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<!DOCTYPE HTML><html lang="en">
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<title>Genre Analysis and Corpus Design: Nineteenth-Century Spanish-American Novels (1830–1910)</title>
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<div class="w3-bar w3-theme w3-top w3-center w3-large"><a class="w3-bar-item w3-button w3-right w3-hide-large w3-hover-white w3-large w3-theme-l1" href="javascript:void(0)" onclick="w3_open()"><i class="fa fa-bars"></i></a><img src="img/side.jpg" class="header-image" alt="Institut für Dokumentologie und Editorik" width="100%" height="15"><h1 class="w3-center" style="margin-top: 27px; padding-left: 175px; font-size:calc(8pt + 1.2vw);"><a href="index.html">Genre Analysis and Corpus Design: Nineteenth-Century Spanish-American Novels (1830–1910)</a></h1><a href="https://www.i-d-e.de/"><img src="img/ide-logo.png" class="custom-logo w3-image" alt="Institut für Dokumentologie und Editorik" style="width:172px;height:auto;"></a></div>
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<nav class="w3-sidebar w3-padding-32 w3-bar-block w3-collapse w3-large w3-theme-l5 w3-animate-left" id="mySidebar"><a href="javascript:void(0)" onclick="w3_close()" class="w3-right w3-xlarge w3-padding-large w3-hover-black w3-hide-large" title="Close Menu"><i class="fa fa-remove"></i></a><a class="w3-bar-item w3-button w3-hover-blue-grey " href="index.html">Home</a><a class="w3-bar-item w3-button w3-hover-blue-grey " href="acknowledgements.html">Acknowledgements</a><button class="w3-button w3-block w3-left-align w3-hover-blue-grey " onclick="myAccFunc('menuAcc1')">Summary <i class="fa fa-caret-down w3-padding-small"></i></button><div id="menuAcc1" class="w3-bar-block w3-hide w3-white w3-card-4"><a href="summary.html#Summary" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Summary</a><a href="summary.html#Resumen" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Resumen</a><a href="summary.html#Zusammenfassung" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Zusammenfassung</a></div><a class="w3-bar-item w3-button w3-hover-blue-grey " href="toc.html">Table of Contents</a><div class="w3-bar w3-border w3-dark-grey"></div><a id="menuch1" class="w3-bar-item w3-button w3-hover-blue-grey " href="ch1.html#ch1">1 Introduction</a><span id="menuch2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-blue-grey "><a href="ch2.html#ch2" style="text-decoration: none;">2 Concepts</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2')"></i></span><div id="menuAccch2" class="w3-bar-block w3-hide w3-white w3-card-4 "><span id="menuch2.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.1" style="text-decoration: none;">2.1 Literary Genres</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.1')"></i></span><div id="menuAccch2.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch2.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.1">2.1.1 Disciplinary Locations of Genre Studies</a><span id="menuch2.1.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.1.2" style="text-decoration: none;">2.1.2 Ontological Status and Relevance of Genres</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.1.2')"></i></span><div id="menuAccch2.1.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch2.1.2.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.2.1">2.1.2.1 Semiotic Models of Genres</a><a id="menuch2.1.2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.2.2">2.1.2.2 Genres and Digital Genre Stylistics: The Roles of Corpora, Genre Labels,
Features, and Text Style</a></div><span id="menuch2.1.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.1.3" style="text-decoration: none;">2.1.3 System and History</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.1.3')"></i></span><div id="menuAccch2.1.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch2.1.3.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.3.1">2.1.3.1 A Conceptual Proposal for Digital Genre Stylistics: Literary Text Types,
Conventional Literary Genres, and Textual Literary Genres</a><a id="menuch2.1.3.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.3.2">2.1.3.2 Text Types, Conventional Genres, and Textual Genres in Semiotic Models of
Generic Terms</a><a id="menuch2.1.3.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.3.3">2.1.3.3 Literary Currents, Schools, and Movements</a><a id="menuch2.1.3.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.3.4">2.1.3.4 Genre Systems and Hierarchies</a><a id="menuch2.1.3.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.3.5">2.1.3.5 Genre Identity and Variability</a></div><span id="menuch2.1.4" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.1.4" style="text-decoration: none;">2.1.4 Categorization</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.1.4')"></i></span><div id="menuAccch2.1.4" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch2.1.4.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.4.1">2.1.4.1 Logical Classes</a><a id="menuch2.1.4.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.4.2">2.1.4.2 Prototype Categories</a><a id="menuch2.1.4.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.1.4.3">2.1.4.3 Family Resemblance Networks</a></div>
</div><a id="menuch2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.2">2.2 Style</a><span id="menuch2.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.3" style="text-decoration: none;">2.3 Subgenres of the Nineteenth-Century Spanish-American Novel</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.3')"></i></span><div id="menuAccch2.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><span id="menuch2.3.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.3.1" style="text-decoration: none;">2.3.1 Thematic Subgenres</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.3.1')"></i></span><div id="menuAccch2.3.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch2.3.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.3.1.1">2.3.1.1 <em>Novela histórica</em></a><a id="menuch2.3.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.3.1.2">2.3.1.2 <em>Novela de costumbres</em></a><a id="menuch2.3.1.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.3.1.3">2.3.1.3 <em>Novela sentimental</em></a></div><span id="menuch2.3.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch2.html#ch2.3.2" style="text-decoration: none;">2.3.2 Subgenres Related to Literary Currents</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch2.3.2')"></i></span><div id="menuAccch2.3.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch2.3.2.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.3.2.1">2.3.2.1 <em>Novela romántica</em></a><a id="menuch2.3.2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.3.2.2">2.3.2.2 <em>Novela realista</em></a><a id="menuch2.3.2.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch2.html#ch2.3.2.3">2.3.2.3 <em>Novela naturalista</em></a></div>
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</div><span id="menuch3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align "><a href="ch3.html#ch3" style="text-decoration: none;">3 Corpus</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3')"></i></span><div id="menuAccch3" class="w3-bar-block w3-hide w3-white w3-card-4 "><span id="menuch3.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.1" style="text-decoration: none;">3.1 Selection Criteria</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.1')"></i></span><div id="menuAccch3.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><span id="menuch3.1.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.1.1" style="text-decoration: none;">3.1.1 Boundaries of the Novel</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.1.1')"></i></span><div id="menuAccch3.1.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch3.1.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.1">3.1.1.1 Fictionality</a><a id="menuch3.1.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.2">3.1.1.2 Narrativity</a><a id="menuch3.1.1.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.3">3.1.1.3 Prose</a><a id="menuch3.1.1.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.4">3.1.1.4 Length</a><a id="menuch3.1.1.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.5">3.1.1.5 Independent Publication</a><a id="menuch3.1.1.6" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.6">3.1.1.6 Additional Criteria</a><a id="menuch3.1.1.7" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.1.7">3.1.1.7 A Working Definition of the Novel</a></div><a id="menuch3.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.2">3.1.2 Borders of Argentina, Cuba, and Mexico</a><a id="menuch3.1.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.1.3">3.1.3 Limits of the Nineteenth Century</a></div><span id="menuch3.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.2" style="text-decoration: none;">3.2 Bibliographical Database</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.2')"></i></span><div id="menuAccch3.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch3.2.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.1">3.2.1 Sources</a><a id="menuch3.2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.2">3.2.2 Data Model and Text Encoding</a><span id="menuch3.2.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.2.3" style="text-decoration: none;">3.2.3 Assignment of Subgenre Labels</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.2.3')"></i></span><div id="menuAccch3.2.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch3.2.3.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.3.1">3.2.3.1 An Example</a><a id="menuch3.2.3.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.3.2">3.2.3.2 Levels of Subgenre Terms</a><a id="menuch3.2.3.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.3.3">3.2.3.3 Explicit and Implicit Subgenre Signals</a><a id="menuch3.2.3.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.3.4">3.2.3.4 Interpretive Subgenre Labels</a><a id="menuch3.2.3.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.3.5">3.2.3.5 Literary-Historical Subgenre Labels</a><a id="menuch3.2.3.6" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.2.3.6">3.2.3.6 A Discursive Model of Generic Terms</a></div>
