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Journal articles on the topic 'Interactions genrées'
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1
Le Meur, Oona. "La (re)production de catégorisations genrées dans les audiences de violences intrafamiliales. Ethnographie d’une juridiction belge." Revue interdisciplinaire d'études juridiques Volume 92, no. 1 (July 17, 2024): 3–50. http://dx.doi.org/10.3917/riej.092.0003.
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L’objet de la recherche est d’analyser, au cours des interactions lors d’audiences pénales en matière de violences intrafamiliales, la mobilisation de catégories genrées, structurant le raisonnement juridique et la prise de décision. Les parties à l’audience fournissent en effet des comptes rendus sélectifs des faits afin de les faire correspondre à une catégorie juridique abstraite, voire à une peine. La mobilisation des catégories genrées intervient dans la négociation de la narration de ces faits, de manière à les adosser à la norme pénale pertinente. Ces catégories fonctionnent de manière binaire et antagoniste. L’obligation pour les justiciables et leurs représentant·es légaux·ales de se positionner vis-à-vis de ces catégories – de s’en défendre ou d’y répondre – contribue à la (re)production de catégories genrées stéréotypées au cours de l’audience pénale. À travers l’analyse de deux cas d’étude, cette recherche est donc une contribution empirique à une analyse féministe du droit.
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Varakuta, Maryna, Daryna Kupina, and Maryna Votintseva. "Genre Hybrids in the Symphonical Creativity of Ye. Petrychenko as a Reflection of Time Trends." Studia Universitatis Babeş-Bolyai Musica 66, no. 2 (December 2021): 193–211. http://dx.doi.org/10.24193/subbmusica.2021.2.13.
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"Some peculiarities of genre interaction are considered (based on the symphonic creativity of a modern Ukrainian composer – Yevhen Petrychenko). It was found out that the symphony genre is open to various interactions, resulting in complex genre hybrids that allow the symphony to realize all its potential and extend the “life” of the genre. It has been proved that the awareness of the peculiarities of the genre hybrid is possible only at the level of seperate works and is situational. Two types of interactions that characterize genre hybrids are identified. This is an equal combination of genres, which is reflected in the genre name and the superiority of one genre with the scattered manifestation of the characteristics of other genres. It was revealed that Symphony No.1 “Requiem” by Petrychenko demonstrates the first type of genre interaction, because it combines genre features of symphony, suite, requiem and quartet, in which the dominant genre role is played by symphony, features of other genres are sporadic and subordinate to laws of symphony genre. The first chamber symphony also belongs to the first type of genre interaction, but shows minimal influence of other genres, due to the complexity of the chamber symphony genre. At the same time, in the Symphony “Antitheses” the genres of symphony, cantata and vocal cycle interact, which is reflected in the genre denotation (vocal symphony), principles of development, form and drama of the work. The prospects of research of genre hybrid forms open ways to the comprehension of features of modern academic music. Keywords: symphony, genre hybrid, genre interaction, the symphonic creativity of Yevhen Petrychenko, Ukrainian music, modern academical music. "
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Dadugblor, Stephen. "Genres in the Public Domain: Genre Uptakes, Responses, and Responsibility." Discourse and Writing/Rédactologie 33 (February 10, 2023): 25–49. http://dx.doi.org/10.31468/dwr.999.
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This article analyzes a rhetorical genre ecology emerging in the aftermath of a natural disaster in Ghana. Drawing on news articles and opinion pieces, a presidential speech, a government post-disaster assessment summary, and a World Bank Group action report, I argue that in their operation within the contingent environment of public spheres, genre uptakes may be highly unpredictable, but also serve multiple, varied functions that together respond to the multiplicity of exigences presented by the diffused contexts of publics. The analysis explains how diffused contexts of genre interaction shape social action, and how these interactions, in turn, enact publics.
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Do, Thi Cam Van. "Inter-genres in contemporary Vietnamese historical novels." Ministry of Science and Technology, Vietnam 63, no. 4 (April 30, 2021): 56–59. http://dx.doi.org/10.31276/vjst.63(4).56-59.
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In the development process and social movements, the literary genres do not exist independently but have interaction with each other. Novels are capable of performing genres interaction because “the novel allows to put into it many different genres, including artistic genres (short stories, lyric poems, epics, speech plays...) and non-artistic genres (literature in daily life, rhetoric, science, religion...)”[1]. Novels with traditional writing style about contemporary Vietnamese history (prominent writers such as Nguyen Xuan Khanh, Vo Thi Hao, Nguyen Mong Giac...), the interaction among literary genres is considered as the most common form. Typical forms of genre interaction in novels with historical themes are the interaction between short stories and novels, poetry and novels... Genre interaction expresses the writer’s sense of creativity and experience in the innovation requirement of literary life practice.
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Fu, Xiaoli, and Ken Hyland. "Interaction in two journalistic genres." English Text Construction 7, no. 1 (April 28, 2014): 122–44. http://dx.doi.org/10.1075/etc.7.1.05fu.
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The study of interactive features of language has been a very productive source of insights into written discourse in recent years, revealing the ways that writers engage with readers to successfully persuade them of a particular viewpoint in a range of different genres and contexts. While a variety of approaches have illuminated our understanding of these features, the concept of interactional metadiscourse has been particularly valuable in revealing how writers project themselves into their discourse to signal their understandings of their material and their audience. In this paper we draw on Hyland’s (2005a) model of metadiscourse to explore some of the ways that interaction contributes to the success of two journalistic genres: popular science and opinion articles. Examining 200 popular science and 200 opinion texts, we show that despite the broadly similar audience and sources of these genres, authors structure their interactions very differently, contributing to the rhetorical distinctiveness of these genres. The paper not only offers a detailed account of interactional metadiscourse in these genres, but illustrates how interpersonal connections are accomplished for particular persuasive purposes in everyday public texts.
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Acevedo, Claire. "Reading to Learn: Powerful pedagogy for disciplinary teaching in a high-stakes examination curriculum." Didacticae: Revista de Investigación en Didácticas Específicas, no. 14 (October 30, 2023): 30–53. http://dx.doi.org/10.1344/did.2023.14.30-53.
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The qualitative study presented here shows how a secondary school history teacher in the United Kingdom transformed her lesson planning and classroom interactions with students following professional development in the genre-based Reading to Learn pedagogy grounded in Systemic Functional Linguistics. The teacher undertook Reading to Learn while teaching a history class preparing for the General Certificate of Secondary Education. The professional development enabled her to analyse the genres and linguistic features of history texts in order to support the development of subject knowledge via the implementation of the teaching strategies designed to support student reading and writing of the texts required by the examination curriculum. The study reporting on the teacher planning and classroom practices includes examples of teacher-student interaction that demonstrate how the teacher was able to approach her disciplinary texts through the lens of genre, thus identifying the existing gap between the reading of informative genres in textbooks and the requirement to write in less familiar evaluative genres in exams. Moreover, the careful planning of strategies to support reading and the annotation of texts, had a positive impact on the joint construction of the less familiar argumentative genre required.
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Ferro, Priscilla. "Genre dynamics in teletandem chats." ESPecialist 45, no. 5 (October 2, 2024): 20–41. http://dx.doi.org/10.23925/2318-7115.2024v45i5e65898.
