{"id":6320,"date":"2005-06-01T17:41:41","date_gmt":"2005-06-01T17:41:41","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2005\/06\/01\/bawarshi-genre\/"},"modified":"2005-06-01T17:41:41","modified_gmt":"2005-06-01T17:41:41","slug":"bawarshi-genre","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2005\/06\/01\/bawarshi-genre\/","title":{"rendered":"Bawarshi, Genre and the Invention of the Writer<\/i>"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 4<\/span> mins<\/span><\/span>

Anis Bawarshi develops a case for a genre-studies-based first-year writing
\ncurriculum.  In the courses teachers would introduce students to sampled
\ngenre sets from selected disciplines or professional fields (studying, in
\neffect, lab reports as a genre, or other professional document types). 
\nStudents would analyze the genres, writing both in them and about them; hence,
\ncomposition would have as its impetus a pragmatic extra-disciplinary
\nawareness of the writing students will do in their major areas of study and, as
\nwell, bona fide<\/i> content: writing itself (in all its forms, in and beyond the
\nacademy).  As Bawarshi’s project builds an argument for this model, he
\nreasons that a more comprehensive, nuanced understanding of genre is one<\/i>
\n(though perhaps golden) ticket to composition’s status as a discipline and
\nmight also serve us with a compelling justification for the first-year writing
\nsequence.<\/p>\n

<\/p>\n

I finished the book still feeling somewhat unsettled with the ecological
\nmetaphors Bawarshi develops early on.  With genre theory, Bawarshi enfolds
\nLeFevre’s "ecology of invention" and Bourdieu’s "habitus" to set up what he
\ncalls–following his accounting of the "social turn" in composition–"rhetorical
\necosystems" (8).   How are such systems constrained by institutional
\ndynamics–the forces of power inscribed, for example, in the first-year writing
\ncourse?  Bawarshi presents a wonderfully rich, interesting set of
\ndefinitional twists to account for the correspondence between ecosystems and
\ngenres; he spells out clearly that he is "more interested in what happens once
\ngenres are in circulation" than how they come to exist (10).  My uneasiness
\nwith the ecological metaphor, which I should explain more fully, stems primarily
\nfrom two issues:  1.  institutional forces, power dynamics and
\npressures (which must, inevitably, give greater weight to certain genres, yes?)
\nand 2. the presumption that genre as the reproduced communication patterns or
\nrecurrent exigencies suspended between individuals and social collectives are
\nsufficiently explicit that we might study them, teach them, organize them into
\nsets, and so on.  Briefly, in his discussion of the syllabus, Bawarshi
\nmentions Swales and occluded<\/i> genres: "According to Swales, occluded
\ngenres are genres that operate behind the scenes and often out of more public
\nsight, yet play a critical role in operationalizing the commitments and goals of
\na dominant genre, in this case, the syllabus" (119).  But might there be
\nother, more elusive genres at work in the classroom?  What of these? 
\n[Look to Swales, eh?]<\/p>\n

What gives a genre its stability?  Bawarshi gives us this: "Genres–what Catherine Schryer defines as ‘stabilized-for-now or
\nstabilized-enough sites of social and ideological action’ (1994, 108)–thus
\nconstitute typified rhetorical sites or habitations in which our social actions
\nand commitments are made possible and meaningful as well as in which we are
\nrhetorically socialized to perform (and potentially transform) these actions and
\ncommitments" (81-82).  I like Schryer’s definition, detached though it is
\nhere from its immediate context (Bawarshi puts it in a section called "Genres as
\nRhetorical Ecosystems" (80)).  With "stabilized-for-now" and
\n"stabilized-enough" we are challenged doubly: a genre could be fresh and
\nfleeting; a genre must be qualified as a genre–it must be named. 
\n"Stabilized-for-now" also complicates the concept of a tradition or at least
\nexposes another problematic dimension in approaching genre with any
\nconsideration of its history, evolution, past-ness.<\/p>\n

I’m short on time, but I want to go ahead and post a few more notes from
\nBawarshi–continue my plan to write through the reading for the summer course. 
\nThese are really floating bits–note-worthy, but sliding underneath any more
\ninquisitive response from me:<\/p>\n

