Notes to Chapter I

[1]. Friedrich Schlegel, Gespräch über die Poesie," Charakteristiken und Kritiken I, ed. Hans Eichner, vol. 2, part 1, Kritische Friedrich-Schlegel-Ausgabe (Zurich: Ferdinand Schöningh, 1967): 305-6; trans. Ernst Behler and Roman Struc, "Dialogue on Poetry," Dialogue on Poetry and Literary Aphorisms (University Park: Penn State Press, 1968): 77.
 Schlegel, "Gespräch," 304; Behler and Struc, "Dialogue," 76.
[2]. Horace, "Epistula ad Pisones," ll. 86-91; trans. Ross S. Kilpatrick, The Poetry of Criticism (Alberta: University of Alberta Press, 1990): 74.
[3]. Rosalie L. Colie, The Resources of Kind: Genre-Theory in the Renaissance (Berkeley: U of California P, 1973): 17.
[4]. The title of J. M. Manly's 1904 article, "Literary Form and the Origin of Species," is an almost absurd evocation of this approach. Manly applies evolutionary thought in a very direct way to the formation of medieval drama as a "mutation" from another species of literature. See also Charles Letourneau's "Origins of Literary Forms," which relates changes in genres to the evolution of human societies.
[5]. As a supplement to this telescoped history of genre theory I recommend: Heather Dubrow, Genre, and Klaus Hempfer,Gattungstheorie.
6. But even Harlequin is further reticulated now, having several different series, with "Temptation" and "Silhouette" offering more explicit sex and women who work after marriage, as opposed to the traditional "Romance." For an analysis specifically of the Harlequins, see Tania Modleski, Loving With a Vengeance: Mass-Produced Fantasies for Women (Hamden CT: Archon, 1982).
7. Janice Radway, Reading the Romance (Chapel Hill: U of North Carolina P, 1984): 95-96.
8. Radway, Reading the Romance, 120.
9. Cf. Vladimir Propp, Morphology of the Russian Folktale, trans. Lawrence Scott, 2nd ed. (Austin: U of Texas P, 1968).
10. Fyodor Dostoevsky, Notes From Underground, trans. Michael R. Katz (New York: Norton, 1989): 24.
11. Oriana Fallaci, Interview With History (Boston: Houghton Mifflin, 1976): 41. Cited in J. Fred MacDonald, Who Shot the Sheriff? The Rise and Fall of the Television Western (New York: Præger, 1987): 3. MacDonald labels the idea described by Kissinger that of "heroic activism."
12. Will Wright, Six Guns and Society: A Structural Study of the Western (Berkeley: U of California P, 1975).
13. Wright, Six Guns, 142-43.
14. Ross Chambers has developed the idea of "narrative seduction" and linked it explicitly to the increasing commodification of literature. The promise of encountering an identifiable genre would be one such means of seduction. See Story and Situation (Minneapolis: U of Minnesota P, 1984).
 15. Fredric Jameson, The Political Unconscious (Ithaca NY: Cornell UP, 1981): 107.
16. R. K. Hack, "The Doctrine of the Literary Forms," Harvard Studies in Classical Philology 27 (1916): 64. How odd that the subject of Hack's article is Horace's Ars poetica (does it belong to the epistolary or didactic genre?), a text which argues that the generic production of literature ineluctable.
17. J. L. Borges, "Tlön, Uqbar, Orbis Tertius," Ficciones (Madrid and Buenos Aires: Alianza and Emece, 1971): 35-6; trans. James E. Irby, "Tlön, Uqbar, Orbis Tertius," Labyrinths (New York: New Directions, 1964): 18. Further citations in text.
18. Northrop Frye, "Rhetorical Criticism: Theory of Genres," Anatomy of Criticism (Princeton NJ: Princeton UP, 1957): 243-337.
19. Käthe Hamburger, Die Logik der Dichtung, 2nd ed. (Stuttgart: Klett, 1968); Emil Staiger, Grundbegriffe der Poetik, 5th ed. (Zurich: Atlantis, 1961).
20. Douglas R. Hofstadter, Gödel, Escher, Bach , 2nd ed. (New York: Vintage, 1989): 166-7.
21. E. D. Hirsch, Validity in Interpetation (New Haven: Yale UP, 1965): 76.
22. Jan Trzynadlowski, "Information Theory and Literary Genres," Zagadnienia rodzajów literackich 4.1 (1961): 44-5.
23. Juri M. Lotman, "Problems in the Typology of Texts," Soviet Semiotics, ed. and trans. Daniel P. Lucid (Baltimore: Johns Hopkins UP, 1977): 120. I will consider the appearance of legal language within literature (and vice versa) in Chapter Four.
24. Jürgen Habermas, "Exkurs zur Einebnung des Gattungsunterschiedes zwischen Philosophie und Literatur," Der philosophische Diskurs der Moderne (Frankfurt: Suhrkamp, 1985): 219-47.