</div><span id="menuch3.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.3" style="text-decoration: none;">3.3 Text Corpus</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.3')"></i></span><div id="menuAccch3.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch3.3.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.1">3.3.1 Selection of Novels and Sources</a><a id="menuch3.3.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.2">3.3.2 Text Treatment</a><span id="menuch3.3.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.3.3" style="text-decoration: none;">3.3.3 Metadata and Text Encoding</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.3.3')"></i></span><div id="menuAccch3.3.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><span id="menuch3.3.3.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.3.3.1" style="text-decoration: none;">3.3.3.1 TEI Header</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.3.3.1')"></i></span><div id="menuAccch3.3.3.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch3.3.3.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.1">3.3.3.1.1 Title and Publication Statements</a><a id="menuch3.3.3.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.2">3.3.3.1.2 Declaration of Rights</a><a id="menuch3.3.3.1.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.3">3.3.3.1.3 Source Description</a><a id="menuch3.3.3.1.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.4">3.3.3.1.4 Encoding Description</a><a id="menuch3.3.3.1.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.5">3.3.3.1.5 Abstracts</a><a id="menuch3.3.3.1.6" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.6">3.3.3.1.6 Text Classification with Keywords</a><a id="menuch3.3.3.1.7" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.1.7">3.3.3.1.7 Revision Description</a></div><span id="menuch3.3.3.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch3.html#ch3.3.3.2" style="text-decoration: none;">3.3.3.2 TEI Body</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch3.3.3.2')"></i></span><div id="menuAccch3.3.3.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch3.3.3.2.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.1">3.3.3.2.1 Typographically Marked Subdivisions of the Text</a><a id="menuch3.3.3.2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.2">3.3.3.2.2 Typographically Highlighted Words or Phrases</a><a id="menuch3.3.3.2.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.3">3.3.3.2.3 Gaps</a><a id="menuch3.3.3.2.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.4">3.3.3.2.4 Verse Lines</a><a id="menuch3.3.3.2.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.5">3.3.3.2.5 Dramatic Text</a><a id="menuch3.3.3.2.6" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.6">3.3.3.2.6 Representations of Written Text</a><a id="menuch3.3.3.2.7" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.7">3.3.3.2.7 Quotations</a><a id="menuch3.3.3.2.8" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.8">3.3.3.2.8 Direct Speech and Thought</a><a id="menuch3.3.3.2.9" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.2.9">3.3.3.2.9 Embedded Texts</a></div><a id="menuch3.3.3.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.3.3">3.3.3.3 TEI Schema</a></div><a id="menuch3.3.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.4">3.3.4 Assignment of Subgenre Labels</a><a id="menuch3.3.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch3.html#ch3.3.5">3.3.5 Derivative Formats and Publication</a></div>
</div><span id="menuch4" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align "><a href="ch4.html#ch4" style="text-decoration: none;">4 Analysis</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4')"></i></span><div id="menuAccch4" class="w3-bar-block w3-hide w3-white w3-card-4 "><span id="menuch4.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.1" style="text-decoration: none;">4.1 Metadata Analysis</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.1')"></i></span><div id="menuAccch4.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.1">4.1.1 On Representativeness</a><a id="menuch4.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.2">4.1.2 Authors</a><span id="menuch4.1.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.1.3" style="text-decoration: none;">4.1.3 Works</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.1.3')"></i></span><div id="menuAccch4.1.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.1.3.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.3.1">4.1.3.1 Comparison of Bib-ACMé and Conha19</a><a id="menuch4.1.3.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.3.2">4.1.3.2 Corpus-specific Overviews</a></div><a id="menuch4.1.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.4">4.1.4 Editions</a><span id="menuch4.1.5" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.1.5" style="text-decoration: none;">4.1.5 Subgenres</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.1.5')"></i></span><div id="menuAccch4.1.5" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.1.5.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.1">4.1.5.1 Explicit Signals, Implicit Signals, and Literary-Historical Labels</a><span id="menuch4.1.5.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.1.5.2" style="text-decoration: none;">4.1.5.2 Discursive Levels of Subgenre Labels</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.1.5.2')"></i></span><div id="menuAccch4.1.5.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.1.5.2.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.1">4.1.5.2.1 Theme</a><a id="menuch4.1.5.2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.2">4.1.5.2.2 Literary Currents</a><a id="menuch4.1.5.2.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.3">4.1.5.2.3 Mode of Representation</a><a id="menuch4.1.5.2.4" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.4">4.1.5.2.4 Mode of Reality</a><a id="menuch4.1.5.2.5" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.5">4.1.5.2.5 Identity</a><a id="menuch4.1.5.2.6" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.6">4.1.5.2.6 Medium</a><a id="menuch4.1.5.2.7" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.7">4.1.5.2.7 Attitude</a><a id="menuch4.1.5.2.8" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.2.8">4.1.5.2.8 Intention</a></div><span id="menuch4.1.5.3" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.1.5.3" style="text-decoration: none;">4.1.5.3 Subgenre Labels Selected for Text Analysis</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.1.5.3')"></i></span><div id="menuAccch4.1.5.3" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.1.5.3.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.3.1">4.1.5.3.1 Primary Thematic Labels</a><a id="menuch4.1.5.3.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.1.5.3.2">4.1.5.3.2 Primary Literary Currents</a></div>
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</div><span id="menuch4.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.2" style="text-decoration: none;">4.2 Text Analysis</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.2')"></i></span><div id="menuAccch4.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><span id="menuch4.2.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.2.1" style="text-decoration: none;">4.2.1 Features</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.2.1')"></i></span><div id="menuAccch4.2.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.2.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.1.1">4.2.1.1 General Features: MFW</a><a id="menuch4.2.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.1.2">4.2.1.2 Semantic Features: Topics</a></div><span id="menuch4.2.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.2.2" style="text-decoration: none;">4.2.2 Categorization</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.2.2')"></i></span><div id="menuAccch4.2.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><span id="menuch4.2.2.1" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.2.2.1" style="text-decoration: none;">4.2.2.1 Classification</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.2.2.1')"></i></span><div id="menuAccch4.2.2.1" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.2.2.1.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.2.1.1">4.2.2.1.1 Thematic Subgenres</a><a id="menuch4.2.2.1.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.2.1.2">4.2.2.1.2 Literary Currents</a></div><span id="menuch4.2.2.2" class="w3-hover-blue-grey w3-button w3-bar-item w3-block w3-left-align w3-margin-left"><a href="ch4.html#ch4.2.2.2" style="text-decoration: none;">4.2.2.2 Family Resemblance: Network Analysis</a><i class="fa fa-caret-down w3-padding-small" style="z-index: 10;" onclick="myAccFunc('menuAccch4.2.2.2')"></i></span><div id="menuAccch4.2.2.2" class="w3-bar-block w3-hide w3-white w3-card-4 w3-margin-left"><a id="menuch4.2.2.2.1" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.2.2.1">4.2.2.2.1 Method</a><a id="menuch4.2.2.2.2" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.2.2.2">4.2.2.2.2 Data</a><a id="menuch4.2.2.2.3" class="w3-bar-item w3-button w3-hover-blue-grey w3-margin-left" href="ch4.html#ch4.2.2.2.3">4.2.2.2.3 Results</a></div>
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</div><a id="menuch5" class="w3-bar-item w3-button w3-hover-blue-grey " href="ch5.html#ch5">5 Conclusion</a><div class="w3-bar w3-border w3-dark-grey"></div><a class="w3-bar-item w3-button w3-hover-blue-grey " href="notes.html">Notes</a><a class="w3-bar-item w3-button w3-hover-blue-grey " href="references.html">References</a><button class="w3-button w3-block w3-left-align w3-hover-blue-grey" onclick="myAccFunc('menuAcc3')">Appendix <i class="fa fa-caret-down w3-padding-small"></i></button><div id="menuAcc3" class="w3-bar-block w3-hide w3-white w3-card-4 "><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="corpus-sources.html">Sources of the Novels in the Corpus</a><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="appendix-figures.html">Appendix of Figures</a><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="index-figures.html">Index of Figures</a><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="index-tables.html">Index of Tables</a><a class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey " href="index-examples.html">Index of Examples</a></div><button class="w3-button w3-hover-blue-grey w3-block w3-left-align" onclick="myAccFunc('menuAcc2')">Data and Scripts <i class="fa fa-caret-down w3-padding-small"></i></button><div id="menuAcc2" class="w3-bar-block w3-hide w3-white w3-card-4"><a href="https://github.com/cligs/bibacme" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Bibliography (Bib-ACMé)</a><a href="https://github.com/cligs/conha19" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Corpus (Conha19)</a><a href="https://github.com/cligs/scripts-nh/" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Analysis Scripts (Scripts-nh)</a><a href="https://github.com/cligs/data-nh/" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">Analysis Data (Data-nh)</a><a href="tei/Henny-Krahmer_2023_Genre-Analysis-Corpus-Design.xml" class="w3-bar-item w3-button w3-margin-left w3-hover-blue-grey">TEI (Dissertation)</a></div>
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<h1>2 Concepts</h1>
<p id="p16"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p16">16</a></span>A computational stylistic genre analysis of Spanish-American novels
builds on terms and concepts from several disciplines. These must be clarified and
related to each other, which is the goal of this chapter, in which genre-theoretical
aspects, concepts of literary style and literary-historical basics on the
Spanish-American novel are discussed. In the first part of this chapter (<a href="ch2.html#ch2.1">2.1</a>), concepts of literary genre are
approached. First, it is outlined which scholarly disciplines are concerned with
genre studies, which ones are relevant for digital genre stylistics, and how they
relate (<a href="ch2.html#ch2.1.1">2.1.1</a>). Then three literary
theoretical issues about genre, which have caused much debate in literary genre
theory, are discussed, namely their ontological status and relevance (<a href="ch2.html#ch2.1.2">2.1.2</a>), the relationship between systems
or theories of genres and their history (<a href="ch2.html#ch2.1.3">2.1.3</a>), and three main types of concepts for genres as categories – logical
classes, prototype categories, and family resemblance analysis (<a href="ch2.html#ch2.1.4">2.1.4</a>). All of these theoretical issues are related to
digital stylistic genre analyses' practices to find out which genre theoretical
concepts are useful and applicable in that field and how literary genre theory and
computational genre stylistics interact. In the second main part of this chapter
(<a href="ch2.html#ch2.2">2.2</a>), a working definition of literary
style is presented as a basis for analyzing metadata and text in the empirical part
of the thesis. In the last part, in section <a href="ch2.html#ch2.3">2.3</a>, literary-historical background information is given for three major
thematic subgenres and three literary currents of nineteenth-century Spanish-American
novels to formulate hypotheses and establish a basis on which they can be analyzed
textually.</p>
<div id="ch2.1">
<h2>2.1 Literary Genres</h2>
<div id="ch2.1.1">
<h3>2.1.1 Disciplinary Locations of Genre Studies</h3>
<p id="p17"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p17">17</a></span>In general language, the term “genre” is used to designate kinds
of communicative acts that may be written, spoken, or otherwise represented.