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This paper explores the use of chat in Teletandem (TTD) activities (Telles; Vassallo, 2006) on the UNESP-SJRP campus from 2006 to 2020, focusing on possible genres materialized in chats, in English <> Portuguese partnerships. Two main questions guided the study: firstly, to identify the genres materialized in chats; and secondly, to examine how the use of chat has evolved along with synchronous communication tools. The research adopted a qualitative and longitudinal approach (Wagner et. al, 2018; Dörnyei, 2007) and investigated whether textual genres (Bazerman, 1994, 2006; Miller 2012a, 2012b, 2016, 2017; Miller; Shepherd, 2009) emerged in chat interactions. Through this analysis, the use of chats over the period was verified. The data was collected from publications related to TTD, including master's dissertations and doctoral theses, and from MulTeC (Lopes, 2019; Aranha; Lopes, 2019). Once collected, the data was integrated into the technical, ontological and epistemological dimensions (Ferro, 2021). The analysis was conducted based on predefined thematic axes, considering the particularities of the textual genres identified and based on the quantitative results obtained by analyzing the data in the Voyant Tools® tool. The final analysis revealed evidence of the materialization of the Initial Teletandem Oral Session (iSOT) genre (Rampazzo, 2017) in the initial period, which did not carry over into the second period due to advances in synchronous communication tools. However, this possible genre persisted in another form within the tool, indicating potential survival in the new environment. In addition, there was a change in the use of chat from being the main locus of interaction to a supporting role for oral interaction, in line with the evolution of synchronous communication tools over time. Despite these findings, limitations were found, including insufficient data from the initial period. Future avenues of research could explore additional genres within the TTD genre system, investigate the possible migration of genres and analyze the syntactic, semantic and pragmatic consequences of the materialization of genres in chat and vice versa. These new investigations may offer valuable insights for further research into TTD and related linguistic issues.
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Matsumoto, Yoshiko. "Partnership between grammatical construction and interactional frame." Constructions and Frames 7, no. 2 (December 31, 2015): 289–314. http://dx.doi.org/10.1075/cf.7.2.05mat.
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Building on the seminal work on grammar and frames (e.g. Fillmore 1982), in addition to recent studies that apply a construction grammar approach to the description of genres (Antonopoulou & Nikiforidou 2011; Nikiforidou 2010b; Östman 2005) and spoken discourse (Fischer 2011; Fried & Östman 2005), this paper highlights the importance of extending the analytical boundary of grammar to include interactional frames, e.g. genres and social interactions. Using as an illustrative case the stand-alone noun-modifying construction in Japanese, a grammatical construction that is genre-sensitive, this paper suggests that grammatical constructions and interactional frames are in partnership in the construction of meaning. It is argued that this partnership is mediated by the proficient language users’ knowledge, which is socially and culturally inculcated and fostered, and therefore it is important to keep the theoretical model flexible enough to acknowledge fluidity in grammatical understanding.
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ACAR, Barış Berhem. "Weird and Eerie: Yeşil Elmalar as an Inter-Genre-Al Novel." Akademik Dil ve Edebiyat Dergisi 6, no. 2 (August 30, 2022): 0. http://dx.doi.org/10.34083/akaded.1145332.
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Genre theories determine that texts no longer belong to a single genre but can be included into various genres. As the borders of genres become more indistinct, interaction between genres are observed to increase. The presence of common discursive codes of genres helps authors be freed of the limits of a single genre, which enables the same texts to be read within the scope of various genres. In addition, genre differentiations with traditional strict rules are replaced with discursive genres that can change with new invented ones according to each text. The determination of usage values of genres or literary works makes the genre to which they belong increasingly more significant. Within this context, reading literary works as dynamic structures including discursive features of different genres rather than belonging to a single genre enables these works to be understood better. It also contributes to test the validity of the extent to which genre theories has reached so far. The present article reads the novel Yeşil Elmalar, which is regarded as an unadmired detective fiction, as a novel reflecting the characteristics of both crime/detective and mystery fiction. The aforementioned novel is examined under the light of characteristics taken from both detective and mystery literature, and its repetitive codes especially as weird and eerie are stressed over the examples taken from the text.
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Gregersen, Andreas. "Genre, technology and embodied interaction: The evolution of digital game genres and motion gaming." MedieKultur: Journal of media and communication research 27, no. 51 (November 15, 2011): 16. http://dx.doi.org/10.7146/mediekultur.v27i51.4084.
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<p>Technology has been given relatively little attention in genre theory, but this article argues that material technologies can be important components in genre development. The argument is based on a historically informed analysis of digital games, with special attention paid to home console video games and recent genre developments within this domain commonly referred to as motion gaming. The main point is that digital game genres imply structured embodied activity. A constitutive element of digital game mediation is a control interface geared to player embodiment, and I propose the concept of ‘interaction modes’ to describe the coupling of technology and player embodiment and show how this can be integrated with genre theory. The resulting framework allows for increased attention to continuity and change in game and communication genres, material and digital technologies, and the related interaction modes.</p>
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Doody, Sara, and Natasha Artemeva. "“Everything Is in the Lab Book”: Multimodal Writing, Activity, and Genre Analysis of Symbolic Mediation in Medical Physics." Written Communication 39, no. 1 (November 4, 2021): 3–43. http://dx.doi.org/10.1177/07410883211051634.
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Writing and genre scholarship has become increasingly attuned to how various nontextual features of written genres contribute to the kinds of social actions that the genres perform and to the activities that they mediate. Even though scholars have proposed different ways to account for nontextual features of genres, such attempts often remain undertheorized. By bringing together Writing, Activity, and Genre Research, and Multimodal Interaction Analysis, the authors propose a conceptual framework for multimodal activity-based analysis of genres, or Multimodal Writing, Activity, and Genre (MWAG) analysis. Furthermore, by drawing on previous studies of the laboratory notebook (lab book) genre, the article discusses the rhetorical action the genre performs and its role in mediating knowledge construction activities in science. The authors provide an illustrative example of the MWAG analysis of an emergent scientist’s lab book and discuss its contributions to his increasing participation in medical physics. The study contributes to the development of a theoretically informed analytical framework for integrative multimodal and rhetorical genre analysis, while illustrating how the proposed framework can lead to the insights into the sociorhetorical roles multimodal genres play in mediating such activities as knowledge construction and disciplinary enculturation.
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LANGLOTZ, ANDREAS. "Local meaning-negotiation, activity types, and the current-discourse-space model." Language and Cognition 7, no. 4 (November 2, 2015): 515–45. http://dx.doi.org/10.1017/langcog.2015.21.
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abstractAny approach to interaction is confronted with the dilemma of reconciling the empirical fact that meaning is locally and interactionally managed, as shown by conversation analysis, with the fact that conversations are subject to genres that impose conventionalized expectations for allowable contributions and inferences, as advocated by the ethnography of communication. This theoretical paper attempts to overcome this challenge by integrating Langacker’s current-discourse-space model with Barsalou’s dynamic model of situated conceptualization. With reference to these frameworks, the paper sketches a grounded socio-cognitive model of meaning construction in context that combines the situated interactional negotiation of meaning with the discursive knowledge that underlies speech genres in the form of genre-simulators. To substantiate and illustrate the theoretical considerations, the paper draws on two extracts from spoken tourist-information transactions.
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Kim, Hokyun, Sanghu Park, Minhyuk Jeong, Hyungi Byun, Juyub Kim, Doo Yong Lee, Jooyoung Jeon, Eojin Yi, and Kwangwon Ahn. "Scaling behavior and text cohesion in Korean texts." PLOS ONE 18, no. 8 (August 31, 2023): e0290168. http://dx.doi.org/10.1371/journal.pone.0290168.
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This study examines whether different types of texts, particularly in Korean, can be distinguished by the scaling exponent and degree of text cohesion. We use the controlled growth process model to incorporate the interaction effect into a power-law distribution and estimate the implied parameter explaining the degree of text cohesiveness in a word distribution. We find that the word distributions of Korean languages differ from English regarding the range of scaling exponents. Additionally, different types of Korean texts display similar scaling exponents regardless of their genre. However, the interaction effect is higher for expert reports than for the benchmark novels. The findings suggest a valid framework for explaining the scaling phenomena of word distribution based on microscale interactions. It also suggests that a viable method exists for inferring text genres based on text cohesion.
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Sinelnikova, Olga V. "FROM OPERAS AND CONCERTS TO "PROVERBS" AND "FRAGMENTS": RODION SHCHEDRIN'S GENRE EXPERIMENTS IN THE XXIST CENTURY." Arts education and science 2, no. 35 (2023): 43–51. http://dx.doi.org/10.36871/hon.202302043.
