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"extra": "Devitt, Amy J. “Generalizing about Genre: New Conceptions of an Old Concept” College Composition and Communication, Vol. 44, No. 4 (Dec., 1993), pp. 573-586\nThis article explores both the conventional and new conception of genre, suggesting also some effects of the swift of notions in the way we think about writing. Recent approaches to genre are trying to break the traditional dichotomies created by the classification system of texts in an attempt to formulate an inclusive conception of genre as a dynamic, semiotic, and rhetorical construct, where the text is a source of effects. \nThe Conventional Conception of Genre\nIt is widely acknowledge that genre is quite a trivial and destructive concept that has traditionally divided content from form, text from context, or individual from group for the sake of classification. Tracing back to Aristotle, who made a distinction between the epic, the tragedy and the comedy in his Poetics, critics have established several classification systems that consider texts as static objects (literature vs. nonliterature; the lyric, the sonnet, the Petrarchan sonnet (574)). Though useful in terms of classification on the library system, these divisions are obsolete for it is not plausible to think about discourse as a single unit (Todorov); the creation of genres is subject to society (Miller) and we can only fully comprehend those genres if we first analyse and understand their origins (their patterns). Thus, genre is a self-defining system: \"Genre is not that which is determined and defined by the components of a literary work or by sets of literary works, but that which, in effect, determines and defines them\" (Titunik, 175).\n \tIt is still useful to look for markings or form of a genre (organization, layout, meter, rhyme, etc.). However, the meaning of a work can only be apprehended by merging the former with “purposes, participants, and themes, so understanding genre entails understanding a rhetorical and semiotic situation and a social context” (576).\nNew Conceptions of Genre\n \tAlong taking all the elements above mentioned into account, the new notion understands genre as the result of a recurring rhetorical situations where, guided by intertextuality, writers’ similar responses and particular features become conventions that, at the same time, are repeated. \nM.A.K. Halliday understands these situations to determine a “register” (genre) as formed by a field (events), a tenor (characters), and a mode (language) to, finally, create meanings.\nIn this way, context is defined only as writers and readers (re)construct the situation (text and genre) as a social occurrence: “by selecting a genre to write in, or by beginning to write within a genre, the writer has selected the situation entailed in that genre” (578). This is, genre determines the situation in the same way as the situation determines the genre, thus being a dynamic and flexible concept that responds to social changes. Genre is its own product and its own process (580). \nImplications\nThis new conception can help to \n-\tThe reintegration dichotomies in writing\n-\tThe reintegration of form, content and context\n-\tReveal communities that construct and use particular discourse genres \n-\tReveal the reasons behind the choices made by writers in their writing process \no\t“Where do writers’ goals come from?” (581)\no\tHow do writers “generate and regenerate goals?” (581)\no\tWhat shapes those goals (history, community, rhetorical forces)?\no\tHow do writers use these goals? \n-\tReveal how writers know what and when to revise their texts\n-\tImprove teaching (of writing) according to the situational and general needs of the students",
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"note": "Devitt, Amy J. “Generalizing about Genre: New Conceptions of an Old Concept” College Composition and Communication, Vol. 44, No. 4 (Dec., 1993), pp. 573-586
\nThis article explores both the conventional and new conception of genre, suggesting also some effects of the swift of notions in the way we think about writing. Recent approaches to genre are trying to break the traditional dichotomies created by the classification system of texts in an attempt to formulate an inclusive conception of genre as a dynamic, semiotic, and rhetorical construct, where the text is a source of effects.
\nThe Conventional Conception of Genre
\nIt is widely acknowledge that genre is quite a trivial and destructive concept that has traditionally divided content from form, text from context, or individual from group for the sake of classification. Tracing back to Aristotle, who made a distinction between the epic, the tragedy and the comedy in his Poetics, critics have established several classification systems that consider texts as static objects (literature vs. nonliterature; the lyric, the sonnet, the Petrarchan sonnet (574)). Though useful in terms of classification on the library system, these divisions are obsolete for it is not plausible to think about discourse as a single unit (Todorov); the creation of genres is subject to society (Miller) and we can only fully comprehend those genres if we first analyse and understand their origins (their patterns). Thus, genre is a self-defining system: \"Genre is not that which is determined and defined by the components of a literary work or by sets of literary works, but that which, in effect, determines and defines them\" (Titunik, 175).
\n It is still useful to look for markings or form of a genre (organization, layout, meter, rhyme, etc.). However, the meaning of a work can only be apprehended by merging the former with “purposes, participants, and themes, so understanding genre entails understanding a rhetorical and semiotic situation and a social context” (576).
\nNew Conceptions of Genre
\n Along taking all the elements above mentioned into account, the new notion understands genre as the result of a recurring rhetorical situations where, guided by intertextuality, writers’ similar responses and particular features become conventions that, at the same time, are repeated.
\nM.A.K. Halliday understands these situations to determine a “register” (genre) as formed by a field (events), a tenor (characters), and a mode (language) to, finally, create meanings.
\nIn this way, context is defined only as writers and readers (re)construct the situation (text and genre) as a social occurrence: “by selecting a genre to write in, or by beginning to write within a genre, the writer has selected the situation entailed in that genre” (578). This is, genre determines the situation in the same way as the situation determines the genre, thus being a dynamic and flexible concept that responds to social changes. Genre is its own product and its own process (580).
\nImplications
\nThis new conception can help to
\n- The reintegration dichotomies in writing
\n- The reintegration of form, content and context
\n- Reveal communities that construct and use particular discourse genres
\n- Reveal the reasons behind the choices made by writers in their writing process
\no “Where do writers’ goals come from?” (581)
\no How do writers “generate and regenerate goals?” (581)
\no What shapes those goals (history, community, rhetorical forces)?
\no How do writers use these goals?
\n- Reveal how writers know what and when to revise their texts
\n- Improve teaching (of writing) according to the situational and general needs of the students
\n
\n
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