Not individual instances of communicative acts are designated by the term
“genre”, but the characteristics of groups of them. Genres may be of any sort
of communication, for example, instruction manuals or podcasts, but in most
cases, “genre” refers to forms of art such as kinds of works in the visual
arts, performing arts, music, and literature, the latter being at the center of
interest here, more precisely in their written form. This investigation thus
focuses on literary genres.<sup id="ftn12" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn12-modal').style.display='block'">12</sup> In a general
sense, literary genres can be understood as groups of literary texts that share
or can be referred to with a group name because they have something in common.
For example, Agatha Christie’s “Murder on the Orient Express”, Henning
Mankell’s “Innan frosten”, or Mario Vargas Llosa’s “Lituma en los Andes” can
all be considered <em>novels</em> and, more specifically, <em>crime
novels</em>. There has been much debate in literary studies about what the
genre names are or should be, what the commonality of the texts belonging to a
genre is, and what role genres play for literary texts at all. The
investigation of literary genres is an old but still a central problem of
literary studies, whether on a theoretical or historical level. The discussion
about genres can at least be dated back to antiquity, and often, Aristotle‘s
Poetics from c. 335 BCE is cited as one of the initial texts concerned with
genre theory.<sup id="ftn13" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn13-modal').style.display='block'">13</sup> Still today, there is an ongoing debate
on the definition of genres both in the sense of general concepts as well as on
the level of concrete individual genres, which the vast literature on genre
theory and the history of genres shows.<sup id="ftn14" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn14-modal').style.display='block'">14</sup></p>
<p id="p18"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p18">18</a></span>However, literary genres have not only been investigated in
literary studies themselves but also within the broader context of textual
genres and text classes, for example, in general linguistics, computational
linguistics, and information science. While in literary studies, genres are
usually understood as kinds of literary works, in linguistics, they tend to be
conceived as all sorts of texts, also non-literary ones, and are therefore
often referred to as ”text types“.<sup id="ftn15" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn15-modal').style.display='block'">15</sup> In the field of computational processing of text,
there is a tradition, especially in computational linguistics, of describing,
detecting, and distinguishing genres and types of text.<sup id="ftn16" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn16-modal').style.display='block'">16</sup> In
computer science, the task of automatically grouping different kinds of texts
has been pursued under the labels of “text categorization“ or “text
classification“.<sup id="ftn17" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn17-modal').style.display='block'">17</sup> The term “categorization” is used in
different ways in computer science. Sometimes it is understood as equivalent to
“classification”, and in other cases, it is only used for unsupervised methods
such as clustering.<sup id="ftn18" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn18-modal').style.display='block'">18</sup> Here, in contrast, the term “categorization” is used
in a more general sense to comprise all different kinds of category building.
This is the sense of the term that is usually used in literary genre theory
(see <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Müller 2010<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Müller, Ralph. 2010. “Kategorisieren.” In <em>Handbuch
Gattungstheorie</em>, edited by Rüdiger Zymner, 21–23. Stuttgart, Weimar:
J.B. Metzler.</span></span>).</p>
<p id="p19"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p19">19</a></span>The concern with literary genres, the linguistic characteristics
of text types, and the computational processing of text converges in digital
literary studies, computational philology, or computational literary studies
and more specifically in digital stylistics, or ”stylometry“. The scope of
digital literary studies is broad and comprises all points of contact between
literature and the computer.<sup id="ftn19" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn19-modal').style.display='block'">19</sup> The term ”computational philology“ can also be
understood as a collective term for all possible uses of the computer in
literary studies, with a focus on the creation and use of digital editions, for
example, but also on computational text analysis (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Jannidis 2007<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Jannidis, Fotis. 2007. “Computerphilologie.” In
<em>Handbuch Literaturwissenschaft. Gegenstände – Konzepte –
Institutionen</em>, edited by Thomas Anz, vol. 2, <em>Methoden und
Theorien</em>, 27–40. Stuttgart, Weimar: J.B. Metzler.</span></span>; <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">2010, 109<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Jannidis, Fotis. 2010. “Methoden der computergestützten
Textanalyse.” In <em>Methoden der literatur- und kulturwissenschaftlichen
Textanalyse</em>, edited by Ansgar Nünning and Vera Nünning, 109–132.
Stuttgart, Weimar: J.B. Metzler.</span></span>). Computational literary studies, on
the other hand, is a newer term for a subfield of the digital humanities in
which a particular emphasis is placed on quantitative text analysis
methods<sup id="ftn20" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn20-modal').style.display='block'">20</sup>. Digital
stylistics, in turn, focuses on studying style with digital methods. Stylistics
can be defined as “a sub-discipline of linguistics that is concerned with the
systematic analysis of style in language and how this can vary according to
such factors as, for example, genre, context, historical period and author”
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Jeffries and McIntyre
2010, 12<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Jeffries, Lesley, and Daniel McIntyre. 2010.
<em>Stylistics.</em> Cambridge: Cambridge University Press.</span></span>). The paradigmatic case of a digital stylistic study is
authorship attribution, i. e. the use of statistical methods to clarify cases
of anonymous or disputed authorship. However, quantitative digital methods have
also recently been used for genre stylistics.<sup id="ftn21" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn21-modal').style.display='block'">21</sup> It should be added
that stylistics also is a sub-discipline of literary studies when its methods
are applied and developed in the context of literary scholarship, especially
because style is considered an important characteristic of literary texts (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Spillner 2001<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Spillner, Bernd. 2001. “Stilistik.” In <em>Grundzüge
der Literaturwissenschaft</em>, edited by Heinz Ludwig Arnold and Heinrich
Detering, 234–256. 4th ed. München: dtv.</span></span>, 234).</p>
<p id="p20"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p20">20</a></span>The present study, which aims to create and analyze a corpus of
nineteenth-century Spanish-American novels and their subgenres, is situated in
the field of quantitative digital literary studies, computational literary
studies, or, more precisely, digital genre stylistics. Therefore, the
theoretical discussions of genre in general literary studies are only one point
of reference. Still, they constitute a central theoretical frame for analyzing
literary genres in digital stylistics, and it has to be clarified which aspects
of genre can be and usually are analyzed with the text analytical digital
approach.</p>
<p id="p21"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p21">21</a></span>Three issues that have been at the center of genre theoretical
discussions in the twentieth and twenty-first centuries are taken up here and
related to questions of the design and analysis of digital corpora of literary
texts in terms of genre: the question about the ontological status (are they
just abstract terms or do they exist?) and the relevance of genres, the debate
about the relationship between systematic descriptions and definitions of
genres and their historical manifestations, and the question of the type of
category that genres can be conceived as.<sup id="ftn22" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn22-modal').style.display='block'">22</sup> These issues are considered
especially relevant for <em>literary</em> texts and genres. They are
interrelated because they all center around the question of the individuality
of texts and the variability of the characteristics of text groups. The
following chapters serve to address these essential literary genre theoretical
issues and relate them to digital genre stylistics.</p>
</div>
<div id="ch2.1.2">
<h3>2.1.2 Ontological Status and Relevance of Genres</h3>
<p id="p22"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p22">22</a></span>The first of the controversial issues of twentieth-century
literary genre theory that is taken up here is the question of whether genres
actually exist. Another question related to it is whether genres are a relevant
category for literary analysis at all because if they would not exist, why
should they be investigated? Both in the early and late twentieth century,
there were theoretical approaches that fundamentally questioned the relevance
of genres. According to nominalistic positions, generic terms are just abstract
labels to aggregate and subsume similar texts, but genres do not exist. On the
other hand, representatives of realistic positions argue that genres exist
independently of individual texts, for example, as psychological dispositions
or anthropologically basic world views (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Zipfel 2010, 213–214<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Zipfel, Frank. 2010. “Gattungstheorie im 20. Jahrhundert.”
