Scribd
Upload
253 views3 pages

New Rhetoric Framework For Genre Analysis

The document discusses new rhetoric genre theory and establishes a framework for genre studies. It describes genres as typified communicative actions that are dynamic, acquired through social participation, and shape social structures and culture. Key principles are that genres respond to recurring situations, knowledge involves forms and topics, and communities own genres.

Uploaded by

oxana
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
253 views3 pages

New Rhetoric Framework For Genre Analysis

The document discusses new rhetoric genre theory and establishes a framework for genre studies. It describes genres as typified communicative actions that are dynamic, acquired through social participation, and shape social structures and culture. Key principles are that genres respond to recurring situations, knowledge involves forms and topics, and communities own genres.

Uploaded by

oxana
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
You are on page 1/ 3

УДК 82–92:81’42

NEW RHETORIC FRAMEWORK FOR GENRE ANALYSIS

Oksana Chernysh
PhD, Associate Professor
at the Department of Theoretical and Applied Linguistics
Zhytomyr Polytechnic State University
Zhytomyr, Ukraine
[email protected]

Over the past several decades genre has come to have a particular significance
in linguistic studies. Genre is viewed as recognizable communicative events that are
characterized by a set of communicative purposes identified and institutionalized by
members of a certain community in which they regularly occur [2, p. 23]. Genre
category is one of the most important elements in language description. The entire
structure of human speech is largely determined by genre differentiation of texts.
It proves particular prominence of genre studies. Thus, the article reviews new
rhetoric genre theory to establish a theoretical framework for further genre studies.
One of the most prominent genre theories is new rhetoric studies represented
by the works of Myers (1990), Devitt (1991), Smart (1993), Yates and Orlikowski
(1992), Dias (1999). According to new rhetoric perspective genre is described as a
staged, goal-oriented and purposeful social activity people are engaged in as
members of a particular culture [4, p.25]. Genre stems from a frequently repeated
social action in recurring situations [3, 2004]. Furthermore, genres do not only
respond to social contexts but also stabilize and shape them. Thus, they perform the
role of particular patterns to the better understanding of speakers.
New rhetoric scholars consider genre as a mediating force between the
individual and society. Genre is rule-governed, frequently repeated social action
performed by an individual for fulfilling his rhetorical purpose. It functions as
frequent language patterns and helps to constitute a culture.
Moreover, genre is considered as a «cultural artifact» [5] representing
knowledge of aesthetics, economics, politics, religious and cultural beliefs.
Consequently, genre and culture are viewed as interdependable concepts. It proves
that the more we know about culture the more we understand genres.
Furthermore, according to rhetoric perspective there are five principles that
form a theoretical framework for genre study. Firstly, genres are dynamic rhetorical
forms developed in response to recurring situations that aim at stabilizing experience.
In the same way, genres can be produced, reproduced and changed due to
communicative choices of a discourse community. Thus, altering genre rules with
respect to its substance and form may lead to the emergence of a multi-genre
phenomenon, a new or modified genre.
Secondly, genre knowledge is acquired through participation in the
communicative activities of daily and professional life.
Thirdly, genre knowledge presupposes both form and content localized in time
and place. In other words, true genre knowledge is constituted by formal conventions
as well as appropriate topics and particular details knowledge [1, p. 14].
Moreover, using genre in professional and institutional activities individuals
construct and reproduce particular social structures. Furthermore, one should bring to
light “community ownership” principle [1] which states genre is a part of disciplinary
or professional activities regulated by community norms and values. Put another way,
people acquire values and realize perspectives of discourse community while learning
to use genres.
In conclusion, genre is a typified communicative action characterized by
definite substance and form acquired in response to recurrent situations. Genre is
reinforced over time and may be elaborated and modified, thus transforming into a
new one. Further study of the issue is still required.
Literature
1. Berkenkotter C., Huckin Th. Genre knowledge in the interdisciplinary
communication / C. Berkenkotter, Th. Huckin. – New York: Routledge, 1995.
– 208 p.
2. Bhatia V. K. Worlds of written discourse: A genre-based view / V.K. Bhatia //
London: Continuum International Publishing Group Ltd., 2004. – 288 p.
3. Devitt A.J. Writing genre / A.J. Devitt // Southern Illinois University Press,
2004. – 261 p.
4. Martin J.R. Language, Register and Genre / J.R. Martin // Children Writing:
reader. – Geelong, Victoria: Deakin University Press, 1984. – 984 p.
5. Miller C.R. Rhetorical community: the cultural basis of genre / C.R. Miller //
Genre and the new rhetoric. – London: Taylor and Francis, 1994. – p. 68-78.

You might also like