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The article is devoted to Rodion Shchedrin's genre experiments in the last two decades. During this time, the composer has created a large number of works covering many typical genres, mixed compositions and new, original musical genres. Among them are operas (4), concerts (5), a concert symphony, piano cycles (4), a vocal cycle, a sonatina, variations, numerous program orchestral and chamber-instrumental compositions, choral miniatures and cycles. At the same time, none of these areas of creativity looks traditional in the catalog of Shchedrin's opuses of recent decades. The article examines the author's versions of the concert genre, interesting varieties of opera genres from the composer's viewpoint, unusual interpretation of the vocal cycle genre and mass, musical interpretation of the Russian folk proverbs, as well as genre modulations; it emphasizes original varieties of symphonic program music, such as a symphonic or dramatic fragment, symphonic etudes, symphonic fresco. In exploring Shchedrin's innovations in the genre sphere, the author analyzes genres or genre varieties that were created by him and have not previously appeared in the works of composers. These are the genres of musical hagiography (choral opera "Boyarynya Morozova"), musical reading ("Adventures of a Monkey"), musical proverb (choral cycle "Proverbs"). As a result of the study, it is concluded that Shchedrin's mobile genre system can only be considered in terms of the mobile interaction of intersecting genre signs.
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Wan, Ya Ping, Xiao Hua Yang, Zhi Ming Liu, Xiao Yun Li, Chun Ping Ouyang, Ying Yu, and Hui Jiang. "Study on Metric of Genreic Intertexuality Based on User Behavior." Applied Mechanics and Materials 263-266 (December 2012): 1503–9. http://dx.doi.org/10.4028/www.scientific.net/amm.263-266.1503.
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Using the genre perspective, we studied the electronic communication of knowledge users collaborating on a movie community and found that their work and interactions were mediated by the use of genres. Drawing on these findings, we develop the concept of genre repertoire to designate the set of genres enacted by groups, organizations, or communities to accomplish their work. Automatic discourse classification according to genre in social information sharing, transfer and knowledge communication provides a higher level of service quality. By investigating user behavior in movie community, the relationship between intertextuality of discourse genre and user behavior was studied. We denoted genre by using vector, and discourse genre intertextuality intensity is measured with vector distance. And for those discourse which genre is unknown, genre intertextuality is calculated using user behavior. The results show that user various behaviors stickiness in movie community and discourse genre intertextuality intensity have potential common features.
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Jensen, Klaus Bruhn. "Meta-media and meta-communication - Revisiting the concept of genre in the digital media environment." MedieKultur: Journal of media and communication research 27, no. 51 (August 3, 2011): 14. http://dx.doi.org/10.7146/mediekultur.v27i51.4032.
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<p>As analytical categories, genres have traditionally occupied a middle ground – between media as technologies and institutions, on the one hand, and discourses as material and modal forms of expression and interaction, on the other. With digitalization, the very concept of genre is in doubt: is the world wide web, Facebook, or the writing on its walls the genre? This article situat es genre in relation to the concepts of meta-media and meta-communication. First, I characterize the computer and the internet as metamedia, incorporating previous genres of embodied communication as well as mass communication. Second, I describe genres as a variety of meta-communication, which serves to configure communication in the first place. In conclusion, I discuss whether and how a category of meta-genres might help to account for some distinctive features of the digital media environment.</p>
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Faisal, Ali, and Mirva Peltoniemi. "Establishing Video Game Genres Using Data-Driven Modeling and Product Databases." Games and Culture 13, no. 1 (September 6, 2015): 20–43. http://dx.doi.org/10.1177/1555412015601541.
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Establishing genres is the first step toward analyzing games and how the genre landscape evolves over the years. We use data-driven modeling that distils genres from textual descriptions of a large collection of games. We analyze the evolution of game genres from 1979 till 2010. Our results indicate that until 1990, there have been many genres competing for dominance, but thereafter sport-racing, strategy, and action have become the most prevalent genres. Moreover, we find that games vary to a great extent as to whether they belong mostly to one genre or to a combination of several genres. We also compare the results of our data-driven model with two product databases, Metacritic and Mobygames, and observe that the classifications of games to different genres are substantially different, even between product databases. We conclude with discussion on potential future applications and how they may further our understanding of video game genres.
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Ghuman, Davinder, and Mark Griffiths. "A Cross-Genre Study of Online Gaming." International Journal of Cyber Behavior, Psychology and Learning 2, no. 1 (January 2012): 13–29. http://dx.doi.org/10.4018/ijcbpl.2012010102.
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One key limitation with the contemporary online gaming research literature is that much of the published research has tended to examine only one genre of games (i.e., Massively Multi-player Online Role Playing Games). Three relatively little studied online games are First Person Shooter (FPS) Games, Role Play Games (RPG), and Real Time Strategy (RTS) Games. Therefore, the current study examines player behaviour and characteristics in these three relatively under-researched online gaming genres. The study examines the differences between the three different game genres in terms of: (i) the demographic profile of players, (ii) the social interactions of players including the number and quality of friends, and how gaming related to real life friendship, and (iii) motivations to play specific game genres. The sample comprised 353 self-selected players. The RPG genre had the highest percentage of female players. The number of hours played per week varied significantly between the genres. RPG players played significantly longer hours than FPS or RTS players. In relation to playing motivation, achievement levels were highest for the FPS genre with RPG genre having the lowest achievement levels. RPG players had the highest immersion levels. RTS players were significantly less likely to report having made friends than players of the other two genres.
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Pokhrel, Biplove, Suresh Timilsina, and Santosh Panth. "Sentiment Analysis of Netflix Multi-Genre Using Support Vector Machine." Journal of Engineering and Sciences 3, no. 2 (November 29, 2024): 35–42. http://dx.doi.org/10.3126/jes2.v3i2.72188.
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The main objective of this research is to understand the audience's sentiment regarding various Netflix web series and their corresponding genres. This study, which contributes to sentiment analysis, collects data from the eight official Twitter handles of actors/actresses and web series from five genres: comedy, drama, Sci-fi, romance, and action. The data collection process involved extracting tweets related to these web series and classifying them into positive, negative, and neutral categories. Classification is done by using a Support Vector Machine (SVM), a popular classifier in machine learning. In addition to sentiment analysis, the study also involved measuring activity metrics and popularity metrics to assess the level of interaction between the audience and the actors/actresses. This data was then combined with the classified tweets for further analysis. The research results indicated that the Sci-fi genre is the prime choice for the audience. The conclusion was drawn based on the collective sentiment expressed in tweets and the level of engagement and popularity observed in interactions with the actors and actresses associated with action-oriented web series. Overall, this research, which is a significant contribution to the field, sheds light on the preferences of Netflix viewers with respect to different genres and highlights the significance of the Sci-fi genre in capturing the audience's attention and interest. The findings could be valuable for content creators and streaming platforms in tailoring their offerings to match the viewers' preferences and enhance user satisfaction.
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Nguyen, Tam. "Promoting Students’ Reviewing Skills in Foreign Language Writing through Genre-Based Activities in Linguistic Classes." Journal of Foreign Language Teaching and Learning 7, no. 2 (October 1, 2022): 300–328. http://dx.doi.org/10.18196/ftl.v7i2.15231.
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Recently, genre studies contribute not only to linguistic areas but also to the areas of language education. In language teaching and learning, developing learners’ awareness of various genres, especially those prevail in their future job contexts, is essential in the sense that learners could be better prepared to successfully produce texts of the same genres when required. In this study, genre-based activities (GBAs) were introduced to 40 third-year EFL students in two linguistic classes. The data collection was conducted via class interaction, assignment analysis and informal talks. The data analysis revealed that, despite some limitations in the intervention, GBAs had such positive effects on students’ development of reviewing skills in English writing as: students could link their text evaluation and revision to the contextual features, they tried to read extensively about the features of different genres, and accordingly, they could enhance their genre awareness, resulting in their better evaluation and revision of texts. However, it was found that unfamiliar genres might hinder the effects of GBAs. Texts elicited from students and multimodal texts were more appropriate inputs for novice genre analysts.
