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Misinformation has generated much discussion in the aftermath of the COVID-19 pandemic and attendant "Infodemic," as the World Health Organization (WHO) dubbed the challenge of disordered information. Rhetorical genre studies can offer important insights about how misinformation functions within informational ecologies by revealing how typification and recurrence provide opportunities for misinformation to take hold. This article develops a genre-based framework to study scientific and technical misinformation as illicit genres through concepts of genre function and abusability. [ABSTRACT FROM AUTHOR]

A recent issue of the Australian Journal of Language and Literacy included an article reporting on a systematic narrative review of the research literature that indicated that there was insufficient evidence to conclude whether genre theory and systemic functional linguistics either 'worked' or 'did not work'. The criteria used to evaluate these studies excluded any study that did not conform to the 'gold standard' associated with experimental research such as randomised controlled trials. In response to this provocative finding, a group of SFL researchers decided to examine just what counts as evidence of quality literacy research these days. In this paper, we question the overreliance on experimental research at the expense of other methods. We illustrate this with a sample of notable studies that do not meet experimental criteria, but which nevertheless have made a significant contribution to school literacy outcomes in Australia and elsewhere. [ABSTRACT FROM AUTHOR]

Copyright of Comparative Studies of South Asia, Africa, & the Middle East is the property of Duke University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The novel has been widely acknowledged as a historically significant factor in the construction of gay identities, and the novel is central to queer literary studies. Yet the genre of the gay novel is curiously undertheorized. Scholars seldom address the transformations wrought on the novel by engagements with queerness, generally treating it as simply a delivery system for queer representation and queer affect. This essay addresses this gap in queer literary studies through an analysis of Andrew Holleran's Dancer from the Dance (1978) as a hyperparadigmatic example of the gay novel. Deploying novel theory and genre theory, this article argues that Dancer indicates how gayness transforms the novel and how the novel enables the lived experience of gay identity. Dancer, and the gay novel generally, complicate novel theory's assumption that the genre always privileges the individual over the collective. The "marked" form of individuality that is gay identity is often suffused by collectivity in a way that is not the case in novels with "unmarked" protagonists. The simultaneously personal and collective dimensions of gay life are also evident in the reception of gay novels. Like other examples of what Lauren Berlant calls the "minoritized arts," Dancer provides "a complex of consolation, confirmation, discipline, and discussion about how to live as an x." Dancer has been the focus of intense and enduring forms of "discussion about how to live" as a gay man, and it therefore provides a particularly informative instance of the gay novel's cultural work. [ABSTRACT FROM AUTHOR]

The article aims to identify some of the peculiarities of the 19th century outlaw novel in relation to the conventions and the stereotypes of the historical novel, focusing on N. D. Popescu's novels. The author almost always proves rather undemanding about the accuracy of historical data, not necessarily for strictly literary reasons, but rather to better fit the adventures and actions of the characters in accordance with the moralizing intention of his writings, present in almost all his novels. It is not by chance that he always chooses the sources that best fit his stated intentions. [ABSTRACT FROM AUTHOR]

This paper reports a systematic narrative synthesis review conducted on the educational effectiveness of genre theory/systemic functional linguistics pedagogies for improving reading and writing outcomes in K-10 education within mainstream classrooms in Australia, the UK, the USA, New Zealand, and Canada. This framework has significant influence on reading and writing curriculum, teacher training, and literacy practices. However, its evidence base has never been systematically reviewed. An exhaustive database search sourced 7846 potentially relevant studies, which were screened according to guidelines for evaluating evidence through systematic narrative synthesis reviews and standardly applied criteria for educational evidence (e.g., The Centre for Education Statistics and Evaluation, What Works Clearinghouse). Very few peer-reviewed intervention studies with control groups and quantitatively measured outcomes were found. A surprising result. Those studies showing positive effects had flaws in research design and quality that preclude their use as educational evidence. This systematic review indicates that there is insufficient rigorous evidence of the benefits, or lack thereof, of genre theory/systemic functional linguistics–based approaches to teaching reading and writing within K-10 education, at least in terms of measurable outcomes for students. More high-quality research needs to be undertaken as the current research record is not sufficient to prove or disprove the value of this approach. [ABSTRACT FROM AUTHOR]

