@book {1342, title = {Genre Theory in Information Studies}, year = {2015}, publisher = {Emerald Group Publishing Ltd.}, organization = {Emerald Group Publishing Ltd.}, address = {Bingley, UK}, abstract = {

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.

}, keywords = {information science}, url = {http://books.emeraldinsight.com/contact.asp?CUR=GBP}, author = {Jack Andersen} } @article {1284, title = {Assessing Scholarly Multimedia: A Rhetorical Genre Studies Approach}, journal = {Technical Communication Quarterly}, volume = {21}, year = {2012}, pages = {61-77}, author = {Cheryl E. Ball} } @book {1311, title = {Watching with The Simpsons: Television, Parody, and Intertextuality}, year = {2006}, publisher = {Routledge}, organization = {Routledge}, address = {New York}, author = {Gray, Jonathan} } @article {1280, title = {Emerging Personal Media Genres}, journal = {New Media and Society}, volume = {12}, year = {2010}, pages = {947-963}, chapter = {947}, abstract = {

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.

}, author = {Marika L{\"u}ders and Lin Pr{\o}itz and Terje Rasmussen} } @article {1281, title = {Negotiating Claims to Journalism: Webloggers{\textquoteright} Orientation to News Genres}, journal = {Convergence}, volume = {10}, year = {2004}, pages = {33-54}, chapter = {33}, abstract = {

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.

}, author = {Matheson, Donald} } @article {1285, title = {Environmental Policy Making and the Report Genre}, journal = {Technical Communication Quarterly}, volume = {6}, year = {1997}, pages = {77-99}, author = {Carolyn D. Rude} } @article {1282, title = {Dismantling the Guitar Hero? A Case of Prodused Parody and Disarmed Subversion}, journal = {Convergence: The International Journal of Research into New Media Technologies}, volume = {19}, year = {2012}, pages = {63-76}, abstract = {

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.

}, author = {J{\"o}rgen Sk{\r a}geby} } @article {1279, title = {Additional Communication Channels in Dutch Television Genres}, journal = {New Media and Society}, volume = {9}, year = {2007}, pages = {651-659}, chapter = {651}, abstract = {

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.

}, author = {Van Selm, Martine and Peeters, Allerd} } @article {1283, title = {The Art of Invective: Performing Identity in Cyberspace}, journal = {New Media \& Society}, volume = {4}, year = {2002}, pages = {51-70}, abstract = {

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.

}, author = {Steven S. Vrooman} } @article {1310, title = {Effect of Genre Expectations on Text Comprehension}, journal = {Journal of Experimental Psychology}, volume = {20}, year = {1994}, pages = {920-330}, abstract = {

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.

}, author = {Zwaan, Rolf A.} }