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Lepetiuk, Lepetiuk. "The Functions of Speech Genres in the French Novel of XX c." Studia Linguistica, no. 13 (2018): 184–202. http://dx.doi.org/10.17721/studling2018.13.184-202.
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The research is based on the M. Bakhtin’s theory of the speech genres, according to which speech communication, including artistic communication, is realized through a variety of genres of speech. The artistic text is considered as a secondary speech genre, which arises in the conditions of cultural communication and in the process of its formation absorbs a variety of primary genres. The article presents the results of investigation of the plays and role of speech genres in the structure of French novel of XX c. It examines different forms of the presence of a great variety of speech genres in the novel as well as their functions. This article analyzes a semiotic character of a speech genre and interference of a speech genre and a context of a speech situation. It investigates the use by the French novelists of a speech genre for transfer implicit information.The dialogism is examined and analyzed in the text of French Novel. This phenomenon is associated with the intentional and synthetic aspects of the language: each language is associated with a certain form of the speaker, refers to a certain context and expresses the point of view and a certain world outlook. Consequently, the text of the novel may be presented as a system of different languages, as well as inserted speech genres, entering into various dialogical interactions, the functioning of which has been organized and directed by the author in accordance with their intentions.
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Bull, Anna, and Christina Scharff. "Classical music as genre: Hierarchies of value within freelance classical musicians’ discourses." European Journal of Cultural Studies 24, no. 3 (April 28, 2021): 673–89. http://dx.doi.org/10.1177/13675494211006094.
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In music studies, genre theory has primarily been used to study popular music rather than classical music. This article demonstrates how genre theory can be applied to studying classical music production in order to understand how its value is negotiated and reproduced. Drawing on data from interviews with early-career female classical musicians in London, it explores discourses of classical music as a genre in order to understand how genre shapes working lives. We identify three themes within the data: first, genre hierarchies contribute to the (re-)production of divisions of labour, in ways that reaffirm gendered hierarchies. Second, many research participants actively portrayed themselves as being interested in different musical genres, both as listeners and as performers, but identified other classical musicians as having pejorative attitudes towards non-classical genres or practices such as playing in a band. Third, genre hierarchies were (re-)produced in institutional settings, in musicians’ working practices and in social interactions. Overall, analysing classical music as a genre through examining the perspectives of freelance musicians shows that subgenres within classical music, as well as classical music itself, are understood relationally to other genres in a hierarchy of value that reaffirms existing inequalities in the cultural labour market.
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Ponomarenko, Olga, Iryna Smushchynska, Olena Popivniak, Olena Tyshchenko, and Valentyna Kovalchuk. "Genological stratification of diplomatic discourse on social network X (based on the material of the countries of the Romance and Germanic language areas)." Scientific Herald of Uzhhorod University Series Physics 2024, no. 55 (January 11, 2024): 1657–63. http://dx.doi.org/10.54919/physics/55.2024.165co7.
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Relevance. The rapid advancement in technology has profoundly impacted various aspects of human life, including communication. The advent of the internet and microblogs like X has revolutionized not only personal and professional interactions but also diplomatic discourse. This evolution presents new avenues for philological research, particularly in the domain of communicative linguistics.Purpose. The purpose of this article is to determine, describe and make an attempt to predict the levels and structure of genres of diplomatic discourse in the coming decades using examples of its manifestations on X in the best traditions of classical linguistics schools and considering the achievements of new research areas in linguistics.Methodology. The analysis utilises a comprehensive review of existing literature on discourse theory and internet communication genres. It incorporates a detailed examination of X�s role in modern diplomatic interactions to propose a new stratification matrix for genres termed twiplomatics.Results. The article highlights the genres of tweeting as the implementation of diplomatic discourse within the framework of virtual (internet) communication on the example of the social network (microblog) X. A contribution is made to the development of the theory of genological theory, in particular, the genre of virtual communication. A hierarchical stratification of speech genres for twiplomatics is offered.Conclusions. The findings contribute significantly to the field of discourse genology by providing a structured genre classification system for diplomatic discourse on X. This research not only enriches our understanding of digital communication dynamics but also sets a foundation for future studies in virtual communication genres, potentially guiding the development of more effective digital diplomatic strategies.
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Ponomarenko, Elena A. "From medical dialogue to existential conflict: The dynamics of speech genres in A. P. Chekhov “Enemies”." International Journal “Speech Genres” 18, no. 2 (38) (May 15, 2023): 138–45. http://dx.doi.org/10.18500/2311-0740-2023-18-2-38-138-145.
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The article presents the analysis of the chains of speech genres in A. P. Chekhov’s short story “Enemies”. It is argued that the speech genres which formalize the social relationships of the main characters of the story lead to an understanding of the concept of the work, as well as reveal the essence of the title of the story. It is noted that the verbal interaction of the main characters of the narrative is a system of interconnected speech genres. The article describes the speech genres that have developed in the context of the situation of verbal communication between a doctor and a patient, specifically the speech genre of a medical complaint forming the core of institutional discourse, as well as speech genres that go beyond the core area: speech genres of pleading, refusal, appeal, silence, unburdening the soul, payment for medical services. It is stated that integrating into the medical discourse, these speech genres form a functional unity with it. The author concludes that the speech genres of medical discourse reproduce the process of professional speech interaction and qualify both individual and socially conditioned qualities of the originator character and the recipient character, as well as the situation of their conversation. Invective speech genres of accusations and insults inherent in ordinary (non-institutional) discourse are characterized as conflicting speech genres indicating the status-role degradation of institutional relations. Special attention is paid to the speech genres of pleading and the speech genre of the unburdening the soul, the peculiarities of their functioning and language aspects in connection with the general cultural values and traditions of Russian spiritual culture. The article also specifies the role of the author’s remarks in the description of communicative situations.
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Tomc, Sandra, and Sophie Bailly. "Motherhood between Tradition and Modernity: Transmission and Transgression of the Gender Identities in the Family Interactions." L’Entre-deux et l’Imaginaire, no. 37 (June 30, 2016): 51–66. http://dx.doi.org/10.35562/iris.1382.
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Cet article examine comment, par leur discours, les femmes se construisent comme mère, dans leurs interactions avec leurs enfants adolescent-e-s, occasionnellement avec leurs maris, contribuant ainsi à la reproduction sociale des stéréotypes de masculinité et de féminité ou, au contraire, de quelle façon elles rompent avec la tradition et proposent des modèles alternatifs. Acceptent-elles ou non leur héritage symbolique en matière de genre ? En voulant la reproduire, comment réinvestissent-elles la dimension genrée dans un contexte d’interactions verbales avec leurs adolescent-e-s, les renvoyant ou pas à leurs « origines » culturelles ? Les mères dépassent-elles le modèle de binarité des sexes traditionnel pour parvenir à un modèle agentif ? À travers le continuum de normativité et d’agentivité, l’entre-deux prend tout son sens : en quoi l’imaginaire linguistique constitue-t-il un espace à construire, un « à travers » ?
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Tomc, Sandra, and Sophie Bailly. "Motherhood between Tradition and Modernity: Transmission and Transgression of the Gender Identities in the Family Interactions." L’Entre-deux et l’Imaginaire, no. 37 (June 30, 2016): 51–66. http://dx.doi.org/10.35562/iris.1382.