In <em>Handbuch Gattungstheorie</em>, edited by Rüdiger Zymner, 213–216.
Stuttgart: J.B. Metzler.</span></span>). In his book
“Gattungstheorie. Information und Synthese”, which was published in 1973,
Hempfer discusses both kinds of positions in detail by surveying a broad range
of approaches that can be subsumed under the labels “nominalistic” versus
“realistic”. An important early critic of considering art in terms of genre was
Croce, who emphasized the uniqueness and individuality of works of art as a
result of the aesthetic and creative impetus of human activity. He considers
genres useless and views them as intermediate pseudo-concepts between the
individual and the universal, unable to capture or describe the individual
expressions (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Hempfer 1973,
38–41<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Hempfer, Klaus W. 1973. <em>Gattungstheorie.
Information und Synthese.</em> München: Fink.</span></span>). Genre categories were also questioned later, in particular in
post-structuralist theories. For example, Derrida finds that literary texts
essentially break rules, while genres start from the opposite idea of a set of
normative rules for text production and reception.<sup id="ftn23" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn23-modal').style.display='block'">23</sup>
Still, he indirectly also recognizes the relevance of genre for the production
and reception of literary works by stating that texts participate in genres
even if they cannot be neatly assigned to them:
<blockquote>
Before going about putting a certain example to the test, I shall
attempt to formulate, in a manner as elliptical, economical, and formal
as possible, what I shall call the law of the law of genre. It is
precisely a principle of contamination, a law of impurity, a parasitical
economy. In the code of set theories, if I may use it at least
figuratively, I would speak of a sort of participation without
belonging—a taking part in without being part of, without having
membership in a set.
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Derrida 1980,
59<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Derrida, Jacques. 1980. “The Law of Genre.” Translated by
Avital Ronell. <em>Critical Inquiry</em> 7 (1): 55–81.</span></span>)
</blockquote>
</p>
<p id="p23"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p23">23</a></span>According to Derrida, texts usually mark their relationship to
genres, and for literature, he even sees this characteristic as necessary.<sup id="ftn24" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn24-modal').style.display='block'">24</sup>
This remark can be made consciously or unconsciously, explicitly or implicitly,
it can be made relative to several different genres, and it can be made in ways
undermining the referenced genre, “mendacious, false, inadequate, or ironic”
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Derrida 1980, 64<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Derrida, Jacques. 1980. “The Law of Genre.” Translated by
Avital Ronell. <em>Critical Inquiry</em> 7 (1): 55–81.</span></span>). Frow
interprets Derrida’s critique of genre as rooted in a very specific concept of
it – one that relates genre to prescription and taxonomic endeavors (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Frow 2015, 28<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Frow, John. 2015. <em>Genre. The New Critical
Idiom.</em> 2nd ed. London: Routledge.</span></span>) – but that is not
without alternatives:
<blockquote>
The conception of genre that I have been working towards here
represents a shift away from an ‘Aristotelian’ model of taxonomy in which
a relationship of hierarchical belonging between a class and its members
predominates, to a more <strong>reflexive</strong> model in which
texts are thought to use or to perform the genres by which they are
shaped.
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Frow 2015,
26–27<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Frow, John. 2015. <em>Genre. The New Critical
Idiom.</em> 2nd ed. London: Routledge.</span></span>)
</blockquote>
</p>
<p id="p24"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p24">24</a></span>Another direction of the post-structuralist critique of genre is
the one developing the concept of <em>écriture</em>, which was initially
formulated by Barthes. He defines <em>écriture</em> as a level between
language and style, on which authors can express themselves individually and
consciously, engaging in the history of literature and pursuing social
intentions. Language, in turn, is naturally given to the writers of a certain
period and linguistic context, and it works as a prescriptive and habitual
frame. Style, on the other hand, is an individual characteristic of each writer
and is just as little controlled as the general language use (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Barthes [1953] 2002,
16–18<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Barthes, Roland. (1953) 2002. <em>Le Degré zero de
l’écriture.</em> Reprint, Paris: Seuil.</span></span>). Compared to genre, the concept of <em>écriture</em> focuses
more on the singularity of texts, their individual interrelationships, and the
writing process. From this viewpoint, genres are seen as mere terms that
suggest clear differentiations where in fact, the texts interrelate more freely
and openly. In this sense, the idea of <em>écriture</em> is linked to
recent theories of intertextuality. Nevertheless, as in Derrida’s law of genre,
the genres remain a point of reference when texts allude to generic terms and
conventions, be it to break them (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schmitz-Emans 2010, 107–109<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schmitz-Emans, Monika. 2010. “Écriture und
Gattung.” In <em>Handbuch Gattungstheorie</em>, edited by Rüdiger Zymner,
107–109. Stuttgart: J.B. Metzler.</span></span>).</p>
<p id="p25"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p25">25</a></span>On the realistic side, there are, amongst others, normative and
anthropological conceptions of genre, but also communicative and semiotic
approaches, including conceptualist positions.<sup id="ftn25" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn25-modal').style.display='block'">25</sup> In general, communicative theories assume that genres
exist as concepts that influence the production and reception of literary
works. In a narrower sense, communicative genre theories are linguistically
oriented. In a wider sense, theories that emphasize the social functions of
genres can also be subsumed under this term. An influential proposition was
Voßkamp’s idea to describe genres as “literary-social institutions” that
undergo stabilization and dissolution processes and in which socio-historical
communicative needs are condensed in a particular time and place. As such,
genres are communicative models that are not mere text-internal literary
phenomena but determined by a broader societal context (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Voßkamp 1977, 30, 32<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Voßkamp, Wilhelm. 1977. “Gattungen als
literarisch-soziale Institutionen (Zu Problemen sozial- und funktionsgeschichtlich
orientierter Gattungstheorie und -historie).” In <em>Textsortenlehre –
Gattungsgeschichte</em>, edited by Walter Hinck, 27–44. Heidelberg: Quelle
& Meyer.</span></span>; <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Zipfel 2010, 215<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Zipfel, Frank. 2010. “Gattungstheorie im 20. Jahrhundert.”
In <em>Handbuch Gattungstheorie</em>, edited by Rüdiger Zymner, 213–216.
Stuttgart: J.B. Metzler.</span></span>). In semiotically oriented
communicative genre theories, texts, genres, and generic terms are all
conceived as complex linguistic signs, and genres can be understood as
conventionalized models of an intended message or reality (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Raible 1980, 324–326<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Raible, Wolfgang. 1980. “Was sind Gattungen? Eine Antwort
aus semiotischer und textlinguistischer Sicht.” <em>Poetica</em> 12:
320–349.</span></span>). It is assumed that such
conventions and models influence authors producing literary texts and that
readers, in their turn, use them to categorize and make sense of individual
literary works. That way, genres become part of the communicative process and
manifest themselves in it without being equated with a particular part of the
process. Statements on and expectations about genres are controlled and
triggered through generic signals that can accompany literary texts, be
inscribed into them, and interpreted from them.</p>
<p id="p26"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p26">26</a></span>According to Hempfer, genres are only truly communicatively and
semiotically determined if they are understood as a precondition for the
comprehension of literary texts that authors are forced to take into account
and not only as historically possible but not necessary options of
communication (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Hempfer 1973,
90–92<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Hempfer, Klaus W. 1973. <em>Gattungstheorie.
