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Stereotypes in Literatures and Cultures

International Reception Studies

Edited By Rahilya Geybullayeva and Peter Orte

Imaginative representations of different cultures are one of the major stumbling blocks to understanding, deepening the gap between people as they are passed from one text to another, especially in periods of historical transition. These transfers are sometimes innocent, while at other times they serve political agendas. The sample of images and estimations of others becomes a priority and, frequently for this reason, stereotypical. This is the subject of investigation for the majority of the authors in this collection. This book with articles presented here is an attempt to understand the core of confirmed or standardized social norms.
The book contains articles in English and in Russian language.


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Chapter 5. Genre Stereotypes


177 Chapter 5 Genre Stereotypes Stereotypes of the Identification of Genre: The Knight in the Panther's Skin Maka Elbakidze (Georgia) According to the theory of genre, classification of a literary work by genre is to be realized on the basis of some essential principles. In the first place, the genetic di- vision of a text (epic, drama, or lyric) is to take place within the frames of so- called ‘aesthetic tonality’ (the comic, tragic, elegiac), size (romance, novel, short- story etc), structural composition (e.g. sonnet, rondo, triolet), theme (e.g. psycho- logical, adventure novel), and historical-national principles (folk epic, heroic poem). Thus, any genre must be considered as a concrete unity of the peculiarities of a form which implies specificity from the viewpoint of composition, the system of images and the artistic language or rhythm (although, at the same time, the in- dividuality of a specific text, which depends on both the concrete historical epoch and the author, should be taken into account). Statement of a Question While considering the genre of Veprkhistkaosani, we are confronted with a so-called “historically formed” stereotype: actually all researchers, going back to the first editor of Rustaveli’s literary work, King Vakhtang the VI-th, base them- selves on the view set forth by Rustaveli in stanza 17 of the prologue: “Those are not called poets who cannot compose a long work” (Vepkhistkaosani 1966: 23)- which can be considered a kind of final conclusion of the theory of poetry (Shai- roba), along with the views expressed...

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