    \n
  1. adopt-a-discipline (163):  This comes in the final chapter on the
    \n pedagogical implications of genre theory as Bawarshi entangles it with systems
    \n theory, situated cognition, ecologies of invention, and activity.  The
    \n idea is that FYW students would size up a discipline by examining various
    \n genres constituting disciplinary activity.  Seems to me that this, along
    \n with writing in the disciplines (WID) strands of Bawarshi’s work might work
    \n better with final-year writing students, perhaps juniors or seniors who have
    \n more firmly committed to a particular field of study.  Lots of other
    \n issues with this, including whether it over-ambitiously emphasizes
    \n professionalization, etc.<\/li>\n
  2. "genre game" (164): Hold this up to Anthony Giddens’s stuff on 117-118.  Gaming
    \ntropes can be misleading.  Are they misleading in this case?  If we
    \n accept that it’s possible for students to "game" genres, what other forms of
    \n extra-generic activity are they entering into and what interest might we find
    \n in it?<\/li>\n
  3. list of B.’s examples (143): "PMHF [Patient Medical History Form], the
    \n social workers’ assessment report, the resume, the course journal, the ‘king’s
    \n speech,’ the greeting card, the syllabus, the writing prompt, and the student
    \n essay" (143).  <\/li>\n
  4. "One way teachers can help students reposition themselves within such spheres
    \nof agency is to make genres analytically visible to students so that students
    \ncan participate within and negotiate them more meaningfully and critically"
    \n(141).  Does this refer only to "loaded" genres–pre-existing, recognized,
    \n conventional?  Genre as…?<\/li>\n
  5. choreographic force [of genre] (134): "[Yates and Orlikowski] describe how
    \n genre systems choreograph interactions among participants and activities
    \n chronologically (by way of measurable, quantifiable, ‘objective’ time) and
    \n kairotically (by way of constructing a sense of timeliness and opportunity in
    \n specific situations) within communities (2002, 108-10). In terms of chronos<\/i>,
    \n the writing prompt assigns a specific time sequence for the production of the
    \n student essay, often delimiting what is due at what time and when" (134). 
    \n I understand the need for deadlines, but does this feature\/attribute of genre
    \n suggest that it enforces artificial rates of production (given to
    \n institutional convene-iences)?<\/li>\n
  6. coercive genre (120): "No doubt, the syllabus is a coercive genre, in the
    \n same way that all genres are coercive to some degree or another.  It
    \n establishes the situated rules of conduct students and teacher will be
    \n expected to meet, including penalties for disobeying them."  Yikes. 
    \n Genre as fear-maker and order-keeper.<\/li>\n
  7. "Participants in one activity system, for instance, use some genres to
    \ncommunicate with participants in other activity systems, thereby forming intra-
    \nand intergenre system relations" (116).  How does this match up with what
    \nMiller gives us as both relational, hierarchic and virtual discourse
    \ncommunities.  Is the intra-\/inter-genre system noted by Bawarshi oriented
    \ntoward or within any particular one of Miller’s classes?  Which one? The GC
    \nexample (107) also defers to a hierarchical–nested genre systems, etc.<\/li>\n
  8. Ref. to Bazerman’s "humble genres" (106)  Genres of the everyday?  What makes a genre
    \n humble<\/i>?  Does this mean that it’s not officially recognized as a literary genre? 
    \nAlso, what are the limits to the communicative social activity spheres genre
    \nmight be used to characterize?  If writing is a "way of being in the
    \nworld," so are other (non-textual, non-linguistic?) communicative interactions, including ones where the
    \nutterance is less neatly captured in an explicit form or artifact-ready
    \nmedium–tacit knowledge, feeling, patterned social action that falls outside the
    \nproduction of a text?<\/li>\n<\/ol>\n","protected":false},"excerpt":{"rendered":"