25. This idea can, of course, readily be identified with the theory of pragmatism or neopragmatism. On pragmatism's relation to literary theory see: Anthony J. Cascardi, "The Genealogy of Pragmatism," Philosophy and Literature 10.2 (Oct. 1986): 295-302; Ludwig Grünberg, "La Littérature et la tentation d'une 'culture postphilosophique,'" Cahiers Roumains d'Études Littéraires 1 (1987): 35-47; and Adena Rosmarin, The Power of Genre (Minneapolis: U of Minnesota P, 1985). Paul Hernadi's definition of pragmatic genre theory is the differentiation of genres by the varying effects they have on readers' minds. My approach could almost be described as the reverse of this. See Hernadi, Beyond Genre (Ithaca NY: Cornell UP, 1972): 37-53.
26. Ross Chambers, "Irony and the Canon," Profession 90 (1990): 19. Terry Eagleton posits the non-identity of ideology in a more overtly political way: "A dominant ideology has continually to negotiate with the ideologies of its subordinates, and this essential open-endedness will prevent it from achieving any kind of pure self-identity. . . . A successful ruling ideology . . . must engage significantly with genuine wants, needs, and desires; but this is also its Achilles heel, forcing it to recognize an 'other' to itself and inscribing this otherness as a potentially disruptive force within its own forms." Ideology (New York: Verso, 1991): 45.
27. Louis Althusser, For Marx, trans. Ben Brewster (New York: Random House, 1970): 233-34.
28. This terminology is drawn from Jacques Lacan's theory of the constitution of the subject. One possible source (among many) for approaching the topic of "ideological split" in Lacan would be the following passages from the Discours de Rome: "The subject goes a long way beyond what is experienced 'subjectively' by the individual, exactly as far as the Truth he is able to attain. . . . this Truth of his history is not all of it contained in his script, and yet the place is marked there by the painful shocks he feels from knowing only his own lines, and not simply there, but also in pages whose disorder gives him little by way of comfort. . . . The Symbolic function [thus] presents itself as a double movement within the subject: man makes an object of his action, but only in order to restore to this action in due time its place as a grounding. In this equivocation, operating at every instant, lies the whole process of a function in which action and knowledge alternate." Trans. Jonathan Wilden, Speech and Language in Psychoanalysis (Baltimore: Johns Hopkins UP, 1981): 26-7, 48. Lacan goes on to relate two examples of the workings of the Symbolic: the abstract use of number (to add together two discrete collections); and a worker participating in a strike because he considers himself a member of the "proletariat." Lacan's concept of psychic disturbances as products of the very structures which create subjects is a good example of the dialectic between systems and noise which grounds my idea of generic instability.
29. John Frow, "Discourse and Power," in Ideological Representation and Power in Social Relations, ed. Mike Gane (New York: Routledge, 1989): 207.
30. E.g., Michel Serres, Le Parasite (Paris: Grasset, 1980); trans. Lawrence R. Schehr (Baltimore: Johns Hopkins UP, 1982); and Jacques Attali, Bruits (Paris: PUF, 1981); trans. Brian Massumi, Noise (Minneapolis: U of Minnesota P, 1985).
31. Chambers, "Irony and the Canon," 19.
32. The idea of literature's relating given ideologemes in novel and unexpected ways is advanced in Mikhail Bakhtin and Pavel M. Medvedev, The Formal Method in Literary Scholarship, trans. Albert J. Wehrle (Baltimore: Johns Hopkins UP, 1978): 16-30. Terry Eagleton has succinctly stated the dilemma of situating literature in relation to ideology in Marxism and Literary Criticism (Berkeley: U of California P, 1976): 16-19. Eagleton cites Althusser as a way out of the dilemma, in that literature reports experience (the lived relation) in such a way that readers can take up a critical position towards it.
33. Slavoj Zizek, The Sublime Object of Ideology (New York: Verso, 1989): 31. In Marx's writings, use-value is related to the material reality of commodities, "A commodity, such as iron, corn, or a diamond, is therefore, so far as it is a material thing, a use-value, something useful," while exchange-value "appears to be something accidental and purely relative, and consequently an intrinsic value, i.e., an exchange-value that is inseparably connected with, inherent in commodities, seems a contradiction in terms." Karl Marx, Capital, Volume One, The Marx-Engels Reader, ed. Robert C. Tucker (New York: Norton, 1978): 303, 304. However, it should be noted first of all that though language and discourse are material, it is difficult to treat them fully as a commodities and in particular to differentiate clearly between their use-value and their exchange-value. Secondly, my adoption of the term "use-value" owes as much to 20th-century language theory (e.g., Saussure, Wittgenstein, Bakhtin, and Halliday) as it does to Marxist thought. I will develop the linguistic side of use-value in chapter eight.
34. Stephen Greenblatt, "Shakespeare and the Exorcists," After Strange Texts, ed. Gregory S. Jay and David L. Miller (n.p.: U of Alabama P, 1985): 103.