Using therapeutic conversations from a televised talk show as the source data, this article investigates how people solve emotional problems in an institutional setting within a specific social cultural context. In light of the genre framework and the Systemic Functional Linguistics, the investigation considers the TV talk show therapy under examination a distinct genre. The claim is based on the linguistic evidence drawn from the analytical work. As a valid genre the talk show therapy has been characterized (...) with the communicative intentionality to resolve emotional problems and to promote mental health to the public. These components in turn have shaped the generic structures, which become the crucial criteria that constitute a text as a genre. The article proposes that a broader conception of genre framework is an effective research method to describe the textual typologies and interpret the semantic structures of the social interaction in postmodern society. (shrink)

The article deals with larger stretches of talk-in-interaction and argues in favor of a descriptive approach, which integrates the structural requirements of global organization, the special type of sequential orderliness within larger units as well as the genre-orientation of these units. Drawing on previous work in conversation analysis, discourse analysis and the sociological genre analysis, the article introduces GLOBE as an analytical tool which functionally links discourse units to conventionalized communicative purposes. GLOBE reconstructs the interactive achievement (...) of genre-oriented discourse units in a three-branch analysis of jobs, devices and forms. The analytical potential of GLOBE is demonstrated in the exemplary genre-contrastive analysis of a narrative, an explanative and an argumentative excerpt. On the basis of the analyses of the three genres, the overarching constitution of genre-oriented global units is then explicated. (shrink)

Narratives are everywhere. We tell narratives about ourselves and we make the world meaningful through storytelling. We position others through the narratives we tell and are positioned by stories told about us. And yet, while narratives have, of course, been analysed in critical discourse studies (CDS), including in one of its most popular approaches, the discourse-historical approach (DHA), this article proposes to go a step further by systematically integrating the concept of narrative into the core of the DHA. (...) More specifically, I consider narrative from the perspective of the concept of narrative genre. That is, I propose a focus on how meaning arises via the narrative genres of romance, tragedy, comedy and irony, i.e. through (modes of) emplotment. Such an integration does not contradict the DHA’s (and CDS’) focus on detailed textual analysis or reject existing foci, e.g. on argumentation, but recognises the centrality of the narrative form for social life and offers further concepts for empirical analyses. This focus on narrative genre contributes, furthermore, to the critical study of meaning-making by revising Jürgen Habermas’ Critical Theory and offering a novel integration of the latter into the DHA, thus providing a theoretically justified, immanent foundation for its critique. (shrink)

In comparison with the creation of language, translation from one language to another offers greater challenges for those working with languages, be the text for translation concerned with philosophy, literature or law, all of which are arguably highly professional domains. When it comes to the translation of legal fiction, a highly interdisciplinary genre, even experienced practicing translators tend to fall short of being well equipped with sufficient legal knowledge and terminologies, not to mention the capacity to detect the subtleties (...) that are inherent in a legal term. All of the problems above account for the often less-than-satisfactory quality of legal fiction in translation, misleading or confusing the potential target audience. After making the prior theoretical investigations, this paper attempts to analyze some problems in the current Chinese translation of such legal novels as Franz Kafka’s Der Prozess and Charles Dickens’s Bleak House, and then take a corrective stance, hoping to arouse the translators’ awareness of the importance of this genre, as well as their awareness of the essential professional skills they still need to acquire, so that they can reach equivalent accuracy in legal technicalities, as well as subtlety and nuance that reflect the legal spirit. (shrink)

On the definition of genre of Dostoevsky's works. The article mostly addresses Dostoevsk's own definitions of genres of his works, either explicated in the texts (subtitles, prefaces) or contained in the writer's letters; or rather the relationship between the scholarly strategies of defining genres and the writer's own view, as evidenced. by subtitles which, in some sense, are part of the text (in nearly, but not precisely, the same way as the titles themselves are). The writer's own definitions, then, (...) can be regarded as possible objects of the scholarly interpretation. Agreement, or lack thereof, between the author's and the scholars' definitions may be due both to similarity vs dissimilarity between the definition standards inherent in the respective epochs and to specific interpretation aspects. In the latter case, agreement is more cornman in studies focusing on vastly different problems unrelated to genre, whereas disagreement is more frequent in studies concerned with the genres of Dostoevsky's works. One of the reasons why his own definitions must be critically revisited is that certain titles of his workscan be basically viewed as subtitles or genre definitions insofar as they in some way define the variety of the text regardless of the underlying criterion: narrative, "discourse", type of source, genre, or genre variety. Indeed, both these subtitles and, sometimes, the writer's own genre definitions tum out to be pretense, an imitation of "standard" subtitles or genre definitions, respectively. Titles themselves sometimes look like subtitles, thus "exposing the device" and demonstrating this mimicry not merely by violating semantic and syntactic relations in the case of subtitles (sign/name/title/ subtitle and virtual reference/"reality" of text - and relationships such as those between title and subtitle; title and the principal text; and subtitle and principal text), but also by the fact that their position is "marked". Dostoevsky not just failed to follow his own "final genre definitions" within the text, as reflected in the subtitles, and not just changed them repeatedly in his letters, but in the official documents, too, he sometimes defined genres in a way which did not agree with either the subtitles or his own definitions given in his letters.Dostoevsky frequently changed the genre definitions not merely during his work on a text, which would be only natural, and not merely many years after it had been completed, published, revised, and republished (which might be ascribed to memory errors), but also shortly after the completed manuscript had been shipped to the publishers or after the text had been published or republished. While the logic underlying these changes must be studied and interpreted, it is evident that the scholars are often unable to accept the author's own "final genre definitions" both because these are often unavailable in subtitles, and because of the "Proteic" nature of their use by the writer in various contexts. (shrink)