    \u23f3 Approximate reading time: <\/span> 4<\/span> mins<\/span><\/span>Anis Bawarshi develops a case for a genre-studies-based first-year writing curriculum.  In the courses teachers would introduce students to sampled genre sets from selected disciplines or professional fields (studying, in effect, lab reports as a genre, or other professional document types).  Students would analyze the genres, writing both in them and about them; hence, composition…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[46],"tags":[397,178,183,398,319],"class_list":["post-6320","post","type-post","status-publish","format-standard","hentry","category-genre","tag-bawarshi","tag-composition","tag-curriculum","tag-ecology","tag-genre"],"yoast_head":"\nBawarshi, Genre and the Invention of the Writer - 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One of my principal ambitions in the formulation of structuration theory is to put an\u2026","rel":"","context":"In "Genre"","block_context":{"text":"Genre","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/genre\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6324,"url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/06\/07\/genre-theory-ii\/","url_meta":{"origin":6320,"position":1},"title":"Genre Theory II","author":"Derek Mueller","date":"June 7, 2005","format":false,"excerpt":"For yesterday's genre theory session we looked at the first chapter from Amy Devitt's book, Writing Genres, and the first and third chapters from Paul Prior's book, Writing\/Disciplinarity (both of which have searchable copy at Google Print).\u00a0 Devitt gracefully works genre into an interactive model between individuals (at a basic\u2026","rel":"","context":"In "Genre"","block_context":{"text":"Genre","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/genre\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6336,"url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/06\/27\/genre-sircumven\/","url_meta":{"origin":6320,"position":2},"title":"Genre Sirc-umvention","author":"Derek Mueller","date":"June 27, 2005","format":false,"excerpt":"We have evolved a very limited notion of academic writing (or any genre, really).\u00a0 Our texts are conventional in every sense of the word; they write themselves. They are almost wholly determined by the texts that have gone before; a radical break from the conventions of a form or genre\u2026","rel":"","context":"In "Genre"","block_context":{"text":"Genre","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/genre\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":6334,"url":"https:\/\/www.earthwidemoth.com\/blog\/2005\/06\/25\/geisler-on-ment\/","url_meta":{"origin":6320,"position":3},"title":"Geisler on Mental Models","author":"Derek Mueller","date":"June 25, 2005","format":false,"excerpt":"Here, just some old notes on genre from the plane ride to Albuquerque last week.\u00a0 Clearly, they were written at the choppy altitude of 6,000 feet or thereabouts. Cheryl Geisler's chapter, \"Toward a Sociocognitive Model of Literacy,\" presents the study of four writers (two experts and two novices) who are\u2026","rel":"","context":"In "Genre"","block_context":{"text":"Genre","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/genre\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":7083,"url":"https:\/\/www.earthwidemoth.com\/blog\/2006\/11\/22\/fulkerson-compo\/","url_meta":{"origin":6320,"position":4},"title":"Fulkerson, “Composition at the Turn of the Twenty-First Century”","author":"Derek Mueller","date":"November 22, 2006","format":false,"excerpt":"Fulkerson, Richard. \"Summary and Critique: Composition at the Turn of the Twenty-first Century.\" CCC 56.4 (2005): 654-687. Fulkerson's ten-year follow-up to earlier reports on the condition of composition studies concludes with premonitions about the field's disunity and the \"new theory wars\" (681). As a \"map [of] a large and complicated\u2026","rel":"","context":"In "Writing Technologies"","block_context":{"text":"Writing Technologies","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/writing_technol\/"},"img":{"alt_text":"Fulkerson Grid - Composition's Pedagogical Quandary","src":"https:\/\/i0.wp.com\/static.flickr.com\/111\/303929124_222ba3b5e7.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":6531,"url":"https:\/\/www.earthwidemoth.com\/blog\/2006\/03\/27\/conference-rewi\/","url_meta":{"origin":6320,"position":5},"title":"Conference Rewind","author":"Derek Mueller","date":"March 27, 2006","format":false,"excerpt":"Finally I'm resetting the needle to a groove, settling in for the intensive few weeks until semester's end, and shaking off the thrill of conversation and catching up throughout the stay in Chicago. I had a good conference despite the sting of $leeping in the conference hotel. It was great\u2026","rel":"","context":"In "Academe"","block_context":{"text":"Academe","link":"https:\/\/www.earthwidemoth.com\/blog\/category\/academe\/"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]}],"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts\/6320","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/comments?post=6320"}],"version-history":[{"count":0,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/posts\/6320\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/media?parent=6320"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/categories?post=6320"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.earthwidemoth.com\/blog\/wp-json\/wp\/v2\/tags?post=6320"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}