Information und Synthese.</em> München: Fink.</span></span>). It follows from this that, communicatively speaking, literary
works cannot be without genre. It does not mean, though, that every work needs
to be associated with exactly one genre on one specific level. On the contrary,
texts can be influenced by several genres and also on different levels of
generality. The mentioned “Murder on the Orient Express” and “Lituma en los
Andes” can be interpreted as instances of crime novels and, at the same time,
novels and, more generally, narrative. However, “Murder on the Orient Express”
can also be analyzed more specifically as a “detective novel” and “Lituma en
los Andes” has also been assessed as a “novela indigenista” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Martínez Cantón 2008<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Martínez Cantón, Clara Isabel. 2008. “El
indigenismo en la obra de Vargas Llosa.” <em>Espéculo. Revista de estudios
literarios</em> 38. <a href="https://web.archive.org/web/20210226164843/https://webs.ucm.es/info/especulo/numero38/vllindig.html">https://web.archive.org/web/20210226164843/https://webs.ucm.es/info/especulo/numero38/vllindig.html</a>.</span></span>).
Then again, other texts are only framed by the genre “novel” but not a specific
subtype of it. They are sometimes called “general fiction” or “literary
fiction”, if the literary merit of the works is stressed.<sup id="ftn26" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn26-modal').style.display='block'">26</sup> As Raible puts it: “Ein Werk als Exemplar
einer Gattung sehen heißt es in eine Reihe von Werken stellen, die analog zu
einem Präzedenzfall sind” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Raible
1980, 334<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Raible, Wolfgang. 1980. “Was sind Gattungen? Eine Antwort
aus semiotischer und textlinguistischer Sicht.” <em>Poetica</em> 12:
320–349.</span></span>). One work alone does not constitute a genre, but when it is
produced and received according to communicative models that have formed and
have been formed by other works, it becomes part of a system of generic
conventions.</p>
<p id="p27"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p27">27</a></span>If texts that participate in genres – to speak in Derrida’s terms
– are understood as communicative objects, they should be described both on the
level of the communicative situation and on the level of the textual sign
itself. This means that both text-external features, for example, the time and
place of its publication, and text-internal features, such as certain elements
of content or style, determine how a text participates in a genre.
Text-external factors can considerably determine a text's form, and they can
narrow down the possibilities of a text's interpretation. However, literary
works, especially written ones, are functionally less determined than other
types of texts (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Raible 1980,
334<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Raible, Wolfgang. 1980. “Was sind Gattungen? Eine Antwort
aus semiotischer und textlinguistischer Sicht.” <em>Poetica</em> 12:
320–349.</span></span>).</p>
<p id="p28"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p28">28</a></span>An approach reconciling aspects of the nominalistic and realistic
conceptions of genre presented so far is Hempfer’s position, which he calls
“the constructivist synthesis”. Following Piaget’s theory of knowledge, on the
level of scholarly description, he sees genres as structures that emerge from
the interaction between the subject that seeks to understand them and the
objects to which the structure is applied. These structures constitute a
process of approximation between subject and object. As Hempfer formulates it:
<blockquote>
Auf der Ebene der historischen Entwicklung lassen sich die
‘Gattungen’ nun nicht im gleichen Sinn wie etwa die Geburt Napoleons als
‘Faktum’ begreifen, sondern es handelt sich, wie in den verschiedensten
semiotisch orientierten Gattungstheorien betont wird, um Normen der
Kommunikation, die mehr oder weniger interiorisiert sein können. Da diese
Normen aber an konkreten Texten ablesbar sind, werden sie für den
Analysator zu ‘Fakten’ und lassen sich demzufolge allgemein als
<em>faits normatifs</em> verstehen, ein Begriff, den Piaget aus
der Soziologie zur Bezeichnung analoger Phänomene in die Psychologie
eingeführt hat. Diesen <em>faits normatifs</em> wird dann in der
wissenschaftlichen Analyse eine bestimmte Beschreibung zugeordnet, die
als solche immer ein aus der Interaktion von Erkenntnissubjekt und zu
erkennendem Objekt erwachsenes Konstrukt darstellt.
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Hempfer 1973,
125<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Hempfer, Klaus W. 1973. <em>Gattungstheorie.
Information und Synthese.</em> München: Fink.</span></span>)
</blockquote>
</p>
<p id="p29"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p29">29</a></span>The more interiorized the communicative norms are, the more they
approach the status of ahistorical constants (for example, knowledge about what
<em>narrative</em> is). Hempfer aims to differentiate the ahistorical
constants from historical norms that are less interiorized and more subject to
open (for example, poetological) discussion and change (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Hempfer 1973, 126–127<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Hempfer, Klaus W. 1973. <em>Gattungstheorie.
Information und Synthese.</em> München: Fink.</span></span>).<sup id="ftn27" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn27-modal').style.display='block'">27</sup></p>
<p id="p30"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p30">30</a></span>This paper follows Hempfer’s idea that genres are not to be
understood as objective facts, but as communicative phenomena that can,
however, leave traces in texts. If genres are understood as norms, then such
textual traces can be conceived as normative facts in Hempfer’s sense. The
connection between genres as communicative norms and the texts on which they
have an influence results in turn from the communicatively established
assignment of texts to genres. How is it made clear that a text participates in
a genre? This can be expressed, for example, through generic signals in the
texts but also through signals that accompany the texts (e.g., in subtitles or
paratexts). Thus, genre signals and genre names used in connection with
literary works have a special significance for establishing genre affiliations.
The various references and levels of meaning of such linguistic expressions of
genres are broken down, in particular, in semiotic genre theories. Since genre
labels are digital genre stylistics’ primary approach to communicative genre
norms, semiotic genre models are discussed in more detail in the following
chapter.</p>
<div id="ch2.1.2.1">
<h4>2.1.2.1 Semiotic Models of Genres</h4>
<p id="p31"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p31">31</a></span>One aspect that semiotic models of genres focus on is the
multilayered meanings of generic terms, which point to the many
communicative levels that genres can be defined on and the complexity of
genres as signs. As signs, the generic terms can be understood as models for
the even more complex models that the genres themselves are conceived as
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Raible 1980, 334<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Raible, Wolfgang. 1980. “Was sind Gattungen? Eine Antwort
aus semiotischer und textlinguistischer Sicht.” <em>Poetica</em> 12:
320–349.</span></span>). Two
semiotic models for generic terms are presented in more detail here. These
are used as a basis for an empirically established discursive model of
subgenre terms for the corpus of nineteenth-century Spanish-American novels
created and analyzed in the context of this dissertation.<sup id="ftn28" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn28-modal').style.display='block'">28</sup> The first of the two models has been formulated
by Raible (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1980, 342–345<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Raible, Wolfgang. 1980. “Was sind Gattungen? Eine Antwort
aus semiotischer und textlinguistischer Sicht.” <em>Poetica</em> 12:
320–349.</span></span>)
and involves six dimensions from which generic terms usually draw their
meaning and classificatory features:
<ol>
<li>the communicative situation between sender and recipient
(“Kommunikationssituation”)</li>
<li>the object area of the texts involving persons and things
(“Objektbereich”)</li>
<li>the higher order structure of texts (“übergeordnete
Ordnungsstruktur”)</li>
<li>the relationship between text and reality (“Verhältnis zwischen
Text und Wirklichkeit”)</li>
<li>the communicative medium that the text uses (“Medium”)</li>
<li>the way of linguistic representation (“sprachliche
Darstellungsweise”).</li>
</ol> An example of a generic term that addresses the communicative
situation is “children’s book”. In this case, the genre’s name specifies the
target group of the texts labeled with it. A term concerning the object area
is, for example, “picaresque novel”, which refers to the protagonist’s
social status. According to Raible, instances of the third group of terms,
which refers to the higher-order structure of the texts, are relatively
rare. He gives jokes as examples, as they involve the expectation of
something unexpected in their structure. A generic term that addresses the
relationship between the text and reality is, for instance, the fable. Terms
that relate to the communicative medium can refer to language, other media
(music, mimic, rhythm), and carrier media, for example, the “epistolary
novel”. Finally, an example for a genre label that alludes to the linguistic
representation of the text is “short story”, which refers to the length of
the form. Raible sees his model as principally open and refinable through
applied literary genre analyses (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Raible 1980, 342–345<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Raible, Wolfgang. 1980. “Was sind Gattungen? Eine Antwort
aus semiotischer und textlinguistischer Sicht.” <em>Poetica</em> 12:
320–349.</span></span>). A similar semiotic model of generic terms
has been developed by Schaeffer (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">1983, 64–130<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schaeffer, Jean-Marie. 1983. <em>Qu’est-ce qu’un
genre littéraire?</em> Paris: Seuil.</span></span>). Like Raible, Schaeffer
chooses to approach the complex signs that genres are through the also
complex but more tangible names of the genres:
<blockquote>
Commençons par une question banale: quel est le statut des
<em>classes générique</em>? Ou, pour éviter de nous encombrer
dès le début d’entités peut-être fantomatiques, demandons-nous plutôt:
quel est le statut des <em>noms de genres</em>? [...] l’identité
d’un genre est fondamentalement celle d’un terme général identique
appliqué à un certain nombre de textes. [...] les noms générique
traditionnels sont la seule réalité tangible à partir de laquelle
nouns en venons à postuler l’existence des classes génériques
[...].
