In Metaphors of Genre, David Fishelov demonstrates the important role played by analogies in genre theory and provides a critical presentation of four specific analogies that permeate modern genre theory: the biological analogy, the family "metaphor," the institutional perspective, and the "speech act" analogy. While making a critical presentation of the existing theories, Fishelov offers new perspectives and hypotheses within each analogy. The discussion in each case is accompanied with an analysis of some examples from the generic tradition most readily lending itself to that particular analogy: the epic for the biological analogy, the novel for the family "metaphor," comedy for the institutional perspective, and the lyrical carpe diem for the "speech act" analogy. Analogies are for Fishelov not just the tools with which people work but the organizing principles of their thought, so that if one can be clear on the limits and uses of certain analogies one has in effect mapped some fundamental conditions for discourse about genres. By understanding the limits of certain analogies one can also come to appreciate their capacity to make questions about genre compelling for themselves and as means to enhance the appreciation of literary works.Fishelov advocates a pluralistic approach to genre theory. None of the four analogies is all-inclusive. Each succeeds admirably, however, in illuminating certain aspects of the heterogeneous field of literary genres.

Metaphors of Genre: The Role of Analogies in Genre Theory

Literature & Fiction

Fishelov, David

History & Criticism

Penn State University Press

Dialogues with/and Great Books: The Dynamics of Canon Formation

Sussex Academic Press

<p>What is the source of a book's perceived greatness and why do certain books become part of the accepted canon? This book presents a fresh perspective on these questions, revisiting prevalent approaches that explain a work's reputation in terms of its aesthetic qualities ("the beauty view") or as the result of dictates by social hegemonies ("the power view"). Fishelov argues that the most important source of a book's perceived greatness is the number and variety of echoes and dialogues which it generates with readers, authors, translators, adapters, artists and critics. Part I ("What is a Dialogue? What is a Great Book") provides useful distinctions between different kinds of dialogue (genuine dialogue, dialogue-of-the-deaf and echo-dialogue), develops theoretical arguments (why the dialogic approach is not circular), and empirically tests intriguing cases (why has Candide, and not Rasselas won the race for literary fame?). Part II ("Genuine Dialogues with Great Books") presents in-depth readings of literary and artistic dialogues with well established canonical works including Monty Python's The Life of Brian, Swift's distortion of More's Utopia and some modern adaptations of Ovid's Pygmalion and provides an opportunity to examine the process by which dialogues contribute to a work's reputation. Innumerable illustrations of Robinson Crusoe, an operetta based on Voltaire's Candide, DeMille's cinematic version of the biblical story of Samson and Delilah, a contemporary song that quotes lines from Horace also illustrate the vital role played by artists outside of the literary field in making certain works stand out as masterpieces. Through its special blend of theoretical arguments, empirical methods and sensitive interpretations, Dialogues with/and Great Books offers a stimulating invitation to re-think the concepts of Literary Canon and Intertextuality, as well as the intricate connections between the two.</p>

Liverpool University Press

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