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The practice of women defending themselves in writing, which is often called the “women’s defence-narrative,” is a tradition that emerged in the late medieval period and continued as a dominant strain in women’s writing through the early modern period. There have been studies on how Daniel Defoe, usually considered to be the first major English novelist, relied heavily on latter-day authors of the women’s defence-narrative, such as Mary Carleton. But there still remains room for detailed studies (as far as the history of the novel as a genre is concerned) critically examining the role played by the women’s defence-narratives in the formation of the novel. This article attempts to outline its history, with an emphasis on the seventeenth-century examples that contributed so importantly to the formation of the novel.

Based on a library research, this paper aims at introducing the police procedural as a subgenre of detective genre. To achieve the aim, this paper elaborately discusses three definitions of the police procedural. The discussion shows that experts have apparently provided a working definition of the police procedural after having identified how the new variant is different from, and yet the same as the “parent” genre. While the third definition discussed puts emphasis on the authentic and realistic aspects of the police procedural, the first two definitions can be used as a reference to elaborately discuss the police procedural as a variant or subgenre of the detective genre. The police procedural retains the basic conventional elements of the detective genre—plot and motifs, character, setting, theme, and props, but it twists these elements and turn them into inventions to keep the interest of the readers and viewers. Having established itself as a subgenre, the police procedural grows to become formulaic by creating its own conventions. It is a formula that is generally employed by writers and has come to be expected by readers or viewers. By doing so, the police procedural has helped the detective genre as its “parents” genre stay popular. 

This collection of essays explores tragedy, the most versatile of Renaissance literary genres, revealing its astonishing thematic, stylistic and emotional range. Each chapter consists of a case study, offering not only a definition of a particular kind of Renaissance tragedy but also new research into an important example of that genre. There is only one chapter on Shakespeare; instead contributors attend to subgenres of tragedy – biblical tragedy and closet drama, for example – in which Shakespeare did not engage and others in which the nature of his influence is interrogated, producing original critical readings of individual plays which show how interventions in these subgenres can be mapped onto debates surrounding numerous important issues, including national identity, the nature of divine authority, early modern youth culture, gender and ethics, as well as questions relating to sovereignty and political intervention. The chapters also highlight the rich range of styles adopted by the early modern tragic dramatists and show how opportunely the genre as a whole is positioned for speaking truth to power. Collectively, these essays reassess the various sub-genres of Renaissance tragedy in ways which respond to the radical changes that have affected the critical landscape over the last few decades.

Over the past fifteen years, much of the music-theoretical scholarship on heavy metal has addressed metric processes (Lucas 2019, Capuzzo 2018, Hannan 2018, Lucas 2018, Lennard 2016, Smialek 2008, Pieslak 2007) and the use of the voice (Smialek 2017, Young 2018). A significant portion of the literature deals with the band Meshuggah, but the music of countless artists scattered across manifold subgenres remains unexplored. Widening the focus on such a large repertoire not only helps remedy this issue, but serves to inform one recent music-theoretical topic that relies on a broad stylistic understanding: time feels. To date, scholars have mainly limited the discussion of time feels to the kick and snare drums (e.g., de Clercq 2016), and indeed, these instruments ultimately determine a feel. I argue, however, that different uses of guitar, bass, and cymbals can reinforce, clarify, or contradict the feel laid down by the kick and snare. In this article, I describe several categories of guitar and bass riff types and timekeeping cymbals. I then discuss how their associations with certain time-feel contexts inform further analyses. To this end, I draw from post-millennial metal music in various subgenres including black metal, death metal, doom metal, grindcore, metalcore, progressive metal, sludge metal, and thrash metal.

In 1890, in an article titled “Die Nachhamung spanischer Komödien in England unter der ersten Stuarts”, the German scholar A.L. Stiefel solidly demonstrated the clear textual relationship between James Shirley’s The Opportunity and Tirso de Molina’s El castigo del penseque. In 2003, following an intriguing footnote in that article, which pointed to five more dramatic Spanish sources, I postulated another transtextual relationship concerning Shirley’s The Royal Master and Lope de Vega’s El villano en su rincón. My analysis focused on the specific motif that he named “the reluctance to see the king” in the character of the English fool Bombo and the Spanish farmer Juan Labrador. However, after a review of the two plays, it seems clear that there are more textual relationships than the one disclosed in my previous study. Relying on Gerald Genette’s category of transtextuality, this article widens further the scope of the motif, explores its relationship with the topic of court versus country life, unearths architextual transferences of elements of plot and characters, proposes affinities based on the palatine affiliation of both plays and the similarities in the use of the dramatic method of matchmaking, and, finally, reveals the creative use that the Caroline playwright made of his Spanish source.

Texts are composed for multiple audiences and for numerous purposes. Each form of text follows a set of guidelines and structure to serve the purpose of writing. A common way of grouping texts is into text types. Describing these text types in terms of their linguistic characteristics is called ‘linguistic profiling of texts’. In this paper, we highlight the linguistic features that characterize a text type. The findings of the present study highlight the importance of parts of speech distribution and tenses as the most important microscopic linguistic characteristics of the text. Additionally, we demonstrate the importance of other linguistic characteristics of texts and their relative importance (top 25th, 50th and 75th percentile) in linguistic profiling. The results are discussed with the use case of genre and subgenre classifications with classification accuracies of 89 and 73 percentile, respectively.

As an almost exclusively female-dominated medium, the popular romance novel has, throughout its history, allowed women writers to “amplify their political voice” (Teo, 2016, p. 102), especially when they could not actively participate in politics. Commonly, writers fashion storylines that reflect and process concerns from the real world in a fictional context. Using the Regency Romance as an example and based on Jayashree Kamblé’s theory that romance novels have a shared DNA that evolves in response to social and cultural influences, this paper first defines the figure of the romance hero in the pre-Trump era to segue into analysing selected novels published by Tessa Dare in 2011 (A night to surrender) and Sarah MacLean in 2012 (A rogue by any other name). This figure is then compared and contrasted with the incarnations of the hero in these authors’ publications from 2017 (The day of the duchess by MacLean) and 2019 (The wallflower wager by Dare) to map how his phenotype has evolved to reflect a shift in cultural perceptions regarding sex and sexual power dynamics. As I intend to show, in the wake of the 2016 US presidential election and the “#MeToo” movement, the new hero’s phenotype differs specifically in the expression of gendered power and sexuality. He is less forceful than his predecessors and places heavy emphasis on the heroine’s enthusiastic consent and pleasure.

The article defines the place of PSAs slogan in a variety of genres of advertising discourse: it is considered as a productive subgenre characterized by continuous development, with the simple structure (usually includes one or two speech acts), mixed in the parameter of purpose of communication (combines pragmatic signs of phatic and information genres) and indirect (mismatch between propositional content and illocutionary force). In this article pragmatic parameters of PSAs slogan are revealed. They determine the features of its functioning in the social advertising genre preserving its main communicative task – optimal influence on the addressee. The subgenre of PSAs slogan is characterized on the basis of \"communicative purpose\", \"addresser\", \"addressee\", \"communicative situation\", \"speech features\". It was found that \"addresser\" and \"addressee\" are the priority images; the exacerbation of a certain social problem provokes a communicative situation in the form of a slogan; dictum content of PSAs slogan, first of all, depends on the presence / absence of a certain social problems; language of PSAs slogan is the mechanism of the addresser's influence on the addressee, on his conceptual picture of the world, on his actions and his mind.