This article maintains that African philosophy should consider those discourses that function as channels of important ideas in African cultures, without prejudice against their language and, especially, their genre. What are such philosophical discourses? This article starts from a case study, Swahili culture, and interrogates the communicative resources available to it to serve as vehicles of philosophical thought. The survey includes language itself, proverbs, musical performance (sung lyrics), metric and free-verse poetry, novelistic prose, theoretical writings, and translations. Based on (...) this spectrum of genres, the article ventures some general observations about the relationship of African philosophy to language and genre. (shrink)

This paper examines representations of the woman avenger in three types of medieval Chinese writings, namely, official biographies, Music Bureau poetry, and unofficial prose accounts. Such cross-genre comparisons shed light on how different narrative conventions or the lack thereof shaped the ways in which the potentially controversial stories of female vengeance were recounted. Unofficial prose accounts from the Tang period, in particular, demonstrate the development of a distinctive discourse on women and sanctioned violence that opened up fertile grounds (...) for exploring the gender tensions and ambiguities of the subject. (shrink)

This book builds on existing work in genre analysis and move analysis in English for Specific Purposes and applies this new framework to academic philosophical discourse, offering new insights into how ESP traditions can elucidate shifts in language conventions across disciplinary contexts. The volume begins by surveying the state-of-the-art in English for Specific Purposes and genre theory, as well as other genre theory paradigms before turning the focus on move analysis. Lucas and Lucas seek to maximize (...) the potential of move analysis to precisely operationalize functional units of discourse by implementing a cognitive theory of genre grounded in frame semantics. Using the case of academic research articles in philosophy, the authors demonstrate how this framework can reveal distinctive dimensions unique to philosophical discourse and in turn, how such an approach might be applied more broadly to examine nuances in language across disciplines and inform ESP research in the future. This book will appeal to students and researchers in English for Specific Purposes, discourse analysis, academic writing, applied linguistics, and rhetoric and composition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:IntroductionIn 1974 at a gathering celebrating the seventh centenary of Bonaventure's death, Ignatius Brady reviewed the Quaracchi edition of Bonaventure's works. He noted various problems with the edition and considered the authenticity of a number of works discovered since the edition's completion in 1902. He argued against the attribution of all the texts then newly ascribed to Bonaventure, but pointed forward to texts that might still be looked for, (...) "either by identifying them in pieces already published or by searching for them in manuscripts."Brady singled out two texts in particular: a text he referred to as a principium biblicum, and defined as the opening discourse of a baccalaurius biblicus; and a principium magisteriale or aulicum, which Brady defined as a "recommendatio s. scripturae or recommendatio sacrae doctrinae given in brief form by the doctorandus in the aula/hall of the bishop and repeated at length soon after his promotion." He went on to lament that we possess lectures pertaining to these forms from great medieval theologians like John of La Rochelle and Thomas Aquinas, but none for Bonaventure. According to Brady, two primary reasons explained this gap in Bonaventure's corpus: 1) the Quaracchi editors really had no clear conception of the genre of principium and hence never looked for Bonaventure's; 2) some scholars reasoned that Bonaventure's well-known sermon "Christ the one teacher of all" functioned as his principium and hence looked no further. As Brady noted, however, "Christ the one teacher of all" could never function as Bonaventure's principium without doing extreme violence to the literary parameters set for that academic exercise. Bonaventure's principium thus remained at large and has continued to elude scholars since Brady's reflections thirty-four years ago. Until now.Though Brady's terminology requires modification in the light of more recent studies, the thesis I will argue for in this article is that the text we know as the De reductione is in fact the second half of Bonaventure's two part inaugural lecture as a master at Paris. The first half of the lecture I have identified and provisionally edited: an overlooked sermon beginning with the verse, Omnium artifex docuit me sapientia .In order to demonstrate my thesis that the De reductione is part of Bonaventure's inaugural lecture as a master or his principium, I will first review the specific terminology required to understand this literary genre. Second, I will focus on the form and subject matter of the De reductione itself in order to establish that it may be understood as sermon and that its subject matter fits within the genre of principia. Third, I will highlight known principia that share concerns and style similar to the De reductione thus further demonstrating that the text is Bonaventure's principium. Fourth, I will discuss two manuscripts that present the De reductione as a principium. In connection, I will also indicate how these two manuscripts present the relationship between Bonaventure's overlooked sermon Omnium artifex docuit me sapientia and the De reductione. Fifth, I will show how Omnium artifex forms an essential prologue to the De reductione.I. Clarifying the literary genre of the principiumThe term principium can cause confusion since the term takes on different meanings in accordance with the variety of meanings and associations the term possessed in the middle ages. Clarity regarding this term is crucial if the present thesis is to be proved and so I must review the basic ways the term could be used.In a broad sense, the term principium refers simply to "the inaugural lecture of a course," which in turn belongs to the much broader category of sermon. In this sense of inaugural lecture or sermon, Bonaventure's prologues to each of the four books of Peter Lombard's Sentences, the prologues to his biblical commentaries, and even to some degree the prologue to.. (shrink)

Based on a contrastive approach that compares the argumentative genre of editorial with the narrative genre of personal narrative across two production modes, single-authored data and data elicited...

