Abstract
This paper states that Caryl Phillips' "The European Tribe" and Karen Connolly's "Touch the Dragon - a Thai Journal" are two very different types of 20th century travelogues. The author points out that Caryl Phillips' book is definitely superior in its attention to history and context because the author kept searching, reflecting and reporting on what he noticed in his travels in Europe. The paper concludes that Connolly's work is immature, has little to report of Thailand as a greater phenomenon but has much to account about the teenage, feminist impressions of Karen Connolly herself. The paper relates that "Touch the Dragon" does serve a growing market for travelogues produced by young people for youths who typically wish to travel as a guaranteed source of self development.

Table of Contents:
Introduction
Caryl Phillips and "The European Tribe"
Karen Connolly, "Touch the Dragon - a Thai Journal"
Travel as Source of Identity
Concluding Remarks

From the Paper
"She is gradually introduced to Thai etiquette, which she confesses to sometimes resenting, as in the need for great politeness or just not pointing with one's foot. The reader does wonder how some Thai people with whom she came in contact thought of their visitor. Again, there is the sense of a book not written by the best caliber of Canadian, but by a person of a certain age used to self-promotion to think that her impressions should be taken seriously or as significant, as a very unattractive feature of this book."

Tags:development, feminism, civilization, uniqueness, journey

Abstract
The paper analyzes the balance between adaptive and normative on the language of genre in this educational analysis. The paper discusses how the need for normative genre principles are just as valued as the adaptive process needed for creating new perspectives in a diversified genre perspective. The paper notes that while critics and scholars do not always agree on the terms for which this balance is achieved, they often provide the criterion that argues for genre adaptation to help stave off limitations in normative standards that may be holding back the progress of the student.

Tags:genre, writing, teacher

Abstract
This paper examines the gangster film genre, which from the beginnings during the Great Depression have challenged American culture's dominant ideology about capitalism and democracy. According to the paper, these films have done so by glorifying a criminal lifestyle, by undemocratically focusing on ethnic and racial stereotypes, and by idolizing individuals and groups who have been otherwise marginalized by society and our economic system. While the genre has changed over time, it could be said that the modern gangster film retains strong parallels with its roots in the 1930's and that these roots include a challenge to dominant American ideology and culture

From the Paper
"From their beginnings during the Great Depression gangster films have challenged American culture's dominant ideology about capitalism and democracy. It has done so by glorifying a criminal lifestyle, by undemocratically focusing on ethnic and racial stereotypes, and by idolizing individuals and groups who have been otherwise marginalized by society and our economic system. According to Richard Pena, former program director of the New York Film Festival, ''The gangster movie can always be seen as a perverse mirror-image of capitalism...'' ("Public Enemies"). While the genre has changed over time, it could be said that the modern..."

Tags:gangster, film, genre

Abstract
'Wide Sargasso Sea' by Jean Rhys and 'Pygmalion' by George Bernard Shaw are both excellent examples of this literary phenomenon of challenging audience assumptions about genre. The former is an example of prose fiction while the latter is an example of theatrical drama. While both possess many of the overarching, superficial characteristics of each genre, both Shaw and Rhys manipulated their work so as to challenge their respective audiences.

From the Paper
"Works that challenge our expectations are not nearly as common as some readers and critics might imagine. It is more difficult to challenge the basic presumptions of a given genre that one might think. After all, in order to even be considered part of a given genre, a piece of literature must conform to some of the standards that make up that genre. Prose fiction cannot comfortably be called prose fiction if it is written wholly in stanzas. That would break too many genre barriers for critics to easily be able to evaluate the work as a part of any genre. As a consequence, it takes an adept author to create a literary work that is recognizable as belonging to one genre or another and yet which simultaneously challenges the expectations of critics and readers alike. Nonetheless, this task can be accomplished."

Tags:genre, challenging, assumptions

Abstract
The paper analyzes the defining aspects of the sporting genre in this study of baseball and explores the cross over of politics into the sport. The paper discusses how the economic factors of greater TV ratings due to home run setting records have been part of the problem with steroids being an issue in artificially enhancing performances.

Tags:genre, media, coverage

Abstract
This paper details the introduction and perception of the WWII combat genre in both film and literature. The writer of this paper defines genre as an element consisting of a shared set of rules, symbols and story patterns. In Norman Mailer's novel, "The Naked and the Dead," the author engages the symbols, characters and narrative conventions of the combat genre in a complex dialogue, both enmeshing and reinforcing audience expectations. By tracing the minority character of Martinez in "The Naked and the Dead," one can see how Mailer incorporates the genre in a way that reflects both the unique capacities of the novel as a medium separate from that of film. This paper also expands on Mailer's particular view of film as an inadequate representation of the complexities of war and America. The writer of this paper contends that Mailer's novel must be read in the context of the combat film genre, which was well established in the memory of American audiences by 1948 as a frame of reference for understanding and justifying WWII. This paper clearly details the characteristics of Martinez which fits the conventional stereotype evolved from and established within the genre of the World War II combat film. The writer also discusses the significance of various WWII related films that were released in the 1940s including: "Bataan," "GI Joe" and "Home of the Brave."

From the Paper
"The multiracial platoon acts as a symbol of democracy, functioning to distinguish Americans from a racist enemy, the Nazis. At the same time, the visual presence of minorities helps to legitimize 'good' racism (racism against the Japanese) by framing it with images of racial integration. Feigning inclusion of minorities is also a propaganda tactic aiming to harness collective support for the war. In Bataan there are four minorities: a Mexican-American, two Philipinos and a black man. The Philipinos are associated with nature; they are implicitly more primitive and closer to the enemy. The Mexican-American is associated with jazz music and a womanizing past, and the black man is associated with spirituality. All four characters die fairly early on in horrible barbaric deaths. In later movies, some or all of these characteristics may be lumped together into composite minority representatives."

Tags:literature, analysis, perception, film, industry, u.s., history, world, war, two

Abstract
This paper looks at the history of the gangster film genre in the United States from the 1930s to the 1960s. It specifically looks at the impact that this film genre has had on American society and culture. The paper discusses the historical context of the rise of the gangster film genre and why it appealed to Americans at that time in their history. It gives specific examples of films and characters that fit into this category.

Table of Contents:
The Rise of the Gangster Genre
The Postwar World
1960's and Beyond

From the Paper
"As World War I ended, the 18th Amendment ushered in Prohibition and with it a wave of crime matched only by the drug and gang wars of our own era. Where brewing and distilling were once respectable trades, the importation, production, transportation and sale of alcoholic beverages was taken over by criminals during the 1920s. In big cities like New York or Chicago, headline grabbing mobsters battled for control of this illegal market. Competition among newspapers sensationalized and romanticized the stories of events like the St. Valentine's Day Massacre or the exploits of "Scarface" Al Capone. Our contemporary war on drugs can be seen as a parallel event - both of which run counter to the dominant free market and individual free choice ideology of the United States. Just as ethnic minorities were disproportionately represented as violating prohibition in the 1930s, those portrayed in modern gangster films are disproportionately Latino and Black or immigrant."

Tags:godfather, prohibition, hero, violence

Abstract
This paper provides an in-depth analysis of the war film genre, its history and examples of some of the films that have been identified as a war film genre. The writer provides a list of common characteristics of the genre and examines several historical as well as modern war movies -19th century "Tearing Down the Spanish Flag"; "The Birth of a Nation" (D. W. Griffith); "Full Metal Jacket"(Stanley Kubrick) and "Life is Beautiful" (Roberto Benigni).

From the Paper
"The war film genre is also referred to as the anti-war film genre, since some of the war films do not only discuss war sentiments, but anti-war sentiments as well. War as a film genre "often acknowledge the horror and heartbreak of war, letting the actual combat fighting (against nations or humankind) provide the primary plot or background for the action of the film." Furthermore, war films can also be "paired" with other film genres, wherein the topic of war can be interspersed with comedy, drama, or romance as a co- or sub-genre of the film. Tim Dirks, in his article about the war film genre, enumerates several characteristics and themes that can often be found in war film genres:"

Tags:spanish, flag, nation, birth, life, beautiful, full, metal, jacket

Abstract
This essay will argue that there are different kinds of love endorsed and criticized in each text. In general these may be grouped into two categories: (1) love for one's fellow human being; and (2) love for something transcendent of the individual, whether it be a community/culture or a deity. As will be seen, the generic conventions of drama limit the expression of meaning to characters' words and actions. However, both Beckett and Highway stretch the boundaries of convention in their dramas which, by flouting the conventional realism of the dramatic genre, permit the exploration of complex representations of love. In contrast, it may be argued that Achebe remains more within the conventions of his genre than Beckett and Highway in theirs. This is not a weakness, however, in that the novel form allows Achebe to represent human character and motivation - in terms of the manifestation of love - on levels that the dramatic genre cannot.

Abstract
This paper discusses the gangster movie genre in film and how "The Godfather" and "Godfather Three" are representative of this genre. The gangster world and its history are presented and an overview of the films given. Examples from the movies that illustrate characteristics of the genre are provided.

From the Paper
"Film productions often mimic real life. It is what allows them to be placed into genre categories. Genres in the movies are very much like genres in the world of literature. There are romance genres, history genres and others that depict the type of movie that the film falls under. One genre waxes and wanes in its popularity. The gangster genre is one in which many movies have been made and they are classified as gangster genre by the characters attitudes, the events and the historical context of the movie plot. Two very classic gangster genre films are The Godfather and The Godfather Part Three. Critics have admired as well as panned these movies depending on the critics taste and film desires, however they all agree that they are classic illustrations of the gangster genre."

Tags:illegal, mobster, Mafia, family, organization, drug, business, gang, Brando