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Cet article examine comment, par leur discours, les femmes se construisent comme mère, dans leurs interactions avec leurs enfants adolescent-e-s, occasionnellement avec leurs maris, contribuant ainsi à la reproduction sociale des stéréotypes de masculinité et de féminité ou, au contraire, de quelle façon elles rompent avec la tradition et proposent des modèles alternatifs. Acceptent-elles ou non leur héritage symbolique en matière de genre ? En voulant la reproduire, comment réinvestissent-elles la dimension genrée dans un contexte d’interactions verbales avec leurs adolescent-e-s, les renvoyant ou pas à leurs « origines » culturelles ? Les mères dépassent-elles le modèle de binarité des sexes traditionnel pour parvenir à un modèle agentif ? À travers le continuum de normativité et d’agentivité, l’entre-deux prend tout son sens : en quoi l’imaginaire linguistique constitue-t-il un espace à construire, un « à travers » ?
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Järlehed, Johan. "Genre and metacultural displays." Linguistic Landscape. An international journal 3, no. 3 (December 31, 2017): 286–305. http://dx.doi.org/10.1075/ll.17020.jar.
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Abstract This paper argues that studies of the LL could merit from a more detailed social semiotic examination of particular sign-genres. It describes genre as normative system open to change, on the one hand, and as complex historical and cultural configurations of semiotic resources and affordances, on the other. Based on illustrative analysis of how the discursive interaction of ‘pride’ and ‘profit’ is affecting Galician and Basque street-name signing, the paper makes the following points: (1) genre depends on discourse, and discourse depends on genre; (2) particular materializations of a genre actualize distinct resources and highlight different affordances; (3) detailed and contextualized analysis of determined sign genres can reveal ideological layering in the LL; (4) when a genre is taken ‘out of place’ or is recontextualized, its typical repertoire of resources is rearranged and new affordances emerge.
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Wnuk, Agnieszka. "On the necessity of comparative analysis in genre studies." Tekstualia 4, no. 31 (April 1, 2012): 77–84. http://dx.doi.org/10.5604/01.3001.0013.4651.
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The article discusses the problems of genre problems presented in the light of modern comparative studies. On the example of romanticism and its popular genres, such as verse tale, digressive poem, romantic drama and a variety of odd types of poetic works, it has been demonstrated that comparative analysis can be very useful in describing the formal aspect of literary works and the interaction between genres.
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Wnuk, Agnieszka. "On the Necessity of Comparative Analysis in Genre Studies." Tekstualia 1, no. 1 (January 2, 2013): 71–79. http://dx.doi.org/10.5604/01.3001.0013.6130.
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The article discusses the problems of genre problems presented in the light of modern comparative studies. On the example of romanticism and its popular genres, such as verse tale, digressive poem, romantic drama and a variety of odd types of poetic works, it has been demonstrated that comparative analysis can be very useful in describing the formal aspect of literary works and the interaction between genres.
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Mordovtseva, Nataliia. "Features of pedagogical communication in the context of speech genres." Bulletin of Luhansk Taras Shevchenko National University 2, no. 8 (346) (2021): 110–18. http://dx.doi.org/10.12958/2227-2844-2021-8(346)-2-110-118.
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The article focuses on the theoretical disclosure of basic concepts on the problem of pedagogical communication of future primary school teachers, the peculiarities of language genres. The teacher's ability to organize work in the classroom largely determines the performance of pedagogical interaction. First, the teacher uses typical speech organization models - speech genres. It is noted that the pedagogical speech genre is a historically established unit of professionally oriented communication, which is characterized by a special communicative task, a certain content, methods of speech and the expected reaction of the interlocutor, as well as an environment that allows the language concept to be fully realized. Some approaches of scientists on the definition of the concepts of «pedagogical communication», «genre of speech», «speech genre», classification of genres are presented. It is emphasized that a competent choice of language means, mastery of all genres of pedagogical speech testifies to the language competence of the teacher. Any genre is a complex model that includes several components. The choice of each of the genres is based on the implementation of the task of language pedagogical communication, which was set by the teacher. The participation of future teachers in the construction of pedagogical discourse will help them in the future to independently build a model of any pedagogical or social phenomenon in accordance with the norms of cultural activities.
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Rose, David. "Languages of Schooling: embedding literacy learning with genre-based pedagogy." European Journal of Applied Linguistics 6, no. 1 (March 8, 2018): 59–89. http://dx.doi.org/10.1515/eujal-2017-0008.
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AbstractFor three decades, genre based literacy pedagogy has been describing the written genres that students are expected to read and write in school, and designing teaching/learning activities through which students can be guided to read and write these genres successfully. This paper positions this research within the model of language and pedagogy that informs it, and then describes a system of literacy teaching activities that have been designed in the genre based methodology Reading to Learn. The function of these designed activities is to provide access to the genres in which knowledge is written and read in schools and academia. Both written genres and teaching/learning activities are described in terms of their social functions and structuring. In addition, teaching/learning activities are described in more detail, at the level of classroom discourse, as careful design of teacher/learner interaction is a critical component of the Reading to Learn methodology.
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Prozorov, Valery V. "Poetics of human interaction in K. D. Ushinsky’s essay “A Travel to Volhov”." International Journal “Speech Genres” 18, no. 2 (38) (May 15, 2023): 146–54. http://dx.doi.org/10.18500/2311-0740-2023-18-2-38-146-154.
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Publicistics in all variety of its genres is traditionally perceived as a shaky boundary between the fictional imaginative interaction and interaction lit by the worldly life experience of the author / narrator and equipped by factual authenticity. In this connection it seems worthwhile to introduce into genre studies most meaningful fictional and publicistic publications of different (including really distant from us) cultural-historical periods, where one can find abundant data which will help us understand poetics of human interaction. My goal is to demonstrate one of the texts which extremely seldom attracts professional philological attention and which may be a source of genre observations, focused on the aesthetical (and ethical as well) component of spoken dialogue discourse. K. D. Ushinsky’s essay “A Travel to Volhov” (1852) is a remarkable collection of numerous specimens of Russian colloquial culture, casting light on the poetics of sympathetic and kindly human interaction which we inherit regardless of all followed global historic transformations. The essay contains many valuable specimens of Russian folk speech genre culture in their historically specific every-day interpretations and actualizations. The subject of our analytical research is genres of farewell scenes at the wharf, occasional confidential talks, arguments coming to agreement, unmalicious and amusing bickering, friendly mockery and mimicry, warm-hearted inquiries, public contrition, pilgrim’s confession, etc.
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Kotov, A. A., and E. A. Mukhina. "Epithets in Russian Spiritual Verses." Nauchnyi dialog 12, no. 6 (September 1, 2023): 245–66. http://dx.doi.org/10.24224/2227-1295-2023-12-6-245-266.
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The article examines the composition and functioning of epithets in Russian spiritual verses. The relevance of the study is due to the lack of research on spiritual verses from a linguistic perspective, as well as the opportunity to explore the interaction between oral and written traditions, secular and Christian culture, which are closely intertwined in this folklore genre. A brief overview of the theory of epithet study in Russian linguistic tradition is provided, taking into account the latest research, with particular emphasis on the use of constant epithets in folklore texts of various genres. The texts of three collections of Russian spiritual verses are considered: “Collection of Russian Spiritual Verses” compiled by V. Varentsov; “The Dove Book: Russian Folk Spiritual Verses of the 11th-19th Centuries”; “Spiritual Verses of the Russian North”. Two corpora of epithets are distinguished: general folklore constant epithets and genre-specific epithets of Russian spiritual verses. Observations are made about their quantitative and qualitative composition, describing the peculiarities of their usage in relation to the genre’s specificity and explaining their correlation. A grammatical characterization of epithets is provided from the perspective of morphological expression and position within an attributive syntagm.
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Berzlánovich,, Ildikó, and Gisela Redeker,. "Genre-dependent interaction of coherence and lexical cohesion in written discourse." Corpus Linguistics and Linguistic Theory 8, no. 1 (May 25, 2012): 183–208. http://dx.doi.org/10.1515/cllt-2012-0008.
