This volume features representative studies focusing on the evolution of text genres in corporate and professional communication. Genre change is explored in various contexts in light of the increasing importance of new media and the profound social changes that have occurred in the last few decades. Major theoretical issues are raised and discussed, highlighting the need to reconsider the repertoire of conventions traditionally identified in each specific genre, and to reassess and update the analytical tools used to investigate them, about three decades after the emergence of genre analysis.
Witty and accessible, Popular Culture Genres is a fascinating study of genres and genre criticism. Author Arthur Asa Berger empowers readers to make their own analysis by providing the methods and examples of good criticism. Part I deals with genres from a critical perspective, asking questions such as: How do the conventions of different genres affect the creation and production of texts and the audiences of those texts? Do certain genres have significant social and political implications? And, how do genres evolve? Part II takes a look at five "classic" popular texts (in both their novel and film versions). Viewing these works in the context of their respective genres is not only instructive in nature but captivating reading as well.
Genre studies and genre approaches to literacy instruction continue to develop in many regions and from a widening variety of approaches. Genre has provided a key to understanding the varying literacy cultures of regions, disciplines, professions, and educational settings. GENRE IN A CHANGING WORLD provides a wide-ranging sampler of the remarkable variety of current work. The twenty-four chapters in this volume, reflecting the work of scholars in Europe, Australasia, and North and South America, were selected from the over 400 presentations at SIGET IV (the Fourth International Symposium on Genre Studies) held on the campus of UNISUL in Tubarão, Santa Catarina, Brazil in August 2007—the largest gathering on genre to that date. The chapters also represent a wide variety of approaches, including rhetoric, Systemic Functional Linguistics, media and critical cultural studies, sociology, phenomenology, enunciation theory, the Geneva school of educational sequences, cognitive psychology, relevance theory, sociocultural psychology, activity theory, Gestalt psychology, and schema theory. Sections are devoted to theoretical issues, studies of genres in the professions, studies of genre and media, teaching and learning genre, and writing across the curriculum. The broad selection of material in this volume displays the full range of contemporary genre studies and sets the ground for a next generation of work.
The study of genre is scattered across research disciplines. This volume offers an integrative perspective starting from the assumption that genres are cognitive constructs, recognized, maintained and employed by members of a given discourse community. Its central questions are: What does genre knowledge consist of? How is it organized in cognition? How is it applied in discourse production and interpretation? How is it reflected in language use?
Film Genres in Hungarian and Romanian Cinema: History, Theory, and Reception discusses how the Hungarian and Romanian film industries show signs of becoming a regional hub within the Eastern European canon, a process occasionally facilitated by the cultural overlap through the historical province of Transylvania. Andrea Virginás employs a film historical overview to merge the study of small national cinemas with film genre theory and cultural theory and posits that Hollywood-originated classical film genres have been important fields of reference for the development of these Eastern European cinemas. Furthermore, Virginás argues that Hungarian and Romanian genre films demonstrate a valid evolution within the given genre’s standards, and thus need to be incorporated into the global discourse on this subject. Scholars of film studies, Eastern European studies, cultural studies, and history will find this book particularly useful.
Rethinking Genre in Contemporary Global Cinema offers a unique, wide-ranging exploration of the intersection between traditional modes of film production and new, transitional/transnational approaches to film genre and related discourses in a contemporary, global context. This volume’s content—the films, genres, and movements explored, as well as methodologies used in their analysis—is diverse and, crucially, up-to-date with contemporary film-making practice and theory. Significantly, the collection extends existing scholarly discourse on film genre beyond its historical bias towards a predominant focus on Hollywood cinema, on the one hand, and a tendency to treat “other” national cinemas in isolation and/or as distinct systems of production, on the other. In view of the ever-increasing globalisation and transnational mediation of film texts and screen media and culture worldwide, the book recognises the need for film genre studies and film genre criticism to cast a broader, indeed global, scope. The collection thus rethinks genre cinema as a transitional, cross-cultural, and increasingly transnational, global paradigm of film-making in diverse contexts.
This volume provides descriptive and interpretive insights into the ‘living’ usage of language and other semiotic modes in building and performing the law across academic, professional and institutional contexts, where issues arise from the meaning and function of legal texts, discourse and genre in constituting and enabling conventions, albeit dynamically, and account for the socially and (inter)culturally influenced forms of discursive actions and practices. The twenty contributions included here weave significant contexts and situations for legal discourse and practice into a tight thread, and justify selected topic areas through a variety of approaches, frameworks, methodologies, and procedures. As such, this publication is multidimensional and multiperspectival in its design and implementation of key issues confronting discursive actions and practices of the law, and provides an invaluable resource for academics in a wider range of disciplines, including linguistics, applied linguistics and communication studies. It will also be of interest to students of interdisciplinary discourse analysis.
The central thesis of this book is that a genre approach provides the most effective means for understanding, analyzing and appreciating the Hollywood cinema. Taking into account not only the formal and aesthetic aspects of feature filmmaking, but various other cultural aspects as well, the genre approach treats movie production as a dynamic process of exchange between the film industry and its audience. This process, embodied by the Hollywood studio system, has been sustained primarily through genres, those popular narrative formulas like the Western, musical and gangster film, which have dominated the screen arts throughout this century.