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schaeffer 1983,
65–67<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schaeffer, Jean-Marie. 1983. <em>Qu’est-ce qu’un
genre littéraire?</em> Paris: Seuil.</span></span>)
</blockquote>
</p>
<p id="p32"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p32">32</a></span>The names of the genres are significant because they witness
that a generic class of texts has a communicative existence, condensed in a
name. Furthermore, names applied to texts signal that the texts participate
in the genres, and the participating texts, in turn, contribute to the
genre’s identity. The above quote is intentionally reduced to concentrate on
the aspect of relevance of the generic names. In the wider context,
Schaeffer explains that the relationship between the generic names and the
texts is not at all simple. The names can have different statuses, as
analytical ex-post terms, as words in use in a very specific historical
situation, or as something between both of these poles. They can be applied
collectively to a set of texts at once or to individual texts so that
multiple applications of the terms, or their sum, form the genre. The
meaning of generic names is not fixed, not synchronically, and especially
not over time, and they can be related to other terms. One text can be
associated with several generic names, which may involve different levels of
significance (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schaeffer 1983,
65–66, 69<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schaeffer, Jean-Marie. 1983. <em>Qu’est-ce qu’un
genre littéraire?</em> Paris: Seuil.</span></span>). Schaeffer emphasizes that he does not want to replace a
theory of genre with a lexicological study of generic names but wants to
start from them to account for the fluent character of the genres and to
understand the kind of phenomena that are covered by the generic names (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schaeffer 1983, 75–76<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schaeffer, Jean-Marie. 1983. <em>Qu’est-ce qu’un
genre littéraire?</em> Paris: Seuil.</span></span>).
For Schaeffer, a generic term is any term, “á condition qu’il soit utilisé
pour classer des œuvre ou des activités verbales linguistiquement et
socialement marquées et encadrées (<em>framed</em>), et qui se détachent
par là de l’activité langagière courante” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schaeffer 1983, 77<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schaeffer, Jean-Marie. 1983. <em>Qu’est-ce qu’un
genre littéraire?</em> Paris: Seuil.</span></span>). He thus does not
start from a strict separation of generic terms for literary and
non-literary works, although his study focuses on the former. A condition
for a term to be generic is that it is <em>used</em> for classifying
works or other linguistically and socially marked and situated verbal
activities. This definition again focuses on the communicative function of
genres. It is limited to oral and written linguistic acts because it
presupposes verbal activities, which excludes, for example, communicative
acts in the visual or performing arts or music. However, within the
literary-linguistic frame set by Schaeffer, all kinds of generic terms are
considered.</p>
<p id="p33"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p33">33</a></span>A central observation that Schaeffer makes is that generic
names do not all refer to one specific dimension of a literary work.
Possible dimensions are, for example, the syntactical and semantic chain of
a text that expresses a work. Instead, generic terms pick up all kinds of
levels of a work as a global discursive act. That way, the generic identity
of a literary work is not unique and fixed but depends on the perspective or
perspectives taken towards it (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schaeffer 1983, 79–80<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schaeffer, Jean-Marie. 1983. <em>Qu’est-ce qu’un
genre littéraire?</em> Paris: Seuil.</span></span>). Similar to Raible, Schaeffer defines a
literary work as a complex semiotic object. He describes dimensions of this
object to which generic terms usually refer. Schaeffer’s model comprises
five principal dimensions:
<ol>
<li>utterance of the discursive act (“énonciation”)</li>
<li>its destination (“destination”)</li>
<li>its function (“fonction”)</li>
<li>its semantic realization (“sémantique”)</li>
<li>its syntactic realization (“syntaxique”).</li>
</ol> The first three levels belong to the communicative frame of the
discursive act, and the other two concern its textual realization. Each
level is further differentiated by reference parameters: for example, a
real, fictitious, or simulated instance of utterance, or grammatical,
phonetic, metric, or stylistic constraints on the syntactic level. Schaeffer
also stresses that the model should not be considered complete but
representative or exemplary (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schaeffer 1983, 116<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schaeffer, Jean-Marie. 1983. <em>Qu’est-ce qu’un
genre littéraire?</em> Paris: Seuil.</span></span>). As examples of generic terms pointing to
different levels, he mentions, amongst others: a letter or a prayer as
instances of a directed utterance, a love poem or ode as examples of an
expressive function, a science-fiction story or a western as specific
semantic realizations, and a lipogram (forms requiring that specific letters
are left out) as a kind of syntactic realization (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Schaeffer 1983, 96, 102, 108, 114<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Schaeffer, Jean-Marie. 1983. <em>Qu’est-ce qu’un
genre littéraire?</em> Paris: Seuil.</span></span>).</p>
<p id="p34"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p34">34</a></span>The approaches that view literary genres as complex semiotic
objects are characterized by differentiation and openness. An advantage is
that they enhance the comparability of different genres by clarifying on
which discursive levels generic terms operate without restricting the
functioning of genres to a specific communicative level. On the other hand,
some genre theoretical aspects are not clarified by these models because
they focus on the communicative nature of generic structures. For instance,
the semiotic models do not include the generic terms’ provenience and their
theoretical or historical nature into the core model, nor do they make
statements about the kind of categories that genres can be (if they are to
be understood as classes of texts, as prototypical structures, or other
types of categoric relationships between literary works). Therefore, these
two genre theoretical aspects are discussed further in the subchapters <a href="ch2.html#ch2.1.3">2.1.3</a> (“System and History”) and
<a href="ch2.html#ch2.1.4">2.1.4</a> (“Categorization”).</p>
<p id="p35"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p35">35</a></span>The focus of the semiotic models on generic names leaves out
another aspect of genres: who says that there are no communicative patterns
without a name? There may be genres that have not been explicitly discussed
or labeled but nonetheless exist as frames for communicative acts. A sign of
this is that there are genres that have primarily been labeled by literary
scholars in retrospect but that were not explicitly named in their
historical peak phase. This does not necessarily mean that the scholars made
arbitrary classifications without considering contemporary communicative
practices. For example, both the <em>novela gauchesca</em> and the
<em>novela indigenista</em> could not be found as explicit generic
labels in the bibliography and corpus of nineteenth-century Spanish-American
novels that were prepared for this dissertation.<sup id="ftn29" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn29-modal').style.display='block'">29</sup>
They are, nonetheless, established subgenres of the novel in the
corresponding literary historiography (see, for instance, <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Ghiano 1957<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Ghiano, Juan Carlos. 1957. “La novela gauchesca.” <em>La
Biblioteca</em>, Época 2, 9 (1): 17–38.</span></span> and <span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Meléndez 1961<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Meléndez, Concha. 1961. <em>La novela indianista en
Hispanoamerica (1832–1889).</em> Rio Piedras: Universidad de Puerto
Rico.</span></span>).