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AbstractWe investigate the interaction between coherence and lexical cohesion in expository and persuasive texts using seven encyclopedia texts and seven fundraising letters. We describe genre structure in terms of genre-specific moves and coherence structure with Rhetorical Structure Theory. For lexical cohesion, we identify repetitions, systematic semantic relations and collocations across discourse units, modeled as weighted multigraphs. By comparing the prominence of discourse units in the coherence structure with the centrality in the lexical cohesion structure in the two genres, we show that lexical cohesion is closely aligned with coherence in the expository texts, but not in the persuasive texts.
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Korol, Solomiia. "MODERN APPROACHES TO DEFINING SPEECH GENRES." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 43 (2023): 35–47. http://dx.doi.org/10.17721/2663-6530.2023.43.03.
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This article focuses on modern linguistics and its new promising direction, the anthropocentric theory of speech genres (TSG). The author of the article examines the importance of the theory of speech genres in the context of virtual communication and its impact on social content. The necessity of a multidimensional approach to the study of speech genres in modern genology and the virtual nature of social networks, their unstructured nature, pluralism and fragmentation are emphasized. It is concluded that the modern speech genre and the virtual speech genre are an information and communication environment based on written communication and using a wide range of linguistic means. The importance of distinguishing between speech genres on the web cannot be overstated, as it helps ensure effective communication and understanding among Internet users. Speech genres are varieties of texts or speech that have their own characteristics, style, and purpose. They are used to convey information, express thoughts, entertain, or create an emotional atmosphere. In the online space, recognizing speech genres has several crucial aspects: communication efficiency, avoiding misinterpretation, enhancing credibility, facilitating effective information seeking. In conclusion, the identifying speech genres on the web is of utmost importance as it enables effective communication, helps users find relevant content, prevents misinterpretation, enhances credibility, and fosters trust. By understanding and utilizing the appropriate speech genres, both content creators and consumers can engage in meaningful and productive online interactions.
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Zhou, Daping. "The Theoretical Background for the Chinese Composers Piano Music Genre Peculiarities Research." Aspects of Historical Musicology 14, no. 14 (September 15, 2018): 180–206. http://dx.doi.org/10.34064/khnum2-14.13.
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Introduction. The given paper is devoted to questions, which make up the dissertation research section upon the genre semantics of the Chinese composers’ solo piano creations. The general theoretic background for the vast amount of the musical artifacts studying is specified in the current section. Theoretical background. In his studying of the Chinese composers’ piano creative work the author follows the research trend, originated by G. Schneerson, Lui Ji, Wei Tinge, Liu Fuan, Zhang Xiaohu, Zhang Qian and others. In particular, the current research is based upon the works by Bu Li, Bian Meng, Wang Ango, Wang Yuhe, Cheng Xu and other authors, devoted to the problem of the European and national music traditions interaction in the Chinese composers’ piano artifacts. The insufficient readiness of this thesis is mentioned. Namely, it is still the point of discussion and analyzing, to what extend and in what quality the genre system of European piano music is mastered by the Chinese composers. It is another point of investigation if their compositions are the result of the surface signs borrowing, taken from the most widely spread European genres or the Chinese composers were able to comprehend the genre semantics profoundly and develop some genres creatively, basing on the national musical tradition. Objectives. The main objective of the current article is the essential theoretical background specification for the Chinese composers’ piano creations genre peculiarities research; in particular, the polygenicity, the borrowed material usage principle, the composer’s genre stylization method. Methods. The task setting and developing is based upon the functional and morphological approaches to the musical genre comprehension, on the terminological analysis of the musical genres and styles understanding, on the upto-date philological and musicological conceptions of composition poetics, artistic genre and stylization method. Results and discussion. The concept of musical genre is defined as the type of the creation or the musical creative activity. Here the category of genre involves not only the formal but also the substantial musical compositions properties, their typical semantics. The musical genre genesis is specified by three factors: 1) the functional creations similarity, the identity of their assignment; 2) the similarity of the conditions of the composition creating and performing; 3) artistic and contextual affinity. The given factors specify the occurance of common musical form properties among several compositions, and these properties are defined as genre style. The composition style properties quite definitely “indicate” some kind of genre “prototype”, and in this sense they are the sign-index of the genre. The typical artisticcontent properties of musical creations and performing are also the index of the genre. These typical properties and designated as genre image (or genre semantics). The genre style and the corresponding images reflect the real type relations of the musical practice phenomena. It enables the composers to use the formal signs of a certain genre as an artistic attribute well recognized by the audience. In the musical genres system, the areas of interactive and independent music are conventionally separated. The first group includes the numerous kinds of every day musical performing, where music interacts with the riot, dance, poetic verbal speech, theatre performance and other types of a person’s artistic activity. Meanwhile, the main and specific function of the independent music is its being the object of artistic perception. The independent music artifacts don’t need any interaction with the expressive means of other arts. The piano music can belong to both spheres. A lot of independent sphere piano music compositions are bear the names of the genres belonging to the folklore, theatre music, church rituals, urban life. We mean such as piano “lullabies”, “ballads”, “minuets”, “waltzes”, “marches”, “arias”, ”love songs” etc. there is still another phenomenon: the piano music pieces, the name of which is not connected with the interactive music genres, are often profoundly connected with them on the levels of the language and artistic text. Quite often, the piano pieces are built on certain composition, borrowed from the sphere of folklore, popular or church music. In all the alike cases we can notice the artistically justified synchronous (non consequent) interaction of several musical genres signs and properties in the form of the definite composition. This phenomenon is characterized as polygenicity. Two main approaches to achieve the polygenre artistic expressive effect are defined: a) the use of the “exterior” (non native, another’s, alien) musical material; b) the genre style characteristic properties reproduction (genre stylization). The given work gives the definitions for the methods of different musical genres properties combination by means of borrowing and of the “exterior” material use in the frames of the original composition: quotations, arrangements, edited versions, fantasies and transcriptions. The genres, originated by these composing methods, are characterized. The essence of the genre stylization method in the Chinese composers’ creations is revealed. It is the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. The wide range of this method implementation is mentioned: from total style imitation to allusion. Conclusions. The existence of the great amount of the piano music compositions in the today’s Chinese musical culture motivates the overall and profound scientific analysis of this phenomenon, in particular, it stimulates the given sphere genre features revelation in both synchronous and diachronic (historic-evolutionary) aspects. The piano music genre sphere researcher needs the clearly formulated, capacious and non-contradictory categories of musical genre, genre style, genre system, genre semantics, as well as of the notions, derivative and connected with them. As it was mentioned by numerous specialists, the Chinese piano music distinctive feature consists in its lasting connection with the national music tradition. The task, set for the musicologists, is to define the nature, the principles, the variants of the interaction between the European piano music genres and styles and the traditional Chinese music genres and styles ( folklore, theatre, popular song). The given article states that the first artistic method, leading to the combination of the European and Chinese traditions in the frames of one composition consists of the composer’s borrowing and using some “alien” material, a fragment of the famous musical creation in his artifact. Thus, using serves as a general notion, embracing a number of certain musical text composing methods, which include quoting, arranging, creating versions, fantasies and transcription. The second artistic approach, leading to European piano music and the Chinese traditional music interaction, consists in the artistic method of stylization. This method implies the reproduction of tonal and compositional peculiarities of the certain traditional Chinese music genre style into the composition text belonging to the European piano music genre system. This method reveals the unlimited possibilities to create the bright vivid effects for genre dialogue, conflicts, interaction, as well as very delicate conceptual modus, allusions, hints, promoting the remarkable enrichment of the compositions genre figurativeness. Basing on the given theoretical background the author is going to analyze the genre-style contents of the seven-volume edition “A century of Piano Solo Works by Chinese Composers”. This content may serve as a working model for the studying of the whole thesaurus of piano music artifacts, created by the Chinese composers.
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Bergman Deitcher, Deborah, and Helen Johnson. "Parents and Children Reading Together: Expanding Shared Book-Reading Across Genres." Journal of International Education and Practice 5, no. 1 (April 4, 2022): 1. http://dx.doi.org/10.30564/jiep.v5i1.4493.