In 1612, Toussaint du Bray, a renowned Parisian bookseller, publishes a daring anthology: Le Recueil des plus excellents ballets de ce temps , a collection of texts borrowed from ballets of his time. In this article, the author tries to highlight the fact that Toussaint du Bray's approach constitutes an extremely strong gesture that decisively contributes to the emergence of a true editorial genre. While attempting to address this question, the author will also seek to assess the political significance of this selection of ballets. [ABSTRACT FROM AUTHOR]

There is little linguistic research on the structure of judicial opinions from a discourse analysis perspective. There are, however, many professional resources about writing judicial opinions. This paper contributes to genre theory and linguistics of languages for specific purposes by proposing a role for professional writing advice. We also construct a typology of macrostructures proposed by professionals and compare them to the move structure of authentic judicial opinions. Our results show that, in terms of large discourse units, professional resources and move analysis seem to converge. Professional resources, however, do not describe the variation that may be observed in authentic documents. In this way, corpora of professional advice may contribute to a deeper understanding of how a discourse community represents its own genres. [ABSTRACT FROM AUTHOR]

As a social phenomenon, artificial intelligence (AI) is not just technically but also culturally constructed. This article investigates the meaning-making of AI in the case of AlphaGo by employing and refining cultural sociological narrative analysis. Building on Smith's structural model of genre, whose horizontal axis reflects varying degrees of (dis-)enchantment, I propose an extended model of narrative genre, adding a vertical axis on the theoretical basis of Durkheim's distinction between pure and impure sacred, to account for the empirical bifurcation between utopian and dystopian AI narratives. While critical approaches to AI, prevalent in sociology, tend to offer disenchanted narratives, my cultural sociological approach allows for the construction of a meta-narrative, which is able to capture not only enchantment as well as disenchantment but also purification and impurification as empirical processes that accompany the emergence and consolidation of new technologies. This approach is exemplified by a case study of AlphaGo, a Go-playing program utilizing machine learning and neural networks, which gained global prominence and cultural significance after beating a human grandmaster in 2016. Drawing on publicly available online data, this article investigates the discourses surrounding AlphaGo, focusing on its cultural construction through storytelling and genre. I not only show how characters and events were emplotted in different stories, which were in turn embedded in broader narratives about technological progress and AI, but also explain how the development of the main storyline was driven by in-game performances, audience expectations and collective representations. The article demonstrates the feasibility of a cultural sociology of AI and the usefulness of my extended model of narrative genre, which is not only applicable to AI discourses but other domains as well. [ABSTRACT FROM AUTHOR]

The notebooks where José Gaos wrote notes day by day harbor the seeds of later publications, but their intellectual value has not always been recognized. This article examines the tensions between relegation to privacy and appreciation as a valuable part of professional work. To do this, the conceptions associated with three genres with which the author came to link them are explored: the diary, the diary and the aphorism. The confrontation of these theoretical categories with the practice that Gaos carried out in his notebooks highlights problematic aspects in the generic definitions and complements the portrait of the philosopher's work. [ABSTRACT FROM AUTHOR]

Copyright of Studia Norwidiana is the property of Towarzystwo Naukowe Katolickiego Uniwersytetu Lubelskiego Jana Pawla II and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Many current paradigms of world literature, aligned to world-systems theory or Casanova’s “world republic of letters,” assume a diffusionist model of literature that situates the origins of literary modernity in the West. This model has found particular favour in the privileged case of the novel, but how do things stand with other genres? This essay examines the physiology, a popular quasi-journalistic genre dedicated to the taxonomic description of mores, customs and social types. Popularly associated with the figure of the urban flaneur and subsequently critiqued by Walter Benjamin, the physiology peaked under the July Monarchy in France and gained unprecedented success in Russian letters where it served to generate the basis of a non-bourgeois public sphere, after which it was also adapted to the circumstances of Russia’s own imperial borderlands. This paper outlines the essential contours of the physiology as it arose in France, in terms of its internal poetics as well as its social currency, and compare its French life with its Russian metropolitan counterpart, where it was transformed from a paraliterary genre to one that would occupy the centre of the Russian literary life in the transition from romanticism to realism. Its subsequent life in the Caucasus region reveals the rise of a colonial urban aesthetics of the picturesque. Does this story confirm or confound the diffusionist model? The essay’s external trajectory confirms the European origins of the genre and its subsequent circulation throughout the Russian empire, from metropole to periphery. A discussion of genre, however, requires more than an account of its its immanent structural features or its subordination to a singular external socio-spatial logic. The social life of circulating genres points to their divergent role in different literary systems, and to the distinct formal and ideological solutions they propose within regional or local contexts. It would appear, then, that the diffusionist model is pertinent to the movement of some hegemonic genres in the modern era, but that the centre/periphery model needs to be complemented by greater attention to the trans/regional and the local as defining levels of geographic scale in the realm of cultural production. Only a trans-scalar analysis, moving between multiple spatial levels, allows us to honour what humanists celebrate as cultural specificity without sacrificing the global perspective offered by world-systems theory.