Furthermore, generic signals, i.e., text-external or -internal aspects of
literary works that indicate in which genres they participate, are not
limited to explicit mentions of generic names. They can also be implicit or
established through intertextual references (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Fowler 1982, 88–105<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Fowler, Alastair. 1982. <em>Kinds of Literature. An
Introduction to the Theory of Genres and Modes.</em> Oxford: Clarendon
Press.</span></span>). However, such indirect
signals are not directly congruent with a sign-based linguistically oriented
approach and thus need to be taken into account in addition.</p>
<p id="p36"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p36">36</a></span>Up to this point, the ontological status of genres has been
discussed, with a particular focus on semiotic theories of genres. In the
following chapter, the general, genre-theoretical considerations will be
directly related to the approaches of digital genre stylistics. Which
possibilities of knowledge about genres arise from digital analyses, if they
are carried out starting from certain genre-theoretical foundations? Which
methodological aspects of computational genre analyses play a role in this
context? Which genre theoretical approaches have been used in digital genre
stylistics so far? In the following, these questions will be discussed,
focusing on the special role of digital text corpora, genre labels, textual
features, and text style in digital genre stylistics.</p>
</div>
<div id="ch2.1.2.2">
<h4>2.1.2.2 Genres and Digital Genre Stylistics: The Roles of Corpora, Genre Labels,
Features, and Text Style</h4>
<p id="p37"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p37">37</a></span>Regarding the question of the ontological status of genres,
Hempfer’s synthesis can be productively related to approaches pursued in
digital genre stylistics. In digital stylistics, the anchoring point between
genres as communicative norms and their descriptions in terms of textual
features is just the style of the texts. Whenever literary works are
associated with specific genres, a basic assumption for a digital stylistic
genre analysis is the following: that the text style can be analyzed to
assess to what degree there are <em>normative facts</em> expressing the
generic participations of the works in the genres and of what these facts
consist. Obviously, the analysis of text style is limited to the syntactic
realization of the discursive act, but this does not mean that digital
stylistic concepts of genre are reduced to this level of communication. The
level on which digital genre stylistics principally operates is the
linguistic, strictly speaking, even the orthographic surface of certain
manifestations of literary texts as they are transmitted in a form that is
determined by the digital medium. Still, many kinds of discursive aspects
can be analyzed on this level. The crucial point is how the participation of
the texts in genres is modeled and defined. As several literary genre
theorists have pointed out, texts can be classified arbitrarily by any
criterion, and this would include any computationally tractable aspect of
text style.<sup id="ftn30" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn30-modal').style.display='block'">30</sup> Such an endeavor is not the point in itself. The question
is to which communicative norms of genre the texts relate and in what way. A
good example of taking the relativity and significance of generic
assignments into account is a study conducted by Underwood, in which he
analyzes different definitions of Gothic novels at different points in
time.<sup id="ftn31" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn31-modal').style.display='block'">31</sup> As Underwood
states:
<blockquote>
Distant reading may seem to lend itself, inevitably, to literary
scholar’s fixation on genre as an attribute of textual artifacts. But
the real value of quantitative methods could be that they allow
scholars to coordinate textual and social approaches to genre. This
essay will draw one tentative connection of that kind. It approaches
genre initially as a question about the history of reception —
gathering lists of titles that were grouped by particular readers or
institutions at particular historical moments. But it also looks
beyond those titles to the texts themselves. Contemporary practices of
statistical modeling allow us to put different groups of texts into
dialogue with each other.
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Underwood 2016,
2<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Underwood, Ted. 2016. “The Life Cycles of Genres.”
<em>Journal of Cultural Analytics</em> 2 (2). <a href="https://doi.org/10.22148/16.005">https://doi.org/10.22148/16.005</a>.</span></span>)
</blockquote>
</p>
<p id="p38"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p38">38</a></span>The debate that Underwood engages in is the question of the
life cycle of genres. Some critics sustain that genres have relatively short
life cycles, roughly corresponding to one generation and about 25 years.
Others say that genres can sustain an identity over periods much longer than
that, even if there are shifts in the concept of the genre. “Textual
analysis won’t prove either claim wrong, but it may help us understand how
they’re compatible” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Underwood
2016, 2<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Underwood, Ted. 2016. “The Life Cycles of Genres.”
<em>Journal of Cultural Analytics</em> 2 (2). <a href="https://doi.org/10.22148/16.005">https://doi.org/10.22148/16.005</a>.</span></span>). With this assertion, Underwood outlines an important task
of digital genre stylistics: not necessarily to refute or confirm claims
that are made on other levels of genre investigation (as here in the history
of reception), but to look for textual and more specifically stylistic
evidence as traces of these other levels. That way, genres are not
established <em>in</em> style, but <em>through</em> style. Underwood
aims to investigate how textually coherent the Gothic is over time:
<blockquote>
Evidence of this kind [that only a one-generational linguistic
coherence could be found] wouldn’t rule out the possibility of
longer-term continuity: we don’t know, after all, that books need to
resemble each other textually in order to belong to the same genre.
But if we did find that textual coherence was strongest over short
timespans, we might conclude at least that generation-sized genres
have a particular <em>kind</em> of coherence absent from
longer-lived ones.
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Underwood 2016,
3<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Underwood, Ted. 2016. “The Life Cycles of Genres.”
<em>Journal of Cultural Analytics</em> 2 (2). <a href="https://doi.org/10.22148/16.005">https://doi.org/10.22148/16.005</a>.</span></span>)
</blockquote>
</p>
<p id="p39"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p39">39</a></span>So digital genre stylistics can help to find out which genres
imply stylistic coherence of the texts attributed to them at all and on
which levels of text style they do. Underwood finds out neither strong
evidence for the succession of genre generations nor for a gradual
consolidation of the genres over time. The <em>sensation novel</em> is
short-termed but textually not very coherent, while <em>detective
novels</em> and <em>science fiction novels</em> are textually
connected for longer periods (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Underwood 2016, 4<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Underwood, Ted. 2016. “The Life Cycles of Genres.”
<em>Journal of Cultural Analytics</em> 2 (2). <a href="https://doi.org/10.22148/16.005">https://doi.org/10.22148/16.005</a>.</span></span>).<sup id="ftn32" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn32-modal').style.display='block'">32</sup></p>
<p id="p40"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p40">40</a></span>If digital stylistic genre analysis functions as a connector
between social and communicative norms of genre and stylistic textual
evidence, several aspects in the connective chain need to be defined and
selected with care. Usually, a corpus of texts is analyzed, and the generic
conventions in question are expressed as genre labels of the texts, which
themselves are representatives of literary works. The assignment of genre
labels to the texts is the first crucial point. Which kind of genre labels
are selected, and how are they assigned to the texts? The semiotic models of
generic terms provide a way to differentiate between different discursive
levels on which genres can be defined, which can help not to compare “apples
with oranges”. That would happen if one would, for example, contrast
primarily formally defined genres with thematically defined ones. The
sources of the genre labels should always be indicated to document which
kind of generic convention they represent. Do the genre attributions go back
to assignments made to individual texts by different authors, editors, or
publishers? Or are they collectively defined, for example, established in a
discussion of a set of works by a contemporary critic or poet, by modern
institutions, or by a literary historian? Are the assignments made based on
explicit generic terms or implicit signals of the texts? Or are they derived
from specific theoretical definitions of genres that are applied to the
texts? Depending on the answers, quite different kinds of generic
conventions can be analyzed. In the worst case, it is not clear which type
of genre an analysis aims at, and the goal of addressing a communicative
pattern that lies outside of the analysis itself would be missed. Awareness
of the kind of analysis target can still be raised in digital genre
stylistics.<sup id="ftn33" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn33-modal').style.display='block'">33</sup> Despite all good
advice and intentions to analyze genres or subgenres only on a defined
discursive level or on the basis of homogeneous sources of subgenre labels,
especially large-scale digital analysis using hundreds or even thousands of
texts have to face challenges in defining which generic conventions they
refer to. Even in qualitatively oriented genre analysis, selecting works for
a corpus that aims to cover one or several specific genres is not trivial. A
starting point using either certain labels or definitions of the genre(s)
has to be found.<sup id="ftn34" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn34-modal').style.display='block'">34</sup> Beyond that, some strategies of text selection and
genre assignment are not viable for very large corpora. It is, for example,
not possible to read every text and check it against a genre definition that
relies on qualitative textual features, i.e., characteristics of the texts
that are not (yet) easily formalized and computationally analyzable.
Furthermore, it is very likely that large corpora also cover lesser-known
texts which critics have not considered yet. That way, existing critical
approaches may only cover part of a text corpus. On the other hand,
depending on the kind of genre, explicit labels on historical editions may
also not be the norm. These are additional difficulties that quantitative
genre analysis faces in defining of its object of investigation through the
selection and preparation of the text collection. Such challenges make it
even more important to clarify which genre convention is addressed and how
this is done.</p>
<p id="p41"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p41">41</a></span>Besides assigning genre labels to the texts, another
fundamental point for a digital genre analysis is the selection of textual
features. In the end, the <em>normative facts</em> that can be found in
the texts, that can be related to genre conventions, and that can be used to
establish definitions of genres, depend on which kind of textual material is
analyzed. There are different opinions regarding the importance of which
kind of features are selected. Underwood, for example, highlights the
predictive power of statistical models, which is based on specific features
but not directly dependent on them:
<blockquote>
Leo Breiman has emphasized that predictive models depart from
familiar statistical methods (and I would add, from traditional
critical procedures) by bracketing the quest to identify underlying
factors that really cause and explain the phenomenon being studied.
Where genre is concerned, this means that our goal is no longer to
define a genre, but to find a model that can reproduce the judgements
made by particular historical observers.
(<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Underwood 2016,
5–6<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Underwood, Ted. 2016. “The Life Cycles of Genres.”
