01434nas a2200193 4500008004100000245004900041210004900090300001200139490000600151520088200157653001501039653001101054653001001065653001601075653002401091653002001115100002201135856008301157 2011 eng d00aPride and Prejudice and the adaptation genre0 aPride and Prejudice and the adaptation genre a227-2430 v33 a

Following from the work of Thomas Leitch (2008) and Christine Geraghty (2009),
adaptations that position themselves as adaptations are considered in relation to
an evolving definition of an adaptation genre. In particular, Pride and Prejudice
is regarded as a template for such a genre, a genre signified by a period setting;
period music; a focus on intertitles, words, books and authors; the foregrounding of
‘new’ media; the inclusion of artwork in the sets or in the mise-en-scène; implicit or
explicit tributes to the author; and an appeal to a female audience through the insertion
of female-friendly episodes. The films Pride and Prejudice (1940), Pride and
Prejudice (2005) and Becoming Jane (2007) are examined in relation to this concept
of the genre ‘adaptation’.

10aadaptation10abiopic10agenre10aJane Austen10aPride and Prejudice10aromantic comedy1 aCartmell, Deborah uhttps://genreacrossborders.org/biblio/pride-and-prejudice-and-adaptation-genre02193nam a2200205 4500008004100000020001800041245004000059210003700099260005700136520161100193653001601804653001001820653001101830653001301841653001401854653001301868653001201881100001901893856007501912 2005 eng d a0-8141-5250-300aTeaching writing: Craft, art, genre0 aTeaching writing Craft art genre aUrbana, IllbNational Council of Teachers of English3 a

In today’s educational climate, it is more important than ever that we prepare our students to be effective and competent writers who can write for a variety of purposes. How can we teach our students the skills they need to be successful while also fostering an appreciation for the process, craft, and art of writing?

Drawing from sound theory and research as well as on many years of experience in the English classroom, Fran Claggett and colleagues Joan Brown, Nancy Patterson, and Louann Reid have created a writing teacher’s resource to help both new and experienced teachers sort through the often complex issues in the teaching of writing. With innovative, teacher-tested strategies for creating a classroom in which students thrive as writers, Teaching Writing: Craft, Art, Genre is a must-have addition to every writing teacher’s library.
In this volume, you’ll discover:

192 pp. 2005. Grades 7–12. ISBN 0-8141-5250-3.

10acomposition10agenre10amiddle10aresource10asecondary10ateaching10awriting1 aClaggett, Fran uhttps://genreacrossborders.org/biblio/teaching-writing-craft-art-genre00460nas a2200181 4500008004100000245001900041210001700060300001100077490000700088653001600095653001500111653001000126653001100136653001300147653002000160110004300180856005500223 2011 eng d00aGenre [poster]0 aGenre poster an. pag0 v6210acomposition10adefinition10agenre10aposter10aresource10awriting process1 aCollege Composition and Communication. uhttps://genreacrossborders.org/biblio/genre-poster02214nam a2200205 4500008004100000020002200041245004700063210004400110260005700154520160100211653001601812653001001828653001601838653001601854653001301870653001301883653001201896100001801908856008201926 2008 eng d a978-0-8141-1841-200aGenre theory: Teaching, writing, and being0 aGenre theory Teaching writing and being aUrbana, IllbNational Council of Teachers of English3 a

Contemporary genre theory is probably not what you learned in college. Its dynamic focus on writing as a social activity in response to a particular situation makes it a powerful tool for teaching practical skills and preparing students to write beyond the classroom.

Although genre is often viewed as simply a method for labeling different types of writing, Deborah Dean argues that exploring genre theory can help teachers energize their classroom practices.

Genre Theory synthesizes theory and research about genres and provides applications that help teachers artfully address the challenges of teaching high school writing.

Knowledge of genre theory helps teachers:

Because genre theory connects writing and life, Dean’s applications provide detailed suggestions for class projects—such as examining want ads, reading fairy tales, and critiquing introductions—that build on students’ lived experience with genres. These wide-ranging activities can be modified for a broad variety of grade levels and student interests.

119 pp. 2008. Grades 9–12. ISBN 978-0-8141-1841-2.

10acomposition10agenre10agrades 9-1210ahigh school10aresource10ateaching10awriting1 aDean, Deborah uhttps://genreacrossborders.org/biblio/genre-theory-teaching-writing-and-being02156nas a2200229 4500008004100000245008300041210006900124260001200193300001000205490000700215520145000222653001401672653002901686653001901715653001101734653001401745653001101759653001201770653001301782100002001795856011101815 2013 eng d00aDismantling the guitar hero? A case of prodused parody and disarmed subversion0 aDismantling the guitar hero A case of prodused parody and disarm c02/2013 a63-760 v193 a

A ‘shreds’ video combines existing live music concert footage, predominantly including a famous
male rock guitarist or guitar based rock group, with a self-produced overdubbed soundtrack. The
result is a musical parody that exists in an intersection between production and consumption and
works as a within-genre evolution. The shred is controversial and its most popular instalments
have been pulled from YouTube on claims of copyright infringement. This paper examines shreds
as a form of multimodal intertextual critique by engaging with the videos themselves, as well as
audience responses to them. As such, the applied method is genre analysis and multimodal semiotics
geared towards the analysis of intertextual elements. The paper shows how prodused parody
exists as a co-dependence between: (1) production and consumption; (2) homage and subversion;
(3) comprehension and miscomprehension; and (4) media synchronicity and socioeconomic dis/
harmony. The paper also discusses how shreds can be interpreted as tampered-with gender
performances. In conclusion, it becomes clear that the produsage of shred videos is part of ‘piracy
culture’ because it so carefully balances between the mainstream and counter-culture, between
the legal and the illegal, and between the commoditized artefact and networked production.

10aAudiences10acritical intertextuality10agenre analysis10aparody10aprodusage10ashreds10aYouTube10a[gender]1 aSkageby, Jorgen uhttps://genreacrossborders.org/biblio/dismantling-guitar-hero-case-prodused-parody-and-disarmed-subversion