The article confronts genre theory with considerations of temporality. Starting from the assumption that the genres of essay and manifesto lend themselves to divergent constructions of time, it interrogates the artificiality of generic demarcations and highlights formalisations of time in the blended genre of the essay manifesto. Considering select representative texts, the article brings into view manifold dynamics that might otherwise be missed, especially with regard to temporality. Rather than assuming contrastive constructions of time on a spectrum of tension between the poles of duration (length of time and permanence) and momentariness (brevity and transitoriness), the article introduces the concept of dialectical gestures of time in the sense of two interrelated, mutually constitutive notions of momentary duration and enduring momentariness. As is shown, foregrounding dialectical temporal gestures in the essay manifesto highlights critical functional aspects of this form, including polemical disruption and explorative reflection. [ABSTRACT FROM AUTHOR]

The article aims to identify some of the peculiarities of the 19th century outlaw novel in relation to the conventions and the stereotypes of the historical novel, focusing on N. D. Popescu’s novels. The author almost always proves rather undemanding about the accuracy of historical data, not necessarily for strictly literary reasons, but rather to better fit the adventures and actions of the characters in accordance with the moralizing intention of his writings, present in almost all his novels. It is not by chance that he always chooses the sources that best fit his stated intentions. [ABSTRACT FROM AUTHOR]

Writing center scholars have long debated whether writers are best served by "generalist" tutors trained in writing center pedagogy or "specialist" tutors with insider knowledge about a course's content or discipline-specific discourse conventions. A potential compromise that has emerged is training tutors in the purposes and features of specific genres. The writing center literature showcases many different approaches to genre training. However, little empirical research, if any, has explored how tutors' genre knowledge affects session outcomes. The present study used a mixed-methods approach to compare session outcomes for students who worked with generalist and genre-trained tutors. We analyzed pre-consultation and revised literature review drafts to determine whether students who worked with tutors trained in the genre of literature reviews improved their drafts more or revised their drafts differently than students who worked with generalist tutors. Additionally, we performed a qualitative analysis of student reflections about their writing processes to explore how tutor training impacts students' impressions of their consultations. Findings indicated that students who worked with genre-trained tutors revised their drafts more substantively than did students who worked with generalist tutors. Moreover, students who worked with genre-trained tutors left with notably better and richer impressions of their consultations. [ABSTRACT FROM AUTHOR]

Many of our ideas about workplaces have been inherited from 20th-century corporations, in which the elements of the workplace have been packaged in a highly typified configuration: work is done by people belonging to an organization, for some clear reason, at a specific place and time, using specific processes. This configuration is increasingly at odds with work practice, and thus workplace writing researchers must reconsider what is meant by the "workplace." This article argues for treating the workplace as a conceptual decision: a bounded case that researchers construct to enable systematic comparisons. After reviewing how cases are bounded in methodology and practice, the article ends with concrete principles and guidance for bounding such case studies. [ABSTRACT FROM AUTHOR]

Since its genesis in the 1960s, Conversation Analysis (CA) has noticeably developed further in terms of its subjects and methods. Its analyses, today, not only focus on conversations in the original sense, but also on visual elements such as gazes in interactions and the role of bodies. However, it also analyzes especially larger communicative units, e.g., in institutionalized settings and it addresses larger sequences of action. One of these approaches is the theory and analysis of communicative genres. Communicative genres are to be understood as consolidated forms of communication. The theory of communicative genres understands these forms as solutions to communicative problems. Genre analysis is methodologically grounded in CA; however, it exceeds it conceptually and theoretically, thus anchoring its questions clearly within sociology. The paper starts out by outlining the concepts and theory of communicative genres. The article discusses the empirical contribution of genre analysis using the example of three so-called “families of genres” families. The examples discussed are reconstructive genres (speaking about the past), genres of moral communication (speaking about other people’s behavior), and projective genres (speaking about the future). Using examples from empirical research, it is shown which communicative problems these genres solve. The paper finally considers the insights to be gained from genre analysis for sociology and CA.

