographiques innovateurs dans le domaine du genre ont pu se perpétuer dans la période d’après guerre.…”
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Infants of the Spring (1932): Cutting across the Stage of Harlem’s Black Bohemia by Elisa Cecchinato

“…This article discusses how, using the metaphor of theater, and specifically the highly racially codified genre of the minstrel show, Infants of the Spring depicts male, Black, and queer identities in the modern urban landscape. …”
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Preschool Children’s Audio–Visual Contents: Comparing Value, Educational and Narrative Approaches by Lorenzo Denicolai, Valentina Domenici

“…First, in addition to proposing a stylistic and content comparison of the cases examined and highlighting the messages conveyed, we focus on identifying two modes of genre production and their consequent functionality in proposing the educational and narrative approaches. …”
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Parabole d’un ‘éternel retour’ ou voyage vers une post-humanité ? by Orlane Glises de la Rivière

“…Clarke’s novel, Kubrick’s film paved the way for the space opera genre in cinema. Made in 1968, the film poses a Nietzschean-style question about the evolution of humanity from both a philosophical and technological point of view. …”
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Traduction de la poésie mystique : le non-dit et le déjà-dit dans la note du traducteur by Safoura Ajdari

“…Par conséquent, la traduction de la poésie mystique persane requiert un plus haut degré d'explicitation que la traduction d'autres genres littéraires. Parmi les procédés d’explicitation de la pratique traduisante, la note du traducteur (N.d.T.) apparaît comme le plus critiqué. …”
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Language and business: Patterns in the annual report translations of public companies in Indonesia by Emma Natasha Octoveria, Aris Munandar

“…As a part of the business text genre, an annual report is translated into English as a form of information disclosure for foreign investors of a public company in Indonesia. …”
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S’approprier des savoirs issus des sciences sociales et transformer ses dispositions genrées by Laurence Bachmann, Anne Perriard

“…Nous nous arrêtons d’abord sur le moment de la rencontre avec certains de ces savoirs qui permet aux personnes concernées de nommer un malaise éprouvé lors de discriminations de genre. Nous analysons ensuite la façon dont ces connaissances donnent l’occasion à ces personnes de porter un regard réflexif sur elles-mêmes et de transformer leur manière de croire, de penser, de ressentir et d’agir. …”
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Deconstructing Domestic Violence in Bollywood: by Rohini Zakaria Oishee

“…A grim subject like domestic violence which is rarely material for humor has been presented through a dark comedic lens while bringing back the Muslim social genre. This paper seeks to assert by referring to western and non-western feminist discourse that, despite successfully subverting the popular representation of women in feminist revenge narratives and emphasizing the perpetuating maltreatment of women in South Asian patriarchal households, the film could not liberate itself from the two oppositional representations of women – “angel” and “madwoman” (in case of Darlings, it is murderer), popularized by Sandra Gilbert and Susan Gubar in The Madwoman in the Attic. …”
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Le couple littéraire comme unité d’analyse croisée by Claire Ducournau

“…Cet article plaide pour analyser le couple à la croisée des études de genre et de la sociologie de la littérature, deux traditions de recherche au sein desquelles cette institution sociale a fait l’objet de traitements déséquilibrés, plus poussés dans la première que dans la seconde. …”
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Hannah Gadsby: Emotional Capital and Affective Economies in Stand-Up Comedy by Beck Krefting

“…Comics attuned to patterns of comedy patronage understand that they are selling entertainment as well as an emotional experience and learn to comply with affective dictates of this performance genre. But not all comics are compliant, nor can they be when affective demands posing as natural are meant to favor cis-gendered, heterosexual, white, able-bodied men. …”
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Caliban’s Gait: The Postcolonial “Progress” of American Exploratory Poetics in William Carlos Williams’ The Great American Novel by Zachary Finch

“…Quel genre de langage Caliban aurait-il fini par parler s’il avait refusé de rentrer avec Prospero en Europe ? …”
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A Gothic heterotopia: four Anglophone responses to Venice by John Thieme

“…It pursues this line of thinking in relation to four Anglophone representations of Venice: the recent film A Haunting in Venice (2023), directed by Kenneth Branagh and scripted by Michael Green, which is very loosely adapted from Agatha Christie’s Hallowe’en Party (1969), and which subjects the whodunnit genre to a Gothic makeover, Daphne du Maurier’s short story ‘Don’t Look Now’ (1971) and Nicolas Roeg’s film adaptation (1973) of it, in which the Gothic particularly manifests itself in the form of psychic precognition, and Amitav Ghosh’s novel Gun Island (2019), in which an ostensibly realistic novel is infiltrated by recurrent paranormal elements, several of which are occasioned by the ‘unnaturalness’ of climate change. …”
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La représentation de la censure dans la série romanesque japonaise Library Wars : une lecture à la lueur de Fahrenheit 451 by Maxime Danesin

“…This novelistic series of four volumes, published from 2006 to 2007, is staged in a democratic Japan that is being corrupted by a Censorship Law, promulgated for the sake of morality, and where Library Corps try to defend free speech. Multi-genre (dystopian, uchronian, love-comedy), written in a local media form – light novel –, it has been widely successful, earning the author the Seiun Award 2008 – the Japanese equivalent of the Hugo Award. …”
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The “Ambiguous Sex”: Cross-dressing heroines in Sensation and New Woman fiction by Katherine MANSFIELD

“…As exemplified by Louisa May Alcott’s “Behind a Mask” (1866), Sensation fiction is a genre preoccupied with questioning notions of Victorian femininity. …”
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Helen Farish and Feminine Poetic Identity by Adrien GRAFE

“…Miller, ou la pensée de Derrida, l’article examine l’œuvre d’un auteur qui a su tirer parti des combats menés par le féminisme pour se doter d’une voix ironique—y compris envers elle-même—prônant une identité poétique et une identité du genre, lesquelles font la belle part à la souplesse, au caprice et au risque.…”
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Dramatic Autobiography: the Poetic Voice Recreating Itself in Dante Gabriel Rossetti’s ‘The Bride’s Prelude’ by Raphaël Rigal

“…Her explanation of what happened constitutes a dramatic autobiography, or an autobiographical monologue: a genre at the crossroads between autobiography and dramatic monologue, in which a voice which is rarely heard is given the opportunity to tell its own version of the story. …”
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Sociétés chorales et Renaissance de la musique anglaise, 1840-1910 by Gilles Couderc

“…Their favourite repertoire was the English oratorios of Handel and Mendelssohn, a genre which flourished all century long in the wake of the great religious awakening of the late eighteenth century and provided English and foreign composers with work in an opera-shy kingdom. …”
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À propos du « Manifeste du livre d’artiste » by Serge Chamchinov, Anna Samson

“…Ce manifeste se caractérise comme une déclaration radicale de résistance du livre d’artiste dans la société d’aujourd’hui et de sa défense comme genre d’art ultracontemporain.…”
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Transforming the Art of Fiction: Walter Besant, Professional Service and the Society of Authors by Richard Salmon

“…Secondly, the essay explores the Society’s professional service in relation to the emerging genre of the literary manual—or ‘how to’ guide to professional authorship—, a connection which in 1884, the year of its official foundation, sparked a memorable debate on the ‘art of fiction’ between Besant and his fellow novelist, Henry James. …”
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