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In this conceptual article we explore parents’ shared book reading (SBR) interactions with their preschoolers across different book genres in their natural home settings. We consider the unique and shared contributions of narrative, informational, wordless, and alphabet picturebooks, and how reading across genres can increase children’s involvement in the interaction, deepen their content knowledge, expand their vocabulary, and strengthen their visual literacy. Beyond the benefits for children, we discuss the advantages for parents of reading from different genres and highlight directions for future research.
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Akhmadulin, Evgeny V. "Genre Creation and Genre Formation." Proceedings of Southern Federal University. Philology 2020, no. 3 (September 30, 2020): 227–38. http://dx.doi.org/10.18522/1995-0640-2020-3-227-238.
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The article focuses on the topic of genre formation in Soviet journalism, and how genres have developed in the contemporary Russian mass media. The author is of the view that journalistic genres developed intuitively, rather than on the basis of a thorough investigation of the typology of mass media texts, and therefore bear all the hallmarks of a professional agreement. These practical, formally logical standards have no basis in scholarship, and as a result many publications dealing with questions of journalistic genres have no connection with the theory of journalism. They merely serve the «commonly accepted professional view» of the form that texts should take. This explains why there is continual discussion of the interaction, diffusion, mimicry and changes in the «identified genres» in a situation where there are no grounds for distinguishing between them, or fixed criteria for defining them. Introducing American forms of journalistic texts into the Russian genre system leads to an even greater entropy of established concepts. Concentrating on the study of the genre forms of journalistic texts in journalism education often hinders students in the acquisition of the habit of writing materials on specific thematic issues.
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Hlatshwayo, Primrose, and Lettiah Gumbo. "Texts Classification and Sustainability: A Case of Facebook Sub Genres." Randwick International of Social Science Journal 2, no. 2 (April 30, 2021): 67–74. http://dx.doi.org/10.47175/rissj.v2i2.216.
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Facebook is one of the latest genres of internet social networks which have attained widespread popularity, yet its defining characteristics have not been systematically described. It has been labeled by some as a genre of possibilities implying that you can come across, new, interesting, unacceptable and controversial texts on FB. Again, it has been labeled a genre of possibilities since it is dynamic, complex and it uses multiple types of sources. FB has emerged as an effective tool for communicating social ties, keeping family and friends updated on latest issues and events, creating new affiliations and as a stage for political or democratic campaigns. The paper investigated the unique elements inherent in Facebook subgenre. It is an endeavour to understand the defining characteristics of Facebook sub genres. The study identified the most useful criteria for categorizing Facebook texts and also identifying the most typical or unique features of FB genres. The researchers endeavored to answer the question what is it that essentially determines the ‘Facebookness’ of FB genres? ‘The study investigated the defining mechanism and sustainability of FB subgenres and established that the most common subgenres on FB are comments, news links, democratic campaigns, business interactions, comments, groups, religious texts and visuals images. The concept The study made reference to some genre theorists in order to facilitate understanding on the aspect of genre classification and sustainability on FB. The study will assist Facebook users to understand the Facebook genres and contribute to the existing pool of applied linguistics knowledge
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Schely-Newman, Esther. ""I Hear from People Who Read Torah... "." Narrative Inquiry 9, no. 1 (January 1, 1999): 49–68. http://dx.doi.org/10.1075/ni.9.1.04sch.
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The purpose of this paper is to analyze the ways a Jewish woman uses different genres in telling her life story. Setting the narrative within its cultural and social contexts enables an examination of narrative as a life story, as well as a mode of creating and expressing changes in women's roles. In her story, the narrator chooses to present herself as a disciple of a religious male leader (a rabbi), a position which allows her to use traditionally male genres of narration. Treating the interactions between reported and authored speech, and the multiplicity of dialogues the narrative maintains, provides an understanding of the methods for implicitly challenging gender construction by contesting genre distribution. {Personal narrative, Genre, Gender, Israeli women, Change)
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Cook, Julian, and Neil Jacobs. "Knowing What we Mean, Meaning What we Say." Proceedings of the International Conference on Networked Learning 4 (April 5, 2004): 405–12. http://dx.doi.org/10.54337/nlc.v4.9539.
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This paper examines ‘discussion’ in a case study involving online learning, in which both tutor and students assessed the discussion board as having failed. An explanation for this is sought via analyses that draw from Fairclough’s critical discourse analysis and, in particular, the ideas of genre and discourse. Two sets of discourses are identified and linked with specific interaction genres. Data from the discussion board and an interview with the tutor are then shown to exhibit both confusion and tension between these discourses and genres. The paper suggests that effective online interaction requires that we ensure that expectations are both clear and appropriate to the learning model being pursued.
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Rahman, Jessica Sharmin, Sabrina Caldwell, Richard Jones, and Tom Gedeon. "Brain Melody Interaction: Understanding Effects of Music on Cerebral Hemodynamic Responses." Multimodal Technologies and Interaction 6, no. 5 (May 4, 2022): 35. http://dx.doi.org/10.3390/mti6050035.
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Music elicits strong emotional reactions in people, regardless of their gender, age or cultural background. Understanding the effects of music on brain activity can enhance existing music therapy techniques and lead to improvements in various medical and affective computing research. We explore the effects of three different music genres on people’s cerebral hemodynamic responses. Functional near-infrared spectroscopy (fNIRS) signals were collected from 27 participants while they listened to 12 different pieces of music. The signals were pre-processed to reflect oxyhemoglobin (HbO2) and deoxyhemoglobin (HbR) concentrations in the brain. K-nearest neighbor (KNN), random forest (RF) and a one-dimensional (1D) convolutional neural network (CNN) were used to classify the signals using music genre and subjective responses provided by the participants as labels. Results from this study show that the highest accuracy in distinguishing three music genres was achieved by deep learning models (73.4% accuracy in music genre classification and 80.5% accuracy when predicting participants’ subjective rating of emotional content of music). This study validates a strong motivation for using fNIRS signals to detect people’s emotional state while listening to music. It could also be beneficial in giving personalised music recommendations based on people’s brain activity to improve their emotional well-being.
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Quasthoff, Uta, Vivien Heller, and Miriam Morek. "On the sequential organization and genre-orientation of discourse units in interaction: An analytic framework." Discourse Studies 19, no. 1 (January 25, 2017): 84–110. http://dx.doi.org/10.1177/1461445616683596.
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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.
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Alacovska, Ana. "The history of participatory practices: rethinking media genres in the history of user-generated content in 19th-century travel guidebooks." Media, Culture & Society 39, no. 5 (August 8, 2016): 661–79. http://dx.doi.org/10.1177/0163443716663642.
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This article charts the historical stability and continuity of participatory and crowdsourcing practices. Theoretically, it suggests that the blurring of the boundaries between audiences and producers, with the ensuing result of user-generated content, is by no means solely the upshot of new media technological affordances but largely a function of relatively stabilized, genre-specific formal and functional properties, or ‘genre affordances’. Certain referential and performative genres enable interaction between audiences, texts and producers independently of new media technologies because these genres constitute what matters for both producers and audiences in specific historical circumstances. Genres make available shared cultural, social and pragmatic resources for appropriate and desirable being, doing, feeling and thinking. Empirically, this article builds upon an archival study of co-production related to the specific genre of travel guidebooks. It investigates (a) audience feedback in the form of handwritten letters sent to John Murray, a venerable 19th-century British publishing house, and (b) the ways in which John Murray’s yesteryear guidebook producers actively solicited and implemented reader-authored content in professional production practice.
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Tarasova, M. V., M. K. Ogorodov, and M. L. Petrova. "TYPES OF DIALOGISM IN FRENCH NEWSPAPER DISCOURSE." Philology at MGIMO 20, no. 4 (December 20, 2019): 56–62. http://dx.doi.org/10.24833/2410-2423-2019-4-20-56-62.