The purpose of the article is to shed light on how experiences of sensory perceptions in the domains of vision, smell, taste, and touch are recast into text and discourse in the genre of wine reviews. Because of the alleged paucity of sensory vocabularies, in particular in the olfactory domain, it is of particular interest to investigate what resources language has to offer in order to describe those experiences. We show that the main resources are, on the one (...) hand, words evoking properties that are applicable cross-modally and properties of objects that range over more than one domain, and on the other, vivid imagery that compares the characteristics of the wine with people, buildings, animals, and the hustle and bustle of market places and other events. The second goal is to account for the construals of the meanings of the expressions used in the recontextualization into written discourse in the light of their apparent flexibility across the descriptions of the sensory experiences. In contrast to a large body of the literature on sensory meanings in language, we argue that the descriptors of properties such as sharp, soft, lemon, and cherry used to describe a wine's qualities across the sensory domains are not polysemous synesthetic metaphors, but monosemous synesthetic metonymizations, more precisely zone activations. With regard to the imagery used, the construals represented cover both similes, metaphorizations and metonymizations proper. (shrink)

Departing from the view that genres are regulative as well as constitutive of social action, this article explores the interconnectedness of genres and Discourses that transit generic boundaries. Situating the study in a local energy transition project in Denmark and exploring what happens in a series of citizen meetings without a narrowly defined agenda, I argue that the meetings may be seen as a nexus of genres constituted by a tissue of interwoven Discourses with a lifespan that extends beyond the (...) specific communicative moment. I understand a nexus of genres as a point where genres in a wider sense meet and interact. Relating the Discourses initiated by the participating citizens to the ideational, the interpersonal and the textual metafunctions in systemic functional linguistics, I analyse topics made salient by actors participating in the citizen meetings. By following these topics intertextually across generic boundaries, I identify Discourses that are mutually entangled and genres that are taken up in the process. These include anticipatory Discourse, Discourse of legitimation, Discourse of motivation, Discourse about technology and Discourse about energy saving initiatives or in other words Discourses that exceed the boundaries of the specific genre in which they are realized. (shrink)

This 1995 book takes as its starting point Plato's incorporation of specific genres of poetry and rhetoric into his dialogues. The author argues that Plato's 'dialogues' with traditional genres are part and parcel of his effort to define 'philosophy'. Before Plato, 'philosophy' designated 'intellectual cultivation' in the broadest sense. When Plato appropriated the term for his own intellectual project, he created a new and specialised discipline. In order to define and legitimise 'philosophy', Plato had to match it against genres of (...) discourse that had authority and currency in democratic Athens. By incorporating the text or discourse of another genre, Plato 'defines' his new brand of wisdom in opposition to traditional modes of thinking and speaking. By targeting individual genres of discourse Plato marks the boundaries of 'philosophy' as a discursive and as a social practice. (shrink)

As a discourse genre, statements of purpose are characterized by their occluded status in the academy and by their hybrid nature. Statements of purpose are required in applications for a place in a postgraduate course, and they are requested to obtain information about the academic and professional background and skills of each applicant. A study of the genre’s linguistic and textual features is needed in Spanish to discover and understand writers’ and readers’ perception of this genre. (...) A corpus of 50 motivation letters in Spanish is analyzed here. We study the distinguishing macro- and microtextual features of this particular genre and co-occurrences between both kinds of features. At the macrotextual level, statements of purpose display prototypical rhetorical moves, which can be classified as writers’ moves and readers’ moves. On the microtextual level, modalization resources and discourse markers are discussed. This multiple perspectives analysis of the corpus shows evidence of significant co-occurrences among modalization, discourse markers, and rhetorical moves. Writers’ ideal representations of this discourse genre, which spans the academic and professional fields, can also be deduced. (shrink)

The aim of this paper is to explore the status of argumentative discourse. We argue that argumentation can contribute to instances of different discourse genres, regardless of whether it is functional to their purposes. By analyzing examples from the daily press in the light of an approach to discourse analysis inspired by pragmatics, we show that also texts that are not expected to be argumentative have underlying argumentative structures and that a text’s being argumentative is a matter (...) of degree: the understanding of underlying argumentative structures contributes to a varying extent to the understanding of what a text as a whole means and of its point in the speech situation. This role of argumentative structures in text understanding suggests considering argumentation as a cognitively-based dimension of discourse, connected to human rationality. (shrink)

The relationships between text or talk and the context are among the basic fields of pragmatic research and an insight into their nature may contribute to a better understanding of language use. In this article, we use the results of an analysis of discourse marker use in two different conversational genres in an attempt to examine the impact of context on the use of discourse markers, generalized for each analysed genre. In the first stage of the analysis, (...) we observe important differences between the two genres: discourse markers are far more frequently used in telephone conversations than in television interviews. In the second stage of the analysis, we identify several contextual factors which contribute to the differences in the use of discourse markers. In this way, we obtain insight into this particular aspect of genre context-talk relationships, and identify some of the characteristics of the genres in question. (shrink)

In the paper I analyze two features of the genre of the pedagogical. First is a particular usage of “should” statements where one can identify an effect of erasing present normative behavior, while that which is postulated is turned into an unattainable ideal, or a value. Second, I analyze “presumptive tautologies” in the discourse of aims of education. I focus on negative dimensions of these two features and, using theoretical insights from Laclau and Rancière, I connect them to (...) the work of negativity in political ontology so that the relation between the pedagogical and the political can thus be re-articulated. (shrink)

Dans les cours italiennes du xve siècle, la danse et le combat, essentiels dans l’éducation du noble, participent à la définition de la place et du comportement des femmes et des hommes. Les maîtres à danser du Quattrocento, construisent et définissent la théorie et la pratique d’une danse savante et produisent un discours conforme à des normes politiques, sociales et genrées. Guillaume le Juif, définit précisément le rôle et la place de la femme qui danse. Antonio Corazzino, également homme d’armes, (...) poète et humaniste, exprime une vision de la bienséance, qui participe d'une conception plus générale des rôles attribués au genre. Les valeurs viriles assument une prééminence évidente dans l’évolution de la vie des cours. Les techniques du corps incarnent une réalité et un discours politique. Dans l'ensemble de son œuvre, le masculin et le féminin s’incarnent notamment dans les modèles de Mars et de Vénus, les deux faces de la Concordia discors, dans la femme qui danse et l’homme qui combat. (shrink)

