Genre and Genre Theory

In the present study, 15 complete RAs were selected respectively from English and Chinese medical journals based on the principles of representativity, reputation, accessibility and timeliness. Moves and steps were determined with reference to Swales and Nwogu's models, and their distribution and frequency were recorded and genre comparative analysis was performed. The results showed that the English and Chinese RAs shared generally the similar generic structure of 11 common moves. However, obvious cultural differences were found in the frequency, sequence and length between the two corpora. The findings of the present study will provide a practical guide for Chinese medical workers to have their papers published in English medical journals. Key words: Medical research articles; Genre analysis; Moves; Similarities; Cultural differences

A noção de gêneros do discurso ganhou expressividade no Brasil a partir da década de 1990, quando, por meio dos Parâmetros Curriculares de Língua Portuguesa, foi proposta uma ressignificação nas formas de ensino e aprendizagem. Estratégias para o desenvolvimento de competências em leitura e escrita começaram a ser pensadas através da língua em uso, a língua que se dá nos gêneros orais e escritos que medeiam as interações humanas. Embora a teoria de gêneros tenha sido adaptada para a esfera da educação, pode, desde que respeitadas as especificidades do contexto, ser estendida ao campo terapêutico. Se no contexto da escola se usa a expressão “proposta didática”, na esfera da clínica elabora-se um “plano terapêutico fonoaudiológico” (PTF) voltado para escolares com queixas de dificuldades de leitura e escrita. O objetivo deste trabalho é apresentar os aspectos teórico-metodológicos envolvidos na elaboração de plano terapêutico embasado na teoria bakhtiniana de gêneros do discurso. A exposição de caráter teórico-metodológico está dividida em duas seções: na primeira são abordadas as bases conceituais e, na sequência, são apresentados os aspectos metodológicos para a implementação do referido PTF.

<i>Genre Matters: Essays in Theory and Criticism</i>. Edited by Garin Dowd , Lesley Stevenson , and Jeremy Strong . Bristol and Portland, OR: Intellect Books, 2006. Pp. 178.

In this commentary I will consider a topical thread that runs through most of the essays comprising this issue of New Literary History and the one before it. The topic is the relation between history and in literary studies. In his contribution to this symposium, Michael Prince cites Ralph Cohen's suggestion that both the notion of (literary) and genres themselves appear to be to theory. Prince goes on to suggest that genre's resistance to theoretical consideration tells us more about than it does about itself. For if, as everyone seems to agree, is an essential element or aspect of literarity, then genre's resistance to implies that itself is inimical to literature and should not, therefore, be brought to bear upon the literary artwork. Indeed, Prince holds that it may be genre's resistance to that generates the endless task of literary interpretation, which has the role in criticism of mediating not only between literature and life but also between literature and as well. If we hold to interpretation and abandon we might be able, Prince tells us, to produce a low-level theory of genre without falling into paradox or self-contradiction. And in his essay on mauvais genres, he provides a brilliant historical account of how eighteenth-century English thinkers, in their attempt to construct a theory of genre, met with a kind of resistance by that left them in a wasteland of and a quagmire of logical contradiction, left them, that is, with little more to do than turn over the question of to the newly emerged field of aesthetics, where the paradoxes it generated could be assimi lated to the idea of the sublime. Thus, Michael Prince's alternative to a theoretical approach to the question of is a history (in this case, of the failure of one attempt to construct an adequate theory) of genre. This is consistent with Ralph Cohen's historical approach to the study of genre. Cohen's idea that is resistant to is not itself a theoretical finding; it is a historical or more precisely a historicist one. It is based on the fact that no one has ever produced a compelling of in spite of the

The article deals with the problem of genre in translation studies. The hypothesis of the study is the idea of the genre shifts emerging at the moment of interpreting within the genre of a TV interview. The authors discuss the ways of interpreting the genre. In accordance with the functional-linguistic approach to the analysis of speech genre, the authors consider the ways in which the linguistic personality of the interpreter verbally regulates the translation of the genre. The authors structurally describe the material, methods and results of the study. The aim of the study includes the linguistic analysis of genre shifts, ways of overcoming them and description of speech means of realization of a genre by the linguistic personality of a conference interpreter. The authors substantiate the logic of choosing the genre type, list the characteristic features of the genre of the television interview of portrait type. The researchers use the method of comparative analysis of the genre’ “projection” and linguocognitive analysis of the stylistic parameters of the scripts of interpretation and consider the ways of genre preservation in interpreting realized by conference interpreters. The linguistic analysis hereby considers translation solutions (transformations) at the lexico-semantic and grammatical levels; ways of expressing the genre through the use of background knowledge and extra-linguistic context; ways of translating genre conventions (the key condition of a genre). They analyse translation mistakes as a way of a genre expression. The distinctive features of the English- and Russian-language genre of the TV interview are listed on the grounds of the performed simultaneous translations. The results of the study demonstrate the future prospects of genre research, including the analysis of the of conscious and unconscious genre preservation/ breakage in interpreting.