The dynamics of Georg Lukács's development and divergent scholarly perspectives are reconsidered in light of his little-read 1909 dissertation, The Developmental History of Modern Drama. This long early work, with its detailed methodological apparatus, establishes a baseline of comparison for his later and better-known works, especially in Soul and Form (1911), The Theory of the Novel (1916), and History and Class Consciousness (1923). This framework can reconnect Lukács's early theory of literary genres to contemporary debates on form in literature, epistemology, and political and social theory. Attention to the systematics of Lukács's earliest historical-transcendental criteria of literary form allows his genre poetics to be understood more flexibly than has often been assumed. The difference between novel and modern drama, for example, is not categorical but functions as a differential of protagonists' possible forms of agency and autonomy in a world defined by passivity and heteronomy. The political subtext of Lukács's early theory of the tragic pursues a double agenda of historical symptomatics (defining tragedy as the genre of a class achieving consciousness of its own decline) and existential radicalization (totalizing onstage and offstage tragedy as the pinnacle of aesthetic experience and the heroic rupture into a new historical era). [ABSTRACT FROM AUTHOR]

What made Goethe's Faust so special to Georg Lukács? The contribution explores possible answers and examines the theoretical implications of the unique position Goethe's Faust occupies in Lukács's postwar writings. During his engagement Lukács modifies some of his most dearly held convictions. For example, his criticism of mixing genres disappears in his identification of Faust's peculiar form as an "epic-dramatic form" said to approximate the elusive epical poem. But as such, it is also the paradoxical manifestation of a singular form without predecessors or followers. The essay concludes with a coda on the aftermath of Lukács's Faust obsession in the work of the latter-day Marxist Franco Moretti. [ABSTRACT FROM AUTHOR]

In this study, fictional biographical films are discussed within the framework of genre theory in cinema. The main purpose of the study is to question how the life story of the subject is reconstructed in biographical films and to reveal the similarities and differences in the narratives of biographical films produced in different cultures. The study is a case study carried out with the qualitative analysis method. In the study, two films determined by purposive sampling were subjected to descriptive analysis within the framework of the selected themes. The films examined are Müslüm (2018), which is about the life story of Müslüm Gürses, who is known as the "Father" of arabesque music, and Bohemian Rhapsody (2018), which brings the life story of Freddie Mercury, the extraordinary soloist of the British rock band Queen, to the screen. It is observed that both films carry out the traditions of the biographical film genre. Along with the musical achievements in their careers, their family issues and private lives were also included in the narratives of both films. However, Bohemian Rhapsody presents a linear plot, while Müslüm structured the narration with back and forth jumps in between different points of time. In addition, Müslüm, by also featuring the childhood of the artist, covered a larger part of the life story of the subject, in comparison to Bohemian Rhapsody. [ABSTRACT FROM AUTHOR]

Across the Persianate regions of late-nineteenth and early-twentieth-century Eurasia, the discourse of modernization had a deep, perhaps even dominant aesthetic dimension. Apparently disparate anxieties about oriental indolence, homosexuality and unmanliness, flattery and unmeaning speech, and submission to despots all may be understood as elements of a coherent critique of a single literary mode: taghazzul. Insofar as ghazal was a "royal genre" (Ireneusz Opacki), it provided the formal-aesthetic framing for numerous literary and speech genres, and thus for the social and political order. In case studies from across the Persianate zone, this article considers how writers' refusal of taghazzul , or its excision from their texts, became a recognizable gesture of disaffiliation from the Persianate. In the resulting reordering of the literary field, taghazzul took on new functions in relation to the Western category of lyric. [ABSTRACT FROM AUTHOR]