This article focuses on discursive regularities that can generally be observed in text corpora produced in similar communication situations (medical interviews, political debates, teaching classes, etc.). One type of such regularities is related to the so-called ‘discourse genres’, considered as a set of tacit instructions broadly constraining the forms of utterances in a given discursive practice. Those regularities highlight the relatively regulated, non-random nature of most of our discursive practices and epitomize the necessary constrained creativity of meaning making in (...) discourse. In this perspective, we suggest that the concepts of Thirdness and Habit, as theorized by Charles S. Peirce, can be fruitful in describing the role and importance of such regularities in our sociodiscursive life. More specifically, we believe that discourse regularities are ideal case studies if one wishes to investigate instances of predictability in semiotic (discursive) processes. Overall, we suggest that their study can be one of many research orientations through which a prediction-based scientific conception of semiotics could be applied. (shrink)

Based on the texts of ‘Management Discussion and Analysis on Financial Status and Business’ collected from 118 American corporate annual reports, this study investigated how the professional discourse is realized from the dimensions of text, genre, professional practice and professional culture, according to the framework of the Critical Genre Analysis theory. It was found that In the text dimension, lexicon features regarding vocabulary volume, vocabulary highlighting, readability and sentiment are unique to MD&As; the genre of MD&As (...) corresponds to a rhetorical structure of 3 moves and 10 steps; the professional practice of MD&As is represented by three types of interdiscursivity, that is, shifting, mixing and embedding; the professional culture of MD&As is embodied through identity enculturation, human-oriented value, cooperation awareness and self-serving manner. The results of this study help to better understand the realization of professional discourse and expand the application of CGA in professional practice. The findings presented herein are expected to enhance interdisciplinary research that relates language with corporate performance. (shrink)

Available corpora for Argument Mining differ along several axes, and one of the key differences is the presence (or absence) of discourse markers to signal argumentative content. Exploring effective ways to use discourse markers has received wide attention in various discourse parsing tasks, from which it is well-known that discourse markers are strong indicators of discourse relations. To improve the robustness of Argument Mining systems across different genres, we propose to automatically augment a given text (...) with discourse markers such that all relations are explicitly signaled. Our analysis unveils that popular language models taken out-of-the-box fail on this task; however, when fine-tuned on a new heterogeneous dataset that we construct (including synthetic and real examples), they perform considerably better. We demonstrate the impact of our approach on an Argument Mining downstream task, evaluated on different corpora, showing that language models can be trained to automatically fill in discourse markers across different corpora, improving the performance of a downstream model in some, but not all, cases. Our proposed approach can further be employed as an assistant tool for better discourse understanding. (shrink)

Book Reviews Andrea Wilson Nightingale, Genres in Dialogue: Plato and the Construct of Philosophy. New York: Cambridge University Press, 1995. Pp. xiv + ~a~. Cloth, $49.95. This is an important and timely book. Nightingale argues that notwithstanding Socra- tes' remarks about dialectic as the philosophical mode of discourse, Plato uses tradi- tional genres in constructing philosophy. Key to her argument are two notions. The first is that prior to Plato, 'philosophy' referred to intellectual cultivation in the broad sense and (...) consequendy, poets, sophists, playwrights, and orators had claim to the title "philosopher." The second is that "genres of discourse" be understood as referring not only to artistic forms or styles, but also to "forms of thought" that represent and conceptualize some aspects of experience better than others; therefore, "an encounter between two genres within a single text is itself a kind of dialogue" . Nightingale.. (shrink)

Three of Aristophanes' eleven extant comedies use the typical comic device of role reversal to imagine worlds in which women are "on top." Freed from the social constraints which keep them enclosed within the house and silent in the public realms of discourse and action, women are given a field and context on the comic stage. They issue forth to lay their plans, concoct their plots, and exercise their power over men.The Lysistrate and the Ecclesiazousae stage of the intrusion (...) of women into the public spaces of Athens, the Acropolis and Agora, respectively, as an intrusion into the political and economic life of the city. The Thesmophoriazousae, however, resituates the battle of the sexes in another domain, that of aesthetics, and, more precisely, that of theatre itself. Instead of the collective confrontation of men and women, the play directs the women's actions against a single male target, the tragic poet, Euripides.Froma I. Zeitlin, an associate professor of classics at Princeton University, is the author of several articles on Greek tragedy and on the ancient novel. Her monograph, Under the Sign of the Shield: Language, Structure, and the Son of Oedipus in Aeschylus' "Seven against Thebes," is forthcoming, and she is presently completing The Divided World: Gender and System in Aescylean Drama. (shrink)

This article compares the rhetorical strategies employed by American and French scientists in the research article introductions published by both research teams during the so-called ‘AIDS War’. The controversy concerned priority rights for the discovery of the AIDS virus. Using Swales’s CARS model as a comparative template, the results indicated that while the Americans proceeded with a deductive, bold and highly elaborated pattern of rhetorical presentation, the French opted for an inductive, more nuanced and unelaborated rhetoric which prioritized the communication (...) of scientific content at the expense of the writers’ attitude and personal perspective. The observed variations can be accounted for on the basis of perceptions of what constitutes appropriate academic style during the debate, audience design, power relationships and the sociopolitics of knowledge production in American and French scientific cultures. The article concludes by exploring the implications of these results for the use of English in the resolution of global research problems across the intercultural continuum. (shrink)

This article examines the letters to editor genre unique to the Pakistani English newspapers in the post-9/11 socio-political historical context. Bhatia’s framework of applied genre theory was central to this study of the letters to the editor corpus that focused on textual links, rhetorical structure, and argumentative patterns in the Pakistani LE discourse. The corpus-driven discourse analysis demonstrated diversity in organization patterns, and the juxtaposition of general discussion, references to particular incidents, and personal accounts, exhibiting what (...) Bhatia calls the ‘seemingly chaotic realities’ of a society in transition. The findings reveal an overwhelming dissatisfaction of the people vis-a-vis life in general, and the government and its seemingly insurmountable distance from Pakistani people, more specifically. The study draws attention to letters to the editor as a resistant genre in public discourse. (shrink)

As a type of public discourse closely related to litigation practices, Chinese legal news reports incorporate the important progress in China’s judicial reform. Meanwhile, due to the competitive pressure and driven by profit, Chinese legal news reports are characteristic of an evident trend of marketization. This article examines how and to what extent sensationalism invades Chinese legal news reports. The research methodology combines the theoretical paradigms of critical discourse analysis and genre analysis, with particular attention paid to (...) the notions of genre and interdiscursivity. The data include 70 legal news reports in Legal Daily. Analytical results show that Chinese legal news reports, although being a highly institutional genre, include a number of sensational strategies which promote the restructuring of legal news reports in China. (shrink)

Not many studies have focused on the analysis of the rhetorical organization of a genre and the respective frequency of occurrence of moves and steps as they occur in a corpus across disciplines – particularly, with a complementary qualitative-quantitative approach. This article aims to become a step in helping to fill this gap in research on Spanish. In this way, the textbook genre, the occurrence of its rhetorical macro-moves, moves and steps and disciplinarity are the central focus of (...) this study. More specifically, in this article we seek to determine and to compare the frequency of occurrence of macro-moves, moves and steps in a corpus of 126 university textbooks across the academic discourse of four disciplines. We distinguish the major areas of knowledge as well as the specific disciplines. The main findings show there are differences between the occurrence of some discourse moves and steps across the texts of disciplines under study, which reveals a distinctive feature in the didactic component of textbooks. So we can infer that knowledge construction process through this genre is not carried out in the same way and that disciplinarity plays an important role in the diversifying organizational discourse patterns detected. (shrink)

Since their emergence, discourses of sustainability have been widely resemioticised in different genres and have intertextually merged with other discourses and practices. This article examines the emergence of Integrated Reporting as a new hybrid genre in which, along with financial information, organisations may choose to report the social and environmental impacts of their activities in one single document. Specifically, this article analyses a selected sample of IRs produced by early adopters to explore how discourses of sustainability have been recontextualised (...) into financial and economic macro discourses and how different intertextual/interdiscursive relations have played out in linguistic constructions of ‘sustainability’. We contend that, by and large, the term sustainability has been appropriated, mixed with other discourses and semantically ‘bent’ to construct the organisation itself as being financially sustainable, that is, viable and profitable and for the primary benefit of shareholders. From this stance, we argue that, through the hybridity of IR, most companies have primarily colonised discourses of sustainability for the rhetorical purpose of self-legitimation. (shrink)

This thesis is concerned with the ways in which meaning is generically mediated in the novel. In particular it addresses the productive diversity of meanings generated by critical interpretation and asks how, given this diversity, comprehension and consensus might be possible. I argue that the construction of subject, object, space and time is achieved in the novel through different manifestations of four key metaphors: voice, view, setting and event. These metaphors supply meanings that rely on a common experience of embodiment. (...) Embodiment supplies the basis for an intersubjectively established consensus which identifies subjects and objects in terms that correspond to the semiotic, syntagmatic and semantic uses of metaphor. I begin by surveying and reviewing certain constructionist accounts of language and meaning in order to establish the importance of metaphor in conveying meaning in rhetorical, rather than linguistic, terms. I then discuss two examples of continental philosophy on speech: Derrida on voice and Foucault on discourse. I demonstrate how meaning is rhetorically constructed according to the use to which metaphors are put—whether they denote formal, semantic, or functional aspects of meaning—through an explication of Foucault’s theory, reserving Derrida’s grammatology for my analysis of the stabilisation of meaning in the theory of certain narratologists (Gérard Genette and Marie-Laure Ryan). Voice and view are key terms in literary theory, and I examine refinements to these metaphors in Genette and Ryan. The insistence of these narratologists on restricting the rhetorical dimension of meaning undermines the value of the literary work, prompting me to argue for a relaxing of such constraints. I read Peter Carey’s True History of the Kelly Gang for its uses of voice and point of view, many of which expose the limitations of the narratological approach. This is a theoretical thesis, which engages a wide range of perspectives—constructionist, deconstructionist, sociological and structuralist—together with their various accounts of language, metaphor, speech and meaning. In terms of sociological approaches to genre and discourse, I employ the chronotope as a critical tool, examining it in the context of the theme of the country house to demonstrate the role of two of my key metaphors, setting and event, which are important for the construction of space and time in abstract terms. Focusing on novels by Jane Austen, Virginia Woolf, and Kazuo Ishiguro, in which the country house defines the space and the temporality through which thematic and “material” elements are mediated, I reveal how the chronotope supplies an overarching coherence that unites thought and event in narrative. My readings of these novels describe a theory that is concerned with the rhetorical capacities of genre rather than with taxonomic constructions of form. To this end I argue that the metaphorical dimensions of narrative—voice, view, setting and event—be loosely drawn, according to the acknowledged mutability of genre. I also emphasise the constructive effect of metaphor whilst according it a rhetorical versatility consistent with the mutability and instability of genre as a semiotic tool, concluding that consensus is achieved in our readings of novels through the form’s reliance on these four key metaphors of embodiment. These metaphors have ordinary, everyday, widespread usage beyond narrative theory; in appreciating their rhetorical value, it must be noted nonetheless that any confusion that ensues is productive, for it results in the diversities of meaning and form celebrated in the literary work. (shrink)

