@article {1150, title = {The Generic Integrity of Newspaper Editorials: A Systemic Functional Perspective}, journal = {RELC Journal: A Journal of Language Teaching and Research}, volume = {36}, year = {2005}, pages = {271-295}, chapter = {271}, abstract = {

One fruitful line of research has been to explore the local linguistic as well
as global rhetorical patterns of particular genres in order to identify their recognizable
structural identity, or what Bhatia (1999: 22) calls \‘generic integrity\’. In terms of
methodology, to date most genre-based studies have employed one or the other of
Swales\’ (1981/1990) move-analytic models of text analysis to investigate whether or
not the generic prototypical patterns that he has introduced exist universally. This
paper, however, considers the application of the Systemic Functional (SF) theory of
language to genre analysis. The paper looks, in particular, at distinctive rhetorical
features of English newspaper editorials as an important public \‘Cinderella\’ genre
and proposes a generic prototypical pattern of text development for editorials or what
Halliday and Hasan (1989) refer to as the Generic Structure Potential (GSP) of a
genre. The results of this study should benefit both genre theory and Systemic Functional
Linguistics (SFL) and will be, it seems, of interest not only to applied linguists,
but to those involved in education, journalism, and the media.

}, author = {Hasan Ansary and Esmat Babaii} } @article {1147, title = {The Author-Function, The Genre Function, and The Rhetoric of Scholarly Webtexts}, journal = {Computers and Composition}, volume = {28}, year = {2011}, pages = {145-159}, chapter = {145}, abstract = {

In this article, I compare Michel Foucault\&$\#$39;s (1994) author-function and Anis Bawarshi\&$\#$39;s (2000) genre function as explanations for the use, categorization, and value of scholarly webtexts. I focus much of my analysis on Anne Frances Wysocki\&$\#$39;s (2002) \“A Bookling Monument\” because it is explicitly designed to destabilize our reading practices. I also situate Wysocki\&$\#$39;s webtext along a spectrum with Charles Lowe\&$\#$39;s (2004) \“Copyright, Access, and Digital Texts\” and Collin Gifford Brooke\&$\#$39;s (2002) \“Perspective: Notes Toward the Remediation of Style.\” In using the author-function and the genre function as lenses on these pieces, I aim to articulate multiple possible modes of being for scholarly webtexts and their users. In the process, I illustrate the ways these concepts speak to the status and social function of authorial ownership and originality; multimodal complexity; and formal reflexivity. Ultimately, I argue that bringing traditional concepts like authorship and genre to bear on scholarly webtexts not only reveals the values of the Computers and Writing community but also presents a unique opportunity to continue testing the uses and limits of our rhetorical theories.

}, author = {Christopher Basgier} } @article {1149, title = {The Power and Politics of Genre}, journal = {World Englishes}, volume = {16}, year = {1997}, month = {1997}, pages = {359-371}, chapter = {359}, abstract = {

Generic knowledge plays an important role in the packing and unpacking of texts used in a
wide-ranging institutionalized socio-rhetorical context. If, on the one hand, it imposes constraints on an
uninitiated genre writer to conform to the conventions and rhetorical expectations of the relevant
professional community, on the other hand, it allows an experienced and established writer of the genre
to exploit conventions to create new forms to suit specific contexts. Unfortunately, however, this privilege
to exploit generic conventions to create new forms becomes available only to those few who enjoy a certain
degree of visibility in the relevant professional community; for a wide majority of others, it is more of a
matter of apprenticeship in accommodating the expectations of disciplinary cultures. This paper reviews
current research to investigate the way the power and the politics of genre is often exploited by the so-called
established membership of disciplinary communities to keep outsiders at a safe distance.

}, author = {Vijay K. Bhatia} } @book {1152, title = {Analysing Genre: Language Use in Professional Settings}, year = {1993}, pages = {264}, publisher = {Longman}, organization = {Longman}, address = {London}, author = {Bhatia, Vijay K.} } @article {1148, title = {Genre in the Design Space}, journal = {Computers and Composition}, volume = {28}, year = {2011}, pages = {186-194}, chapter = {186}, abstract = {

When doing research on design and genre development in digital media and for mobile platforms based on a combination of analysis and practical development, integrating the different aspects in a coherent model presents a challenge. This article outlines such a model, in which design is key to understanding the relationships between technology, genre, and practical development. The model is based on research on digital media and practical development of services for mobile devices. Overall, the model contributes to a methodology that combines genre studies and design-related research.

}, author = {Kjartan M{\"u}ller} } @article {1128, title = {More than Just Remixing: Uptake and New Media Composition}, journal = {Computers and Composition }, volume = {30}, year = {2013}, pages = {183-196}, chapter = {183}, abstract = {

This article turns to genre theory\’s recent explorations of uptake, broadly defined as the ways genres interact, as a resource forsketching a pedagogy of shuttling between genres. Using uptake, I intend to reconceptualize multimodal compositions as a meansof participating in rhetorical ecologies that consist of transactions between genres instead of thinking of remixes as an end inthemselves. In this article, I first define the concept of uptake in detail and discuss its use in rhetorical genre studies. After furtherillustrating uptake through an analysis of transactions between YouTube parodies and the 2005 German language film Downfall, Idiscuss existing scholarship in multimodal composition that draws on genre but not the idea of uptake in order to lay a foundation fora pedagogy that highlights the links, feedbacks, and rules that coordinate genres. My aim in the last section is to sketch possibilitiesfor how teachers and students can deploy the concept of uptake as a rhetorical tool to strengthen their awareness of genre andmultimodality. In doing this, I hope to reposition multimodal projects as beginnings or midpoints that lead to students\’ emersioninto public discourse rather than culminations or end goals in themselves. Integrating studies of uptake into writing curricula in thisway will help students to make sophisticated rhetorical decisions in the age of media convergence.

}, author = {Brian Ray} } @article {1131, title = {More than Just Remixing: Uptake and New Media Composition}, journal = {Computers and Composition}, volume = {30}, year = {2013}, pages = {183{\textendash}196}, chapter = {183}, abstract = {

This article turns to genre theory{\textquoteright}s recent explorations of uptake, broadly defined as the ways genres interact, as a resource for sketching a pedagogy of shuttling between genres. Using uptake, I intend to reconceptualize multimodal compositions as a means of participating in rhetorical ecologies that consist of transactions between genres instead of thinking of remixes as an end in themselves. In this article, I first define the concept of uptake in detail and discuss its use in rhetorical genre studies. After further illustrating uptake through an analysis of transactions between YouTube parodies and the 2005 German language film Downfall, I discuss existing scholarship in multimodal composition that draws on genre but not the idea of uptake in order to lay a foundation for a pedagogy that highlights the links, feedbacks, and rules that coordinate genres. My aim in the last section is to sketch possibilities for how teachers and students can deploy the concept of uptake as a rhetorical tool to strengthen their awareness of genre and multimodality. In doing this, I hope to reposition multimodal projects as beginnings or midpoints that lead to students{\textquoteright} emersion into public discourse rather than culminations or end goals in themselves. Integrating studies of uptake into writing curricula in this way will help students to make sophisticated rhetorical decisions in the age of media convergence.

}, keywords = {convergence, multimodality, new media composition, pedagogy, remix, uptake}, doi = {10.1016/j.compcom.2013.07.003}, author = {Ray, Brian} } @article {1134, title = {More than Just Remixing: Uptake and New Media Composition}, journal = {Computers and Composition}, volume = {30}, year = {2013}, pages = {183-196}, chapter = {183}, abstract = {

This article turns to genre theory\’s recent explorations of uptake, broadly defined as the ways genres interact, as a resource forsketching a pedagogy of shuttling between genres. Using uptake, I intend to reconceptualize multimodal compositions as a meansof participating in rhetorical ecologies that consist of transactions between genres instead of thinking of remixes as an end inthemselves. In this article, I first define the concept of uptake in detail and discuss its use in rhetorical genre studies. After furtherillustrating uptake through an analysis of transactions between YouTube parodies and the 2005 German language film Downfall, Idiscuss existing scholarship in multimodal composition that draws on genre but not the idea of uptake in order to lay a foundation fora pedagogy that highlights the links, feedbacks, and rules that coordinate genres. My aim in the last section is to sketch possibilitiesfor how teachers and students can deploy the concept of uptake as a rhetorical tool to strengthen their awareness of genre andmultimodality. In doing this, I hope to reposition multimodal projects as beginnings or midpoints that lead to students\’ emersioninto public discourse rather than culminations or end goals in themselves. Integrating studies of uptake into writing curricula in thisway will help students to make sophisticated rhetorical decisions in the age of media convergence. \© 2013 Elsevier Inc. All rights reserved.

}, author = {Brian Ray} } @article {1144, title = {Web Research and Genres in Online Databases: When the Glossy Page Disappears}, journal = {Computers and Composition}, volume = {19}, year = {2002}, pages = {57-70}, chapter = {57}, abstract = {

This article details the impact of online databases, proquest in particular, on composition research. When distinguishing different online texts, students often encounter research and documentation difficulties, indicating a need for more instruction that addresses new literacies emerging from the current transitional age of electronic and print cultures. I present new evaluative methods for online documents that utilize knowledge of online genres, information retrieval processes, and metaphoric imagery. As students research, they are not equipped with adequate knowledge of Web genres and need a metaphorical framework with which they can understand the ways different texts operate in virtual spaces.

}, author = {Michelle Sidler} } @inbook {1146, title = {Women and Technical Writing, 1475-1700: Technology, Literacy, and Development of a Genre}, booktitle = {Women, Science, and Medicine, 1500-1700}, year = {1997}, pages = {29-62}, publisher = {Thrupp, Stroud, Gloucestershire}, organization = {Thrupp, Stroud, Gloucestershire}, chapter = {{\textquotedblleft}Women and Technical Writing, 1475-1700: Technology, Literacy, and Development of a Genre.{\textquotedblright}}, address = {Sutton}, author = {Elizabeth Tebeaux and Lynette Hunter and Sarah Hutton} }