<em>Journal of Cultural Analytics</em> 2 (2). <a href="https://doi.org/10.22148/16.005">https://doi.org/10.22148/16.005</a>.</span></span>)
</blockquote>
</p>
<p id="p42"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p42">42</a></span>Taking the example of science fiction, Underwood explains that
a very reliable textual clue for this genre are adjectives of size such as
“huge” or “tiny” and that a set of some more hundred words would be enough
for a statistical model to recognize instances of the genre. Still, he
argues, these genre markers do not need to correspond to any definition of
the genre that has been formulated so far, and they might not lead to any
definition that could be articulated verbally in a useful way (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Underwood 2016, 6<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Underwood, Ted. 2016. “The Life Cycles of Genres.”
<em>Journal of Cultural Analytics</em> 2 (2). <a href="https://doi.org/10.22148/16.005">https://doi.org/10.22148/16.005</a>.</span></span>).
Underwood’s stance towards selecting textual features is characterized by a
reproductive strategy on the one hand and an explorative one on the other.
It is a reproductive strategy in the sense that text analysis is used to
replicate social constructions of genre to find out about their general
relationship to the textual basis. It is explorative in that the kind of
features used is not defined in a top-down approach and controlled in
advance, but tested as for their reproductive relevance: “To put it more
pointedly: computational methods make contemporary genre theory useful. We
can dispense with fixed definitions, and base the study of genre only on the
shifting practices of particular historical actors – but still produce
models of genre substantive enough to compare and contrast. Since no causal
power is ascribed to variables in a predictive model, the choice of features
is not all-important” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">6<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Underwood, Ted. 2016. “The Life Cycles of Genres.”
<em>Journal of Cultural Analytics</em> 2 (2). <a href="https://doi.org/10.22148/16.005">https://doi.org/10.22148/16.005</a>.</span></span>). Following this approach, the <em>normative facts</em> found
as traces of social constructs of genres would not lead to descriptions of
them in scholarly terms, at least not to definitions focusing on the kinds
of facts found.</p>
<p id="p43"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p43">43</a></span>A different view on the question and relevance of feature
selection is formulated by Jannidis, who outlines a set of general
methodical working steps for computational text analyses: “1. Thesenbildung,
2. Bestimmung der Indikatoren, 3. Korpuszusammenstellung, 4.
Korpusvorbereitung, 5. Suche, 6. Quantitative Erhebung, 7. Überprüfung von
Indikatoren und Korpuszusammenstellung sowie Diskussion der These im Licht
der Ergebnisse” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Jannidis 2010,
110<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Jannidis, Fotis. 2010. “Methoden der computergestützten
Textanalyse.” In <em>Methoden der literatur- und kulturwissenschaftlichen
Textanalyse</em>, edited by Ansgar Nünning and Vera Nünning, 109–132.
Stuttgart, Weimar: J.B. Metzler.</span></span>). In this setup, the choice of indicators is directly linked to
the formulation of an initial thesis and is more driven by prior theoretical
assumptions than in Underwood’s approach.<sup id="ftn35" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn35-modal').style.display='block'">35</sup> It
represents a deductive procedure. In the case of genre analysis, a
genre-related thesis would need to be formulated, for instance: “In social
novels, there are more different characters than in sentimental novels”. To
be able to verify or falsify the hypothesis through computational text
analysis, it would be necessary to define textual indicators representing
the concepts mentioned in the hypothesis. The above example would require an
approach to identify characters in the text, for example, by detecting
mentions of character names and other linguistic references to characters
and resolving to which character they point. It would be necessary to
automatically detect the set of different characters in a novel, which is a
difficult task. Somewhat easier to formalize and closer to a stylistic
analysis would be a hypothesis such as “In social novels, there are more
mentions of different character names than in sentimental novels”. Like the
explorative procedures, also top-down approaches have several advantages and
disadvantages. What is good about them is that they start directly from the
scholarly field that is also the target context. If the goal is to find out
something about literary genres and the hypothesis is formulated in literary
scholarly terms, the hypothesis is compatible with the epistemological frame
of the investigation. In addition, the selection of textual indicators and
features can be motivated theoretically so that meaningful and interpretable
results can be expected. The main disadvantage is that the possibility of
formalizing the hypotheses depends on the available technical methods.
Although research is done in this direction, many literary theoretical
concepts still need to be formalizable.<sup id="ftn36" class="w3-btn w3-theme-l3 w3-circle" onclick="document.getElementById('ftn36-modal').style.display='block'">36</sup> Existing text mining
methods, for example, topic modeling or sentiment analysis, may also be used
to operationalize the hypotheses. Then it must be explained in what way they
can be considered formalizations of literary theoretical concepts, such as
themes, topoi, or emotions. In any case, in such an approach, the selection
of specific textual features is not at all arbitrary or negligible. The
features represent the texts and are assumed to cover stylistic aspects that
are traces of generic conventions in the texts. The chosen indicators must
be suited to check the plausibility of the literary theoretical hypothesis.
At the same time, the choice of the indicators themselves is based on
assumptions: “Das Verhältnis zwischen Indikatoren und These ist allerdings
in vielen Fällen keineswegs selbstverständlich, sondern hat selbst
hypothetischen Charakter” (<span class="w3-tooltip w3-border-bottom w3-border-blue-grey">Jannidis 2010, 116<span class="w3-text w3-tag w3-round w3-blue-grey w3-left-align w3-padding w3-large" style="position:absolute;left:0;bottom:25px">Jannidis, Fotis. 2010. “Methoden der computergestützten
Textanalyse.” In <em>Methoden der literatur- und kulturwissenschaftlichen
Textanalyse</em>, edited by Ansgar Nünning and Vera Nünning, 109–132.
Stuttgart, Weimar: J.B. Metzler.</span></span>). Even in hypothesis-driven digital genre
analysis, the suitability of the features needs to be tested empirically to
some degree.</p>
<p id="p44"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p44">44</a></span>In the same way as the kind of generic convention that is
analyzed and the selection of corresponding genre labels, the choice of
textual features for a digital stylistic genre analysis should also be
motivated. How specific the chosen features are and how important it is to
clarify their relationship to literary theoretical concepts depends on the
kind of strategy that is chosen for the genre analysis: it can be primarily
deductive, inductive, or experimental, and it can be theoretically or
historically oriented. In principle, digital genre analysis can be used for
all kinds of investigations. The goal can be, for instance, to find out if
and in what way works with specific historical or critical genre labels are
textually coherent, as Underwood did. Another goal can be to test if a
specific scholarly definition of a genre holds when it is formalized and
applied to a corpus of texts that have been assigned to the genre in
question. The results of a stylistic genre analysis could also be used to
formulate new, statistically-based definitions of genres. Even if textual
variables in statistical models do not necessarily reflect causal
relationships, their distribution can be interpreted to reach empirically
based genre definitions if genres can be distinguished based on these
variables. A sentence in such a definition could be, for example, “the genre
X is defined such that the probability of a love topic is significantly
higher in texts that participate in the genre X than in texts that do not
participate in this genre”. In Hempfer’s terms, the normative fact that was
found is the different probability of a certain kind of topic in two groups
of texts that are associated with different genres by convention. The genre
is constructed in the interaction of the scholar who decides which textual
features to use and which texts to analyze on the one side and the texts
themselves on the other. Moreover, the scholar has to interpret the topics
and decide that one of them can be described with the term “love”.
Furthermore, it has to be decided what “significantly higher” means. A
definitory phrase such as the one above can itself be used as a hypothesis
that can be tested in other empirical settings, for example, with a
different corpus of texts. To what extent the found textual characteristics
of exemplars of different genres actually correspond to conscious social
norms can only be clarified by analyzing contemporary or historical
discussions about what the genres in question are. That would not be
different in non-computational text analysis. In addition, besides starting
from known generic conventions or scholarly definitions of genre, a digital
stylistic genre analysis can also start from the texts themselves. For
instance, a corpus of texts can be built for a certain period and a specific
cultural, geographical, and linguistic context. It can then be analyzed
which groups of texts emerge as textually coherent when specific textual
features are used. Such an approach would allow for the possibility of
detecting <em>faits normatifs</em> as signs of communicative patterns
that might not have had a high degree of explicitness. They might not have
been frequently named or broadly discussed in the historical context, and
possibly they have not been described yet in scholarly terms. In such cases,
it would as well be possible to complement the quantitative analysis with a
qualitative study of intertextual links, of implicit or explicit signals in
the texts and paratexts, and of metatextual statements that could
substantiate or question the communicative relevance of new findings of text
groups.</p>
<p id="p45"><span class="paracount w3-blue-grey w3-margin-right"><a href="#p45">45</a></span>When stylistic text features are interpreted as signs of
generic conventions, a difficult point is how clearly the relationship
between both characteristics of texts can be established: having certain
features or a specific distribution of them on the one hand and
participating in a particular generic convention on the other. In this
context, only the causal relationship between the genre label and the