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The article examines types of dialogism in French newspaper discourse and determines factors that cause dialogism in discourse and lingua-pragmatic forms of realization of its types. These factors are communicative situation and intertextuality. A communicative situation underlies two types of dialogism: the interactional dialogism, which is a speech interaction between a text author and its reader, and the interlocutive dialogism, which is the interaction of speech actors within the interview genre. Intertextuality in the form of quotations in media texts and/or text headlines creates transtextual dialogism, represented by its two forms: intertextual dialogism (speech interaction between a text author and a quotation author) and paratextual dialogism (authorization of a quotation included into the text headline by a text author). The first two types of dialogism and intertextual dialogism are characteristic of various discourse types, whereas paratextual dialogism is a distinctive feature of newspaper discourse. For discourse analysis there were selected texts of various genres from printed and electronic versions of French national and regional newspapers such as Le Monde, Le Figaro, Libération, Le Parisien and Nice-Matin.
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Mukta, Md Saddam Hossain, Euna Mehnaz Khan, Mohammed Eunus Ali, and Jalal Mahmud. "Predicting Movie Genre Preferences from Personality and Values of Social Media Users." Proceedings of the International AAAI Conference on Web and Social Media 11, no. 1 (May 3, 2017): 624–27. http://dx.doi.org/10.1609/icwsm.v11i1.14910.
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We propose a novel technique to predict a user’s movie genre preference from her psycholinguistic attributes obtained from user social media interactions. In particular, we build machine learning based classification models that take user tweets as input to derive her psychological attributes: personality and value scores, and gives her movie genre preference as output. We train these models using user tweets in Twitter, and her reviews and ratings of movies of different genres in Internet movie database (IMDb). We exploit a key concept of psychology, i.e., an individual’s personality and values may influence her choice in performing different actions in real life. We have investigated how personality and values independently and collectively influence a user preference on different movie genres. Our proposed model can be used for recommending movies to social media users.
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Stepanov, Valentin N., and Aleksey D. Krivonosov. "Genre PRology and convergence of genres of PR text." International Journal “Speech Genres” 19, no. 3 (43) (August 22, 2024): 212–24. http://dx.doi.org/10.18500/2311-0740-2024-19-3-43-212-224.
Full textAbstract:
In the basis of a special area of genre PRology as a branch of the science of public relations the authors put the criterion of the diversity of PR-information in multi-channel public communication via new media. As a subject of genre PRology, the authors consider convergence of information formats of a PR text in a multi-channel PR. In the genre revision of PR communication in social media, the genre transformations of PR texts are influenced by the following factors: 1) technological, 2) intentional, 3) structural. Technologically, PR texts functioning in the space of social networks are characterized by 1) a polycode structure, which implies the equivalence of verbal and non-verbal levels of meaning; 2) the transgressive nature of the publication, which determines the animation of the message and its transgression (movement) in the digital space. PR texts are multi-intentional in nature. Structurally, PR texts in social networks undergo three types of convergence: 1) structural or presentational, 2) discursive, and 3) genre. Structural, or presentational, convergence of PR texts in social media is associated with the allocation in the post structure of the presentation (the actual text and iconic materials) and the reaction (readers’ comments). Discourse convergence of PR-text is associated with 1) diffusion of institutional and intentional types of discourse, 2) inter-institutional discursive interaction (PR and advertising). Genre convergence of PR-texts is a genre symbiosis of three types – convergence of primary and secondary speech genres, convergence of primary simple genres of PR-text, and intermedial convergence.
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Bonini, Adair. "Critical genre analysis and professional practice: the case of public contests to select professors for Brazilian public universities." Linguagem em (Dis)curso 10, no. 3 (December 2010): 485–510. http://dx.doi.org/10.1590/s1518-76322010000300004.
Full textAbstract:
Several approaches have been applied to the analysis of language at work, among them, the ergologic (LACOSTE, 1998; NOUROUDINE, 2002), the interactional-sociolinguistic (DREW, HERITAGE, 1992), and the genre-based (BAZERMAN; PARADIS, 1991). In this article, focusing on the latter approach, I discuss the reasons and methods for analyzing professional genres. Particularly, I center my attention on the approach which, more recently, has been called critical genre analysis (BHATIA, 2004, 2007, 2009; MOTTA-ROTH, 2008). As part of the theoretical reflection undertaken, I also present an introductory analysis of genres involved in the social practice of public contests for professor positions at Brazilian universities. These examinations not only exemplify a kind of problematic relation between language and work, but they constitute an excellent example to illustrate a Critical Genre Analysis (CGA).
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Walldén, Robert. "Genrekunskaper som ett led i läsförståelsearbetet: textsamtal i årskurs 1 och 6." Forskning om undervisning och lärande 7, no. 2 (June 5, 2019): 95–110. http://dx.doi.org/10.61998/forskul.v7i2.27274.
Full textAbstract:
I denna studie undersöks textsamtal i årskurs 1 respektive årskurs 6, med syftet att utforska hur klassrumskommunikation kring skriftliga genrer kan främja bruket av lässtrategier. Empirisk data har insamlats genom observationer, ljudinspelningar och insamling av undervisningstexter medan analysen baserar sig på genreteori samt ramverk för läsförståelse och litteracitet. De deltagande lärarna undervisar enligt en genrepedagogisk modell. Resultatet visar hur kunskap om genrestrukturer och logiska samband utgör en referenspunkt i interaktionen kring narrativa och diskuterande texter, samt hur denna referenspunkt kan bidra till tillämpningen av frågeställande, sammanfattande, klargörande, värderande och förutsägande lässtrategier. Genrekunskaper kan därmed vara en utgångspunkt för att objektifiera undervisningstexter och samtidigt utgöra ett led i förståelsearbetet med dem. Genre knowledge as a resource for working with reading comprehension This study focuses on text talk in school year 1 and 6, with the purpose of exploring how classroom communication around written genres can promote the use of reading strategies. The empirical data has been collected through observations, voice recordings and collection of texts used in teaching, whereas the analysis is based on genre theory and frameworks for literacy and reading comprehension. The participating teachers teach according to principles of genre pedagogy. The result shows how knowledge about genre structures and logical connections uphold a point of reference in the interaction based on narrative texts and discussions. Secondly, it shows how this point of reference can contribute to using questioning, summarising, clarifying, evaluating and predictive reading strategies. Thus, genre knowledge can be a basis for objectifying texts used in teaching and at the same time promote negotiation of their meanings.
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Chen, Huilin, and Jinsong Chen. "Investigating the Relationships Between Listening Skills and Genre Competence Through Cognitive Diagnosis Approach." SAGE Open 11, no. 4 (October 2021): 215824402110613. http://dx.doi.org/10.1177/21582440211061342.
Full textAbstract:
Although research on listening skills has been frequently conducted to discover the nature of listening comprehension, there is little study about listening genre competence which is related with knowledge about listening text types. In order to find out whether listening skills and listening genre competence are related, cognitive diagnosis, a quantitative method to disclose finer-grained latent attributes, was adopted in this study. The generalized deterministic inputs, noisy “and” gate (G-DINA) model, which takes attribute compensation and attribute interaction into consideration, was used to carry out cognitive diagnostic analysis. The listening comprehension subtest of Band 4 of Test for English Majors (TEM) which is a large scale English proficiency test for English Majors in China was used as the proficiency test for homogenizing the participants. Three genres in the subtest, dialog, lecture, and news, were investigated. The 2,285 subjects were sophomore English major college students and also test-takers of the same TEM4 examination. They were chosen by random sampling from the nationwide test population in China. The study analyzed three types of relationships between listening skills and genre competence. By analyzing how mastery of certain listening text genres goes with mastery of listening skills according to latent class distribution, the coexistence relationship was discovered. By comparing the average number of skills/genres mastered when the number of genres/skills mastered increases through One-Way ANOVA, compensatory and contributory relationships were revealed. The study also found that the subjects mastering Lecture genre got higher listening scores.