{"id":6324,"date":"2005-06-07T19:06:54","date_gmt":"2005-06-07T19:06:54","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2005\/06\/07\/genre-theory-ii\/"},"modified":"2005-06-07T19:06:54","modified_gmt":"2005-06-07T19:06:54","slug":"genre-theory-ii","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2005\/06\/07\/genre-theory-ii\/","title":{"rendered":"Genre Theory II"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>

For yesterday’s genre theory session we looked at the first chapter from Amy
\nDevitt’s book,
\n
\nWriting Genres<\/a><\/i>, and the first and third chapters from Paul Prior’s book,
\n
\n
\nWriting\/Disciplinarity<\/a> <\/i>(both of which have searchable copy at
\nGoogle Print<\/a>). 
\nDevitt gracefully works genre into an interactive model between individuals (at
\na basic level); social structures, genre, and groups (at an intermediary level)
\nand context of culture, context of genre and context of situation (at an
\nultimate level).  It’s meant to simplify a complex set of relationships, I
\nthink, and as a model it does well to give a graphic alternative to some fairly
\nheady stuff.  But I’m still a bit murky on the role genre plays in scaling
\nbetween the lived, everyday activity (often communicative, often recurrent–as
\nin, not another<\/i> grocery list) and the higher\/broader orders.  Genre,
\ngiven to patterns of activity, would ask of us to point to evidence of the
\nrelationship between the broader abstract levels and the more ornate,
\nidiosyncratic actions of individuals.  Forgive me though; I’m the one who’s
\nmurky (shall I explain in a supplem-entry?).  Better to read Devitt
\nfirst-hand than to take this as a solid handle on her project.<\/p>\n

<\/p>\n

But I will say this:  Devitt presents genre as something that, in
\nplaces, met up nicely with frame<\/i> or framing<\/i>. One in the same? 
\nAt another point, I was thinking that genre–if defined by its actants (ordinary
\nfolk rather than some higher elite)–challenges us with a problem of naming. 
\nWho names genres?  Is the genre named suddenly afforded the possibility of
\nrecurring?  In other words, is an un-named recurrent activity outside the
\nrealm of genre or, as Prior thoughtfully tabs it, genrification<\/i>? 
\nNote that my fondness for genrification is purely spell-check serendipity: it’s
\nsub: gentrification.  Mm-hmm.  Something to it?   <\/p>\n

Still confounding: I’m stuck on a question of the role genre plays in
\nproducing a situation<\/i>.  Devitt suggests near the end of the chapter
\nthat the which-came-first paradox (the chicken or the text) between situation
\nand genre is mixed with (though not solved by) a double-action.  Genre and
\nsituation are co-constitutive, "so tightly interwoven as to be interlocked"
\n(22).  Following this logic, genre doesn’t respond to a situation, nor does
\nit enter only after the fact.  So it’s neither deterministically a
\npriori<\/i> nor a clear consequence.  In another sense, "[g]enres are
\nalready always existing" (28).  Clear?  It’s just that it seems a
\ndifficult move to go from the tight interlock between situation and genre and
\nalso to go for the always already.  At moments like these, I tend to defer
\nto a less optimistic view of genre; I want to defer to a stance that prefers
\nvocabulary of diffusion and pattern.  I’m not settled on the degree to
\nwhich these distinctions are semantic, which leads me to question the extent to
\nwhich knowledge of genre as genre shapes activity.  But then as I turn to
\nworking on something for prospective publication, does genre help (as Devitt
\nsays it does)?  Most definitely.<\/p>\n

I found Paul Prior’s first chapter, "Resituating the Discourse Community," especially point-on in its working through a sequence of Saussure, Ricouer and
\nBakhtin to present a range of thinking from structuralism to sociohistoricism as
\nthey, in turn (a turn taken up in the beginning of c. 3), apply to "discourse
\ncommunity."  In sociohistoric orientations we find more resistance to
\nsystematic, mechanistic treatments of form; and while this is useful for
\ninterrogating the genre-as-bucket metaphor, it also aligns Prior with much of
\nthe development of theories of genre in Miller, Bawarshi and Devitt.  In
\nmentioning "indexical socialization," Prior cites Ochs (1988)–just something to
\nlook up later.  Genre as indexical socialization?  Perhaps not, but
\nthe idea that disiplinarity revolves around a kind of indexical socialization is
\ninteresting, even if it draws on a slightly different notion of activity
\npatterns than genre theory looks at.  <\/p>\n

Prior’s work also gives us a nice synthesis of several Friends of Activity
\nTheory; in a section subtitled "From Conduits to Communities to Persons: A
\nStructuralist Network," he draws on Vygotsky, Wertsch, Bruner, Lave & Wenger to
\nsuggest the complicated nexus between the social and the cognitive, between
\nwhich agency and multiplicity intercede.  Slowly and through heavily cited
\nprose, he sets up a way of talking about "disciplines as open networks";
\neventually, he says straight-out that he prefers the concept of "disciplinarity"
\nto "discipline" because "disciplinarity evokes a process rather than a place or
\nobject" (26).  Perhaps more useful, however, is Prior’s presentation of the
\npossibilities in regarding disciplinary formations in network terms–preferring
\na more relational, networked model for disciplinarity to the more common
\n"discourse community" frame.  <\/p>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>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).  Devitt gracefully works genre into an interactive model between individuals (at a basic level); social structures, genre, and…<\/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":[404,405,401,403,319,402,406],"class_list":["post-6324","post","type-post","status-publish","format-standard","hentry","category-genre","tag-context","tag-culture","tag-devitt","tag-disciplinarity","tag-genre","tag-prior","tag-situation"],"yoast_head":"\nGenre Theory II - 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