Genre analysis has become a prevalent approach in the linguistic analysis of various specialized genres. A concept of genre, emerging from literature, has received a broader dimension in the last decade, focusing on establishing recognized structures and language exponents of a specific genre in a particular discourse community. In addition, the expansion of ESP and the rise of subgenres in many rising professional vocations require users to have competence in the English language. In addition, language researchers need ‘to dig into’ the pragmatic context of genres. With this mind and resting on the concept of genre and discourse communities, the paper sheds light on how the genre analysis approach can be applied in teaching different marine electrical genres to students and future ETO officers. The marine electrical engineering discourse community is specific and relatively novel. In this paper, the focus is placed on seafarers, future electro-technical officers and the analysis of genres they utilize in their professional work on board ships. The results of the paper can be inspiring to ESP teachers involved in teaching specialized and technical genres.

Speech Genres in Cultural Practice

It is fitting that genre studies and sound studies should join forces, since both have at times been cast in the role of understudy in the larger field of film and television studies. That is, the study of genre is typically understood to have emerged as an alternative to the prevailing tendency towards auteurist scholarship, while work on sound has often presented itself as an antidote to a ‘visual bias’ in the field. Both approaches also share an investment in broadening the scope of media analysis: genre studies by engaging with a nexus of media production and reception, and the intertextual dimension of film and television cultures; and sound studies by exploring the intermedial dimension of media cultures, as well as the ways in which sound articulates texts, bodies and spaces. A number of recent monographs and edited collections have demonstrated how these two areas of inquiry can form a productive partnership. Robert Miklitsch's Siren City: Sound and Source Music in Classic American Noir joins a growing body of scholarly work that combines the study of film sound and film genre: monographs include Robert Spadoni's Uncanny Bodies, William Whittington's Sound Design and Science Fiction, Peter Stanfield's Horse Opera, and Sarah Kozloff's discussion of dialogue in Westerns, screwball comedies, gangster films and melodramas.1 Also of note are two collections on sound and genre edited by Philip Hayward.2 Miklitsch's book contributes to this scholarly discussion through a wide-ranging analysis of sound and music in the films noirs of the 1940s. Miklitsh has a knack for locating and explicating film sequences that demonstrate the importance of sound, although at times I found myself wishing for a more substantial historical and theoretical framework in order to provide ballast to his argument and unite the book's many intriguing case studies.

Film: Genres and Genre Theory

Genre analysis as a pre-instructional, instructional, and teacher development framework

This chapter discusses the applications of genre analysis in translation research and training. Following initial interest in text types in the 1970s, genre analysis gained in importance since the 1990s as a consequence of, first, the application of discourse analytical methods and, next, of corpus linguistics to translation research. Genre analysis identifies distinctive features of genres, known as generic conventions, generic structure, and social, communicative, cultural, cognitive and ideological factors behind the use of genres. The main methods used in genre analysis in the past were qualitative but more recently quantitative, corpus-based methods have been used, especially to study lexico-grammatical patterns. The chapter discusses three major models of genre analysis, those of Biber and Conrad (2009), Borja et al. (2009) and Bhatia (1993, 2004), which offer a holistic approach. Translation-oriented genre analysis has focused on identifying differences in generic structures, conventions and expectations across languages and cultures (contrastive rhetoric, textology), as well as strategies for dealing with generic differences between the source language and the target language (genre fidelity, genre violation). Another important area of research invesitgates how genres affect the translators' decision-making process. Genre analysis is also of relevance for translator training, both in the process of ST interpretation and TT production. The internalisation of genre knowledge is an important component of professional translators'ability to perform effectively.

