The genre to which an artwork belongs affects how it is to be interpreted and evaluated. An account of genre and of the criteria for genre membership should explain these interpretative and evaluative effects. Contrary to conceptions of genres as categories distinguished by the features of the works that belong to them, I argue that these effects are to be explained by conceiving of genres as categories distinguished by certain of the purposes that the works belonging to (...) them are intended to serve. (shrink)
Verb tenses play an important role in managing deictic relations between the narrator, the audience and the events happening in the story world. Across languages, the Simple Past is considered the conventional story-telling tense, reflecting the prototypical deictic configuration of stories in which the narrator is positioned at some distance from the events unfolding in the story. The Simple Present, on the other hand, is considered a marked option for narration, assumed to automatically result in a shift to a subjective (...) perspective. This paper reports on an analysis of a corpus made up of Dutch fictional short stories, news reports and feature articles. The results suggest that conventions for use and interpretation of verb tenses in narrative contexts are in fact genre-dependent. In the news genres, the Simple Present tense dominated in narration. This did not automatically result in a subjective mode or narration, but was naturally used to express a default narration of story events that temporally overlap with the temporal deictic center of the communicative ground. These findings suggest that previous analyses of verb tenses in relation to narration reflect an over-generalization based on the situational characteristics of prototypical narrative genres such as literary fiction and personal anecdotes. (shrink)
This 1995 book takes as its starting point Plato's incorporation of specific genres of poetry and rhetoric into his dialogues. The author argues that Plato's 'dialogues' with traditional genres are part and parcel of his effort to define 'philosophy'. Before Plato, 'philosophy' designated 'intellectual cultivation' in the broadest sense. When Plato appropriated the term for his own intellectual project, he created a new and specialised discipline. In order to define and legitimise 'philosophy', Plato had to match it against genres of (...) discourse that had authority and currency in democratic Athens. By incorporating the text or discourse of another genre, Plato 'defines' his new brand of wisdom in opposition to traditional modes of thinking and speaking. By targeting individual genres of discourse Plato marks the boundaries of 'philosophy' as a discursive and as a social practice. (shrink)
What part should description play in coming to judgment? Questions about genre have become more important in religious ethics as many seek to reform “thin” models of ethical arbitration by recourse to artistic, literary, and historical descriptions in their texts. In this book discussion, I explore what the consequences would be of pursuing this reform by turning to social anthropology—a discipline that relies on extensive empirical descriptions. I do this by considering the anthropology of ethics: a movement that seeks, (...) for the first time, to devote systematic and sustained attention the moral lives of ethnographic informants. I focus on the ways that authors within this field attempt to arrive at more realistic portraits of the different ways societies play out the familiar ethical themes of freedom, responsibility, suffering and agency. Their work challenges religious ethicists to consider what ethical conversation across these differences would look like, and thus to reconsider the relationship between description and judgment in their work. (shrink)
The article examines the genre specificity of Friedrich Hebbelâs dramaturgy. The attention is drawn to the operation of various genre elements in his works. The basic principles of creation of philosophical and mythological tragedy by Friedrich Hebbel are analyzed. The gnoseological conception of cognition of the world which relies on the ontological structure, transferring the center of gravity of the drama to the idea development, extension of space and time at the expense of inserting mythological plot and symbolism (...) as the signs of the genre. The philosophical and mythological tragedy of Friedrich Hebbel makes sense of ontological categories, elaborates ideas of social philosophy and philosophy of history. (shrink)
The present studies investigate morality’s influence on aesthetics and one potential moderator of that influence: genre. Study 1 finds that people’s moral evaluation positively influence their aesthetic evaluation of an artwork. Study 2 and 3 finds that this influence can be moderated by the contextual factor of genre. These results broaden our understanding of the relationship between morality and aesthetics, and suggest that models of art appreciation should take into account morality and its interaction with context. [Unpublishable 2010-2017.].
This paper aims at clarifying some of the most common issues that legal translators have to face when dealing with the translation of private normative texts, such as contracts or wills, which naturally emerge as the consequence and expression of legal or juristic acts in the scope of private law, in Spanish and English. To comprehend the differences and subtleties regarding legal communication between the common law and the continental law countries (specifically the United States and Spain, respectively), we must (...) unveil some essential clues for their translation and application in the global scope of professional interactions, thus creating a process of inter-legal communication, which takes place through the mutual interpretation and application of two, or more, legal traditions. Through the deployment of a generic or pragmatic analysis at textual or discursive and formal or superficial, strata, of two types of genre within the domain of private law (namely wills and tenancy agreements, or leases) this work aims to prove that both the civil law and the common law private instruments are translatable with respect to each other. An important proviso, however, is that their legal traditions and the genres that constitute the communicative tools of their specialised communities must be duly respected and kept in equilibrium, so that one does not overshadow and obliterate the other. Only in that way can the “convergence” of the two traditions truly enrich and strengthen national and international legal culture. (shrink)
Les séjours d’étude à l’étranger se sont développés après la Seconde Guerre mondiale. Plus que d’autres formes de voyage, ils permettent aux jeunes adultes de s’immerger dans la culture et le quotidien d’un autre pays. Les jeunes femmes américaines qui ont étudié en France entre la fin des années 1940 et les années 1960 ont été marquées par les stéréotypes de genre et les pratiques sociales et sexuelles auxquels elles ont été confrontées. S’appuyant sur des entretiens oraux avec d’anciennes (...) étudiantes et sur des lettres envoyées alors aux familles, cet article examine la manière dont ces Américaines ont négocié les différences culturelles, pour évaluer certains aspects de la culture française et se forger une identité individuelle plus indépendante et plus assurée. (shrink)
An adequate account of the nature of genre and of the criteria for genre membership is essential to understanding the nature of the various categories into which comics can be classified. Because they fail adequately to distinguish genre categories from other ways of categorizing works, including categorizations according to medium or according to style, previous accounts of genre fail to illuminate the nature of comics categories. I argue that genres are sets of conventions that have developed (...) as means of addressing particular interpretative and/or evaluative concerns, and have a history of co‐instantiation within a community, such that a work’s belonging to some genre generates interpretative and evaluative expectations among the members of that community. Genres are distinct from styles in consisting of conventions, and are distinct from media both in consisting of conventions and in generating interpretative and evaluative expectations. (shrink)
Autour du genre, l’anthropologie s’est historiquement intéressée davantage aux effets de murs qu’aux effets de frontières. Sur fond de féminisme puis de politisation de la sexualité, les sciences sociales entamaient pourtant un tournant. Deux types de problématiques prennent de l’ampleur : celles associées aux effets du déplacement transfrontalier, celles qui questionnent la mise en proximité physique de femmes et d’hommes issus d’origines possiblement dissemblables. Une crainte émