01495nam a2200121 4500008004100000245004000041210004000081260004700121520110600168653002401274100001901298856005601317 2015 eng d00aGenre Theory in Information Studies0 aGenre Theory in Information Studies aBingley, UKbEmerald Group Publishing Ltd.3 a

Studies in Information publishes monographs on critical issues in the information society. The book series is concerned with all aspects of information; its nature, politics, institutions, usages, and technologies, and it presents research from a wide range of disciplinary traditions. Previously published as Library and Information Science, it is a fully peer-reviewed and high impact outlet for research in the field of information. This new volume, edited by Jack Andersen, is the first to be published under the new series name Studies in Information. The book highlights the important role genre theory plays within information studies. It illustrates how modern genre studies inform and enrich the study of information, and conversely how the study of information makes its own independent contributions to the study of genre. Various original contributions scrutinize core aspects of information and knowledge organization, such as information systems and distributed authorship; personal information management; and records management in organizations, all through the lens of genre.

10ainformation science1 aAndersen, Jack uhttp://books.emeraldinsight.com/contact.asp?CUR=GBP00437nas a2200109 4500008004100000245007200041210006900113300001000182490000700192100002100199856010700220 2012 eng d00aAssessing Scholarly Multimedia: A Rhetorical Genre Studies Approach0 aAssessing Scholarly Multimedia A Rhetorical Genre Studies Approa a61-770 v211 aBall, Cheryl, E. uhttps://genreacrossborders.org/biblio/assessing-scholarly-multimedia-rhetorical-genre-studies-approach00421nam a2200097 4500008004100000245007200041210006900113260002400182100001900206856009800225 2006 eng d00aWatching with The Simpsons: Television, Parody, and Intertextuality0 aWatching with The Simpsons Television Parody and Intertextuality aNew YorkbRoutledge1 aGray, Jonathan uhttps://genreacrossborders.org/biblio/watching-simpsons-television-parody-and-intertextuality01413nas a2200145 4500008004100000245003500041210003500076300001200111490000700123520100400130100002001134700001701154700002101171856007501192 2010 eng d00aEmerging Personal Media Genres0 aEmerging Personal Media Genres a947-9630 v123 a

In this article we argue that the concept of genre has a valuable function within sociological theory, particularly for understanding emerging communicative practices within social and personal media. Genres span the whole range of recognizable forms of communication, play a crucial role in overcoming contingency and facilitate communication. Their function is to enhance composing and understanding of communication by offering interpretative, recognizable and flexible frames of reference. As such, genres generate a sense of stability in modern complex societies. Genres ought to be seen as an intermediary level between the levels of media and text, however influenced by both. They operate as interaction between two interdependent dimensions, conventions and expectations, both of which are afforded by media and specific texts. In this article these relationships are illustrated through two cases of emerging personal media genres: the online diary and the camphone self-portrait.

1 aLüders, Marika1 aPrøitz, Lin1 aRasmussen, Terje uhttps://genreacrossborders.org/biblio/emerging-personal-media-genres-001306nas a2200121 4500008004100000245007700041210006900118300001000187490000700197520085200204100002101056856010701077 2004 eng d00aNegotiating Claims to Journalism: Webloggers' Orientation to News Genres0 aNegotiating Claims to Journalism Webloggers Orientation to News  a33-540 v103 a

Abstract: This paper explores how writers of online diaries, or weblogs,
about public affairs negotiate their relationship with the genres and
social position of news journalism. Although often labelled radical
journalists, this paper finds, through interviews with seven webloggers,
that such writers orient themselves in complex ways towards news
journalism, at times drawing upon its modes of knowledge, at times
setting themselves in opposition to it and at times seeking to cross
discursive spaces. The paper concludes that, rather than emerging as a
new public communicative form or genre in relation to journalism, the
distinctiveness of the form is in its generic heterogeneity and ability to
traverse the boundaries of news and other institutional discourses.

1 aMatheson, Donald uhttps://genreacrossborders.org/biblio/negotiating-claims-journalism-webloggers-orientation-news-genres00382nas a2200109 4500008004100000245005300041210005300094300001000147490000600157100002200163856008700185 1997 eng d00aEnvironmental Policy Making and the Report Genre0 aEnvironmental Policy Making and the Report Genre a77-990 v61 aRude, Carolyn, D. uhttps://genreacrossborders.org/biblio/environmental-policy-making-and-report-genre01825nas a2200121 4500008004100000245008300041210006900124300001000193490000700203520135800210100002201568856011301590 2012 eng d00aDismantling the Guitar Hero? A Case of Prodused Parody and Disarmed Subversion0 aDismantling the Guitar Hero A Case of Prodused Parody and Disarm 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.

1 aSkågeby, Jörgen uhttps://genreacrossborders.org/biblio/dismantling-guitar-hero-case-prodused-parody-and-disarmed-subversion-001507nas a2200133 4500008004100000245006500041210006500106300001200171490000600183520104200189100002201231700002001253856010001273 2007 eng d00aAdditional Communication Channels in Dutch Television Genres0 aAdditional Communication Channels in Dutch Television Genres a651-6590 v93 a

This study examined the way in which television genres in the
Netherlands make use of additional communication channels in
terms of interactivity and genre modification and whether the
availability of additional communication channels in genres
corresponds to audience age. Expert interviews were held with
representatives of Dutch broadcasting organizations and a
secondary analysis of Audience Research data was conducted. It
was found that compared to other genres, short message service
(SMS) is added most frequently to reality programmes, email and
websites to the information genre, teletext to sports programmes
and merchandizing to children’s programmes. In addition, it was
found that only SMS is added more often to programmes
attracting a younger audience.The extent to which the additional
communication channels represented real innovation varied from
maintenance to the elaboration and modification of genres.

1 aVan Selm, Martine1 aPeeters, Allerd uhttps://genreacrossborders.org/biblio/additional-communication-channels-dutch-television-genres01428nas a2200121 4500008004100000245006000041210005500101300001000156490000600166520102100172100002401193856008901217 2002 eng d00aThe Art of Invective: Performing Identity in Cyberspace0 aArt of Invective Performing Identity in Cyberspace a51-700 v43 a

This article examines the common computer-mediated communication (CMC) phenomenon of ‘flaming’ from a rhetorical perspective, situating the phenomenon diachronically in the histories of invective in art and society. An examination of the notorious alt.flame newsgroup draws connections between the political and sexual content of the flames and the rants and dozens genres of invective. The article concludes with an argument against the still prevalent media-determinant view that holds that flaming is somehow caused by the medium of CMC itself. Given the strategic nature of the different kinds of flames, it makes more sense to view them as performative enactments of identity which stress either group or individual identity depending on the genre
of invective utilized by the flamer. This article demonstrates that the more historical approach offered by rhetorical criticism gives a vital perspective to an area of study from which rhetorical critics have for too long been absent.

1 aVrooman, Steven, S. uhttps://genreacrossborders.org/biblio/art-invective-performing-identity-cyberspace-001175nas a2200121 4500008004100000245005500041210005500096300001200151490000700163520077600170100002000946856008700966 1994 eng d00aEffect of Genre Expectations on Text Comprehension0 aEffect of Genre Expectations on Text Comprehension a920-3300 v203 a

This article investigates whether expectations about discourse genre influence the process and products of text comprehension. Ss read texts either with a literary story or with a news story as the purported genre. Subsequently, they verified statements pertaining to the texts. Two experiments demonstrated that Ss reading under a literary perspective had longer reading times, better memory for surface information, and a poorer memory for situational information than those reading under a news perspective. Regression analyses of reading times produced findings that were consistent with the memory data. The results support the notion that readers differentially allocate their processing resources according to their expectations about the genre of a text.

1 aZwaan, Rolf, A. uhttps://genreacrossborders.org/biblio/effect-genre-expectations-text-comprehension