The distinguishing feature of Liu Hsieh's ”The Theory of Genres” in ”Wen Hsin Tiao Lung” (The Literary Mind and the Carving of Dragons) is to include articles with and without rhymes in the literary field. At this rate, the classics, histories and biographies are all literary works. It provides immense space for the development of later fiction. Thus successors can absorb nutrition from the classics, histories and biographies to proceed with fiction-writing.In Liu Hsieh's ”The Origin of Literature”, he allocates two chapters, ”Rectifying Latitude” and ”Distinguishing Lisao”, to compliment the fantastic imagination of books on divination and to affirm the figures of speech in Chu Yuan's ”Lisao”. In various chapters of ”The Theory of Genres”, embellishment of certain histories and biographies, exaggeration of the thinkers' prose, and elegance of the poetic works are affirmed from the perspective of literature. The aforementioned factors happen to be the characteristics of literary fiction.Fiction as a genre was established in the Han dynasty by Ban Gu. It was listed along with the thinkers' prose. At that time, it was not combined with the nonexistent contents of literary fiction. But early in the Pre-Qin dynasty, mythology, fable, legend, story and the description of some fictitious elements and details in ”Zuo Zhuan” had contained the emerging factors of fiction.”The Theory of Styles” in ”Wen Hsin Tiao Lung” includes a genre called ”Burlesque” which the author Liu Hsieh compares to fiction author as the latter is classified in ”the nine schools and ten professionals”. It has the concept of genre distinction and analysis. A variety of chapters in ”The Theory of Genres”, such as ”Argumentation”, ”Historical Biographies”, ”Thinkers' Prose”, ”Interpretive Poesy”, ”Essay” and ”Burlesque”, all refer to the attribution of literary fiction. From the pro-classic stance, Liu Hsieh criticizes innovation, absurdity, exaggeration and elegance as they do not conform to the classic genres. Nevertheless, he endorses their artistic achievement from the literary perspective.This article aims to illustrate the exclusive knowledge of ”Rectifying Latitude” and ”Distinguishing Lisao” in ”Wen Hsin Tiao Lung”. It also elaborates on the fiction-related imagination, exaggeration, absurdity and elegance in ”Argumentation”, ”Historical Biographies”, ”Thinkers' Prose”, ”Interpretive Poesy”, ”Essay” and ”Burlesque” in ”The Theory of Genres” so as to demonstrate Liu Hsieh's excellent vision which compromises the past and the present. He was indeed an outstanding literary thinker. In the early 20th century, fiction, after having been cultivated for a long period of time finally, in the sense of pure literature, reached the state in which the name and the reality of fiction were in complete accord.

Recent educational standards have refocused the goals of foreign language (FL) instruction on “the purpose of communication” (ACTFL, 2012, p. 1) across the three modes of communication (interpersonal, interpretive, and presentational). To this end, this article considers a linguistically based genre theory as a means of enhancing instruction of presentational (writing) communication that is linked to authentic model texts. The genre theory considers all language as texts (genres) that are realized in contexts (registers) through knowledge and use of a functional grammar for making meaning called Systemic Functional Linguistics (SFL) (Halliday &amp; Matthiessen, 2004, 2013). Key research from English as a second language (ESL) and FL education in the United States establishes empirical evidence of the effectiveness of instructional approaches based in this genre theory. To articulate a genre‐based model of instruction for FL education linked to the National Standards (2006), the genre theory is incorporated into the Interactive Model for Integrating the Three Modes of Communication (Shrum &amp; Glisan, 2010). Finally, implications of genre theory are discussed and recommendations are made for next steps to meet the goals articulated for FL education in the era of the Common Core State Standards (ACTFL, 2012; National Governors Association Center for Best Practices, Council of Chief State School Officers, 2010).

Critical listening is a vital learning skill. Enhancing critical thinking skills through classroom activities is an important responsibility of teachers. Critical listening involves comprehending spoken information, evaluating it, and forming judgments and opinions based on what is heard. The current study was carried out at the Faculty of Education, Minia University, Egypt, to examine the effectiveness of a blended learning program utilizing genre analysis on enhancing critical listening skills among English majors. The current study used quasi-experimental research in an explanatory mixed methods design, with data collected across three phases. During the first phase, inventory was done with quantitative data aided by qualitative ones. During the second and third phases, sixty students of third-year English majors were randomly assigned to two groups: a treatment and a comparison one, containing 30 students each. The treatment group was trained in a blended learning program based on genre analysis, whereas the comparison group was taught the same content in a “Genre Analysis” course through the conventional method of teaching. The treatment group significantly outperformed the comparison group on the post-tests of the acquisition and use of critical listening skills. This research emphasizes the importance of the use of both blended learning programs and genre analysis in developing critical listening skills. Developing critical listening skills requires the learners to be skilful analysts as they need to analyze, judge, and evaluate what is said. The learner can have a better understanding and training on mastering these skills through practicing genre analysis. The improvement of listening comprehension affected the development of critical listening skills. The findings are discussed, and recommendations along with suggestions for further research are presented.

Longman language activator: Summers, Della (ed. dir.) (1993/1994), Harlow: Longman, 1587 pp