This review discursively addresses questions about (1) what digital genres are, in the context of genre theory and social practices, and (2) what the impact of these new-media genres may be on how we theorize and analyze genre, engage in genre-informed teaching, and, more generally, produce and interact with genre-mediated information. • Genre theory offers a powerful lens for understanding digital genres. • Ongoing conceptual expansion of genre-defining notions is needed. • Technology and its social contexts appear to be accelerating genre evolution. • Challenges posed by digital genres call for innovative and critical approaches. [ABSTRACT FROM AUTHOR]

Jungmann’s Slovesnost as Genre Theory This study considers Jungmann’s Slovesnost (‘Belles-lettres’; 1820) as a comprehensive theory of literary genres, examining the work on its own merits but also as part of the contemporary discussion on genre theory. Attention is also given to the development of this discussion in the 18th century, particularly in the German-language context at the turn of the 18th and 19th centuries. Jungmann’s work on genre is presented as an independent contribution to contemporary thinking in the field, covering a number of aspects of genre theory: linguistic, hierarchical, historical, intermedial, and modal.

There is little linguistic research on the structure of judicial opinions from a discourse analysis perspective. There are, however, many professional resources about writing judicial opinions. This paper contributes to genre theory and linguistics of languages for specific purposes by proposing a role for professional writing advice. We also construct a typology of macrostructures proposed by professionals and compare them to the move structure of authentic judicial opinions. Our results show that, in terms of large discourse units, professional resources and move analysis seem to converge. Professional resources, however, do not describe the variation that may be observed in authentic documents. In this way, corpora of professional advice may contribute to a deeper understanding of how a discourse community represents its own genres.

This essay develops a theory of the literary excerpt, taking as a case study the ways in which James Russell Lowell's 1845 poem "The Present Crisis" has been quoted in public discourse by abolitionists, suffragists, temperance activists, anti-imperialists, and Civil Rights activists including W. E. B. Du Bois and Martin Luther King, Jr. A prominent recent instance is U.S. Senate Chaplain Barry Black's quotation from the poem in his opening prayer for the second impeachment trial of Donald Trump. Tracing these and other histories of excerpting "The Present Crisis," the essay draws on Rhetorical Genre Studies to argue that the literary excerpt is a distinct paraliterary genre, a form of social action that enables two purposes: bringing literary authority to nonliterary domains and participating in a tradition through repetition. Attention to the excerpt genre's pragmatics can thus bring the question of instrumentality (back) to considerations of literariness. [ABSTRACT FROM AUTHOR]

Copyright of ANAFORA is the property of Anafora and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Prace Filologiczne. Literaturoznawstwo is the property of University of Warsaw and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anales de Filología Francesa is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article argues that one of the best ways to chart the complexity of Hamilton's cultural reverberations is via the analytical lens of genre. Indeed, many of the (academic) controversies surrounding the musical are related to an unease with how its pop culture genres intersect with cultural, historical, and political meaning-making processes. At stake is the ongoing dynamics between the complicity and the multiplicity of the aesthetic product--between the confirmation of (genre) expectations and mythical narratives on the one hand, and innovation and intervention, on the other. Specifically, this article considers the pedagogic role that genres play for Hamilton: the musical has not only been lauded by instructors across the U.S. for use in their classrooms, but the creators of the musical have themselves reinforced the pedagogic angle both as a marketing tool and as part of what they see as their social and political commitment. Consequently, this essay draws on a transdisciplinary conception of genre that has emerged in the last three decades to test its affordances for tracing the socio-political efficacy of pop culture works. [ABSTRACT FROM AUTHOR]

This article argues that one of the best ways to chart the complexity of Hamilton’s cultural reverberations is via the analytical lens of genre. Indeed, many of the (academic) controversies surrounding the musical are related to an unease with how its pop culture genres intersect with cultural, historical, and political meaning-making processes. At stake is the ongoing dynamics between the complicity and the multiplicity of the aesthetic product—between the confirmation of (genre) expectations and mythical narratives on the one hand, and innovation and intervention, on the other. Specifically, this article considers the pedagogic role that genres play for Hamilton: the musical has not only been lauded by instructors across the U.S. for use in their classrooms, but the creators of the musical have themselves reinforced the pedagogic angle both as a marketing tool and as part of what they see as their social and political commitment. Consequently, this essay draws on a transdisciplinary conception of genre that has emerged in the last three decades to test its affordances for tracing the socio-political efficacy of pop culture works.