The proposed multilevel framework of discourse comprehension includes the surface code, the textbase, the situation model, the genre and rhetorical structure, and the pragmatic communication level. We describe these five levels when comprehension succeeds and also when there are communication misalignments and comprehension breakdowns. A computer tool has been developed, called Coh-Metrix, that scales discourse (oral or print) on dozens of measures associated with the first four discourse levels. The measurement of these levels with an automated (...) tool helps researchers track and better understand multilevel discourse comprehension. Two sets of analyses illustrate the utility of Coh-Metrix in discourse theory and educational practice. First, Coh-Metrix was used to measure the cohesion of the text base and situation model, as well as potential extraneous variables, in a sample of published studies that manipulated text cohesion. This analysis helped us better understand what was precisely manipulated in these studies and the implications for discourse comprehension mechanisms. Second, Coh-Metrix analyses are reported for samples of narrative and science texts in order to advance the argument that traditional text difficulty measures are limited because they fail to accommodate most of the levels of the multilevel discourse comprehension framework. (shrink)

Verb tenses play an important role in managing deictic relations between the narrator, the audience and the events happening in the story world. Across languages, the Simple Past is considered the conventional story-telling tense, reflecting the prototypical deictic configuration of stories in which the narrator is positioned at some distance from the events unfolding in the story. The Simple Present, on the other hand, is considered a marked option for narration, assumed to automatically result in a shift to a subjective (...) perspective. This paper reports on an analysis of a corpus made up of Dutch fictional short stories, news reports and feature articles. The results suggest that conventions for use and interpretation of verb tenses in narrative contexts are in fact genre-dependent. In the news genres, the Simple Present tense dominated in narration. This did not automatically result in a subjective mode or narration, but was naturally used to express a default narration of story events that temporally overlap with the temporal deictic center of the communicative ground. These findings suggest that previous analyses of verb tenses in relation to narration reflect an over-generalization based on the situational characteristics of prototypical narrative genres such as literary fiction and personal anecdotes. (shrink)

This paper aims to analyse a set of communicative events within the service encounter genre in tourism and leisure interdiscursive domains as displayed in course books on professional communication in English (commonly pointing to ESP). These supposedly replicate interaction in real life settings. Therefore, it is relevant to uncover the ways authentic interactions can be interpreted in the pedagogical setting of workplace conversation from a discursive and pragmatic perspective. More specifically, this empirical and exploratory study discusses ways of improving (...) rapport management skills in interpersonal and intercultural communication, in general, and in professional interaction, in particular, in a selection of excerpts on greeting / asking for info exchanges. The study uncovers participants’ possible co-constructions of civility and politeness strategies in naturally occurring classroom discourse supported by course materials in English for glocal communication across segments in the tourism domain as object of this study. (shrink)

This article critiques the `dominant view' of the popularization of science that takes it as a one-way process of simplification, one in which scientific articles are the originals of knowledge that is then debased by translation for a public that is ignorant of such matters, a blank slate. Recent work is surveyed in several disciplines that questions the boundaries of scientific discourse and genres of popularization: who the actors are, how the discourses interact, what modes are involved, and what (...) is communicated. Implications are drawn from these studies for discourse analysis. (shrink)

Fans of ‘roguelike’ video games have long been engaged in an intense debate over what this genre label means, and how we should understand the task of thinking about it. This article argues that the attempt to define ‘roguelike’ known as the ‘Berlin Interpretation’ is an example of the ‘prototype theory’ of categorization in action, and considers the strengths and weaknesses of this type of categorization for understanding video game genres. Using examples from roguelike fan discourse, it shows (...) how the problem with the Interpretation lied in its privileging game mechanics as the salient features of games on which to ground its definition, where a more productive place to start would have been experience and skills, which can also be extrapolated from prototypical examples. (shrink)

This paper aims at clarifying some of the most common issues that legal translators have to face when dealing with the translation of private normative texts, such as contracts or wills, which naturally emerge as the consequence and expression of legal or juristic acts in the scope of private law, in Spanish and English. To comprehend the differences and subtleties regarding legal communication between the common law and the continental law countries (specifically the United States and Spain, respectively), we must (...) unveil some essential clues for their translation and application in the global scope of professional interactions, thus creating a process of inter-legal communication, which takes place through the mutual interpretation and application of two, or more, legal traditions. Through the deployment of a generic or pragmatic analysis at textual or discursive and formal or superficial, strata, of two types of genre within the domain of private law (namely wills and tenancy agreements, or leases) this work aims to prove that both the civil law and the common law private instruments are translatable with respect to each other. An important proviso, however, is that their legal traditions and the genres that constitute the communicative tools of their specialised communities must be duly respected and kept in equilibrium, so that one does not overshadow and obliterate the other. Only in that way can the “convergence” of the two traditions truly enrich and strengthen national and international legal culture. (shrink)

This article is a contribution to the existing debate about the marketization of higher education and offers a detailed study of the way the practices of marketization manifest themselves at the level of discourse in higher education. Taking its point of departure in Critical Discourse Analysis and using a text-driven procedure for genre analysis, the article describes and analyses the international student prospectus as an instance of a highly promotional genre which clearly reflects the values and (...) forces of the free market. The article contains two analyses. The first analysis compares four instances of the international student prospectus genre from Finland, Scotland, Australia and Japan and tries to establish genre membership and genre characteristics by considering the overall text structure, and by looking for similarities in content and `rhetorical moves'. The second analysis is an in-depth analysis of the language use in the international student prospectus from the University of Stirling, Scotland. This analysis pays particular attention to the way the rhetorical moves and visual and lexico-grammatical features in the text are used to represent the two main participants in the text: the university and its students. Both analyses show that the student prospectus is trying to construct an image of the University of Stirling and its students which goes hand in hand with the new trend in higher education — namely that of offering innovative products to `demanding' clients on the look-out for the best possible `university experience'. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.1 (2002) 119-122 [Access article in PDF] Mary Depew and Dirk Obbink, eds. Matrices of Genre: Authors, Canons, and Society. Center for Hellenic Studies Colloquia 4. Cambridge, Mass.: Harvard University Press, 2000. vi + 346 pp. Cloth, $50. The present collection of essays, which originated as a colloquium at the Center for Hellenic Studies, starts, in the words of editor and organizer Dirk Obbink, (...) from the premise that "genre is a conceptual orienting device that suggests to the hearer the sort of receptorial conditions in which a fictive discourse might have been delivered." Obbink goes on to note that, as the discussion at the colloquium developed, "a more text-based conception of authorial performance" began to emerge (6). This evolution in turn parallels the movement in the volume from an initial discussion of archaic and classical Greek genres to those of Hellenistic poetry and its Roman imitators. One can only applaud this attempt to provide a more sophisticated framework for the reading and reception of ancient literature. As befits the stature of the sponsoring institution and of the many distinguished participants, all the contributions are of an unquestionable competence. In the end, however, it is unclear that we have achieved a more complex, refined, or problematized concept of genre than that with which we began. Indeed, with a few exceptions, most of the modern debates about the concept of genre are either ignored or cited in passing rather than directly engaged. Nonetheless, there are a number of interesting and important individual papers in this volume and only a few that disappoint.Among the most praiseworthy is Eric Csapo's "From Aristophanes to Menander? Genre Transformation in Greek Comedy." Csapo takes dead aim at the traditional narrative of the evolution from a politically engaged Old Comedy of ribald invective to an apolitical plot-centered New Comedy typified by Menander and his Roman epigones. Csapo's argument is that this narrative was manufactured, not through the accidents of preservation, but through a deliberate selection and canonization of texts by early Peripatetic critics and scholars. When we characterize Old Comedy as being typified by Aristophanes' carnivalesque assaults on the Athenian political establishment and then point to his plays as proof, we are not only engaging in circular reasoning, we are also treading a path that has been deliberately and tendentiously drawn for us. Thus, while the traditional narrative depicts a linear evolution from iambic to Old Comedy to New Comedy, which is portrayed as a movement from the personal and the topical to the universal and the apolitical, Aristotle himself, as Csapo notes (117), admits that Crates, Aristophanes' predecessor, abandoned the iambic and began to compose generalizing plots (Po. 1449b7-8). In short, plots of the kind deemed [End Page 119] typical of New Comedy are to be found at the very beginning of the comic form. By the same token, we have evidence of political comedy surviving well past Aristophanes' supposed invention of the Middle Comic style in the Plutus. Indeed, the last example of an Athenian comedy of political invective is Demetrius' Areopagite, dating from circa 294 B.C.E.Csapo's argument, of course, is not a simpleminded refusal to acknowledge change but rather an attempt to rethink the historical evolution of the comic genre outside the bounds of a narrow, teleological narrative. Genres are always complex negotiations between competing conceptions of the same form by different producers and consumers. At various times, for various intrinsic and extrinsic reasons, different versions of the same form will be ascendant or fading into eclipse. But it is never a question of an essence that either unfolds its fullness over time or declines from a single ideal instantiation.Less revolutionary but equally persuasive is Joseph W. Day's "Epigram and Reader: Generic Force as (Re-)Activation of Ritual." Day examines the relation between dedicatory epigrams on cult statues and their ritual contexts by arguing that the dedicatory genre is essentially performative rather than constative. These epigrams do their social work by activating a performative context in the mind of the reader... (shrink)

In his book on Plutarch'sMaxime cum principibus philosopho esse disserendumfrom 2009, Geert Roskam takes up the question of the genre of the work. Few scholars have approached this question and they have had little to say. Hence, Roskam's treatment of the question is much appreciated. Among the suggestions previously put forth is the suggestion by F.H. Sandbach, who argued that the work should be regarded as a treatise, while H.N. Fowler stated in the ‘Introduction’ to the Loeb Classical Library (...) translation that the work is an essay. Other suggestions regarding the genre ofMaxime cum principibusinclude the notion that it is a diatribe and aparva disputatio e magisterio orta. Of course, although all four suggestions have something to say for themselves, they are rather imprecise and not actual genres in a specific sense. The diatribe often surfaces as a convenient label for ancient philosophical discourses, but it is a misleading label, since what it picks out was not recognized as a distinctive form or stylistic level in antiquity. In addition, the technical and literary uses of the Greek word διατριβή were entirely different. (shrink)

Electronic dance music has much about it to interest philosophers. In this article, I explore facets of dance music cultures, using the issue of authenticity as a framing question. The problem of sorting real or authentic dance music from mainstream or commercial clubbing can be treated as a matter of history and genre-definition; as a matter of defining scenes or subcultures; and as a matter of blackness. In each case, electronic dance music, and critical discourse surrounding it, offers (...) fresh illumination of aesthetic questions. I briefly characterise the main genres of dance music, match conversations about the hardcore continuum with philosophers’ accounts of genre, survey sociologists’ ways of thinking about cultures and their connections to taste and personal identity, and link criticisms that dance music now lacks blackness to conceptions of black aesthetics. This article is Part I of two; Part II focusses on dancers, DJs, and the aesthetics and ontology of dance music itself. Video abstract. (shrink)

This study applies a computer-mediated discourse analysis to the study of discourse structures and functions of ‘419’ emails — the Nigerian term for online/financial fraud. The hoax mails are in the form of online lottery winning announcements, and email ‘business proposals’ involving money transfers/claims of dormant bank accounts overseas. Data comprise 68 email samples collected from the researcher’s inboxes and colleagues’ and students’ mail boxes between January 2008 and March 2009 in Ota, Nigeria. The study reveals that the (...) writers of the mails apply discourse/pragmatic strategies such as socio-cultural greeting formulas, self-identification, reassurance/confidence building, narrativity and action prompting strategies to sustain the interest of the receivers. The study also shows that this genre of computer-mediated communication has become a regular part of our internet experience, and is not likely to be extinct in the near future as previous studies of email hoaxes have predicted. It is believed that as the global economy witnesses a recession, chances are that more creative and complex ways of combating the situation will arise. Economic hardship has been blamed for fraud/online scams, inadvertently prompting youths to engage in various anti-social activities. (shrink)

Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so (...) far focused on capturing all of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with far too many genres because they call a wide class of mere categories of art genres. I call this the problem of genre explosion. In this paper, I survey the existing accounts of genre and describe the kinds of considerations they employ in determining whether a work is a work of a given genre. After this, I demonstrate the ways in which the problem of genre explosion arises for all of these theories and discuss some solutions those theories could adopt that will ultimately not work. Finally, I argue that the problem of genre explosion is best solved by adopting a social view of genres, which can capture the difference between genres and mere categories of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Genres in Dialogue: Plato and the Construct of PhilosophyDavid EngelAndrea Wilson Nightingale. Genres in Dialogue: Plato and the Construct of Philosophy. Cambridge: Cambridge University Press, 1995. xiv + 222 pp. Cloth, $57.95.The old saw "Everybody's a comedian" has its counterpart in contemporary academia: "Everybody's a philosopher." Biologists. Psychologists. Linguists. Physicists. Anthropologists. Historians. Even jurists. Many scholars of comparative literature, English, and history can be heard describing what they (...) do, not as literary criticism or history, but as "philosophy." One may even wonder whether we need philosophy departments anymore. Philosophy's private domain has shrunk from what it was under Aristotle (just about every subject short of wagon repair) to its present emaciated condition: it can claim almost nothing for itself alone. The other disciplines have encroached upon it bit by bit. This book is a timely contribution to an important current issue: what is philosophy, [End Page 316] and what does it have to offer? Nightingale argues that Plato faced similar questions. Rhetoricians, tragedians, and comedians all peddled what they had to say as wise (sophon), while dismissing other claims and pursuits as foolishness or worse. Against them and their respective discourses Plato proposed a new candidate: philosophia.Prior to Plato, philosophia meant just "intellectual cultivation." According to Nightingale, it was Plato who made it into a full-blown discipline--or, as she says, invented the discourse. As a way of privileging philosophia (in Plato's new sense of the word) above rival discourses, he parodied them. Nightingale's claims about the parody of other genres and Plato's privileging of philosophia are novel, insightful, and very persuasive. Perhaps it is overstatement to credit Plato with inventing philosophy, but that hardly diminishes the overall impression of this fine book's main arguments.Among Plato's contemporaries, the foremost challenger for the title "practitioner (and teacher) of sophia" was Isocrates. Nightingale uses his Antidosis to show that (1) Isocrates wanted to claim philosophia for himself, and (2) his version of philosophia was significantly different from Plato's. She concludes that the term was still a subject of genuine contention: its meaning mattered to both Plato and Isocrates. As Isocrates advocates rhetorike as philosophia, Plato argues that philosophy is both different from rhetoric and better than rhetoric. Rhetoric aims, ultimately, at public utility as the public perceives that utility, and rhetoric's value is gauged only by the political influence of those who practice it. Plato rejects that entire value system. At bottom it is also the value system of the other genres which, as Nightingale persuasively shows, Plato also parodies.Plato's "parody" (Nightingale's use of the word is broad, but unexceptionable) is "a device for defining and privileging his own pursuits" (59). Moving from rhetoric to tragedy, she considers Gorgias' echoes of Euripides' Antiope. Plato's parody of tragedy subtly criticizes tragedy qua discourse. The tragedian is "ignorant of truth... imitating appearances... gratifying the multitude... fostering the inferior part of the soul," that is, he is precisely what the philosopher is not (67). Socrates and Callicles evoke Euripidean characters: respectively, Amphion (who advocates a private life devoted to the liberal arts) and Zethus (who argues for a life of political activity) (69-70). Plato's unambiguous allusions to Antiope juxtapose not only Socrates and Callicles (and, through them, two irreconcilable views of what philosophy is) but also the tragic hero and the philosophical one (72-73). Plato's "life of the mind for its own sake" orientation wins, ultimately, in both comparisons. Furthermore, just as Amphion's arguments fail to persuade Zethus in Antiope but are eventually vindicated by Hermes' appearance at the play's conclusion, so too Socrates' arguments fail to convince Callicles, and Gorgias' concluding underworld myth parallels Antiope's deus ex machina: affirmation that the view which had been rejected (Amphion's and Socrates') was right, after all (87-88). [End Page 317]Nightingale then examines encomium. Publicly performed epitaphioi and their fictive counterparts (e.g., Menexenus) influenced one another, and the techniques of the encomium, although salient in that genre, occurred elsewhere, including deliberative and forensic situations. In her view, Plato's concern is not narrowly with encomium... (shrink)

Groove, as a musical quality, is an important part of jazz and pop music appreciative practices. Groove talk is widespread among musicians and audiences, and considerable importance is placed on generating and appreciating grooves in music. However, musicians, musicologists, and audiences use groove attributions in a variety of ways that do not track one consistent underlying concept. I argue that that there are at least two distinct concepts of groove. On one account, groove is ‘the feel of the music’ and, (...) on the other, groove is the psychological feeling (induced by music) of wanting to move one’s body. Further, I argue that recent work in music psychology shows that these two concepts do not converge on a unified set of musical features. Finally, I also argue that these two concepts play different functional roles in the appreciative practices of jazz and popular music. This should cause us to further consider the mediating role genre plays for aesthetic concepts and provides us with reason for adopting a more communitarian approach to aesthetics which is attentive to the ways in which aesthetic discourse serves the practices of different audiences. (shrink)