The term, “genre’, has many definitions, simplified is the process of grouping objects/text together based on defined similarities such as subject, format, style and/or purpose. John Swales’s states that ‘genre’ covers a group of communicative events, of which the content shares a communicative purpose. The purpose can be recognized and used to identify the ‘guidelines’ of a genre, this in turn gives a framework by which the discourse content is shaped, influenced and styled. This essay will focus on comparing the definitions of ‘genre’ by Carter and Goddard (2015:233), Lynch Kennedy and Kennedy (2012:15) and Frow (2015:10). By applying a critical analysis of all three definitions, I will attempt to discuss the similarities, differences and …show more content…
To achieve in that text its purpose and structure. CG (Carter and Goddard), divide ‘genre’ into two main distinctive categories, language and literature. With language focusing on the purpose or features of the text, and literature dividing into three subsections; prose, poetry and drama. These divisions help to ‘sort’ texts into different structures for example; poetry has specific characteristics it must adhere to, to be qualified as poetry. Poetry differs for example from drama in the way it is structured, uses sound and metaphorical language. LKK (Lynch Kennedy and Kennedy), refers to the definition of ‘genre’, meaning kind, sort and style in French, as a reference point of the two ‘frames’ he categorizes genre in, social situation and purpose. Frow’s ‘guideline’ is a set of “highly organized constraints (Frow, 2015:10)”, that a text must adhere to in able to produce meaning. Text, responds to and are organized into two distinctive levels of information; social situations in which it occurs, and that of the genre mobilised by the setting and its contextual cues, “The work of genre, then, is to mediate between a social situation and the text which realizes certain features of this situation, or which responds strategically to its demands (Frow 2006:14)”. Prior knowledge, or intertextuality, is essential in identifying the guidelines of
The authors state, “Genres in literature are categories of writing recognized for their patterns of organization, their
Bedford Book of Genres explains that “genres are flexible.” Through a recent post on a fellow classmate’s discussion I thought about mysteries. The ability for writers in mystery genres to guide us through their web of twists and turns makes it a genre that has something for everyone. While the theme of the genre may change or the information within the story, a mystery is basically a story, true or false, that centers itself around a mysterious or unexplained event that drives the mystery deeper and deeper. Mysteries have a way of sucking you into the story on the seat of your chair waiting to find out what twist is coming next. They know how to “resonate with readers” and connect with the story. There are several genres of mysteries available out there that can be enjoyed by many different people, with numerous likes and dislikes and in order for this genre to be able to please so many different types of fans it needs to be flexible.
The most important question is: if the elements of genre, discourse, and code can express another kind of content, how do they combine to complete the meaning of this book? Before answering the question, I will describe each element, what I found for each one, and then answer how these elements combine to complete the meaning of this book.
Todorov, Tzvetan. "Two Principles in Narrative." Genres in Discourse. Trans. Catherine Porter. Cambridge: Cambridge UP, 27-30.
The first type of genre that will be examined is the news article genre. This is the primary genre that is used to relay news and events about the...
Roberts, Edgar V., and Robert Zweig. "A Glossary of Important Literary Terms." Literature: An Introduction to Reading and Writing. Boston: Longman, 2012. 1945. Print.
Film scholars around the world agree that all genres of film are part of the “genre cycle”. This cycle contains four different stages that a specific genre goes through. These stages are: primitive, classic, revisionist, and parody. Each stage that the genre goes through brings something different to that genre’s meaning and what the audience expects. I believe that looking at the horror genre will be the most beneficial since it has clearly gone through each stage.
The fourth characteristic states, “A discourse community utilizes and hence possesses one or more genres in the communicative furtherance of its aims.” (221). Swales defines genre as different types of communication, not just verbal, but also written. Genres of a discourse community could be group messages, online posts, emails, notes, and more. Each discourse community is going to have different, specific genres they
Tan, Amy. “Two Kinds.” Exploring Literature: Writing and Arguing About Fiction, Poetry, Drama and The Essay.4th e. Ed. Frank Madden. New York: Pearson Longman, 2009. 253-261. Print.
There were several new concepts that were introduced to me this semester including the topic of genre. I found out that it was more than a classificatory tool. According to Bawarshi and Reiff, genre has changed into “a shaper of texts, meanings, and social actions”. In other words, genres are used to change and influence social interactions and to produce meaning-
In English 1102, I was exposed to a variety of different genres, including, argumentative research paper, an annotated bibliography, an analytical paper, and a workplace specific piece. Entering this class the majority of papers I had written were all analytical, and in this class we went above and beyond the basic 5 paragraph essay. Though each paper had a different genre and style, I learned that each project was similar in composition.
Structuralism employs terms to help in the understanding of one of the most complex literary theories (McManus, 1998; Brizee and Tompkins, 2011). All words in any given language are either classified as parole or langue (McManus, 1998). Barbara McManus is an expert on literary criticism, has authored two books on the subject, is a retired professor of Classics Emerita, including the topics of Feminism and general literary criticism courses, from College of New Rochelle who defines the two terms as “any particular meaningful use of spoken or written language (also called ‘performance’)” and “the underlying system of sounds, forms, and rules of combination of a language which make meaningful communication possible (a speaker's implicit knowledge of this system is called ‘competence’),” respectively (McManus, 2003; McManus, 1998). McManus later states that “[Structuralists are] interested in langu...
My English 1310 course was taught by Professor Daniel Stuart. He taught us the concept of academic writing and why it is important. Academic writing is the process of breaking down ideas, using a formal tone, deductive reasoning and third person. Writing done to carry out the requirements of a college or university on a research based level. It requires a starting point or introduction, followed by a thesis on the preferred topic, then comes proving and disproving of the evidence based arguments. It is important because it is a way to communicate our thoughts clearly and originality. It helps us think and see what evidence we can come up to contribute to that thinking. This course approached this idea of academic writing by exploring further
Advances in technology and cultural developments over the last few decades have led to an increased production of multimodal texts (McIntyre and Busse 2010, pg.433). As these multimodal texts have developed, it can be said that the field of stylistics has needed to develop the tools for analysing the effects these texts create (Jeffries and McIntyre 2010, pg.194). Multimodal stylistics is a relatively new branch of stylistics and with the focus of multimodal stylistics being the meaning that is made through multi-semiotic modes the scope can be extended beyond literary texts to include analyses of film and drama (Norgaard et al. 2010, pg.30).
Shea, Renee, Lawrence Scanlon, and Robin Scanlon. The Language of Composition: Reading, Writing, Rhetoric. 2nd ed. Boston: Bedford St. Martins, 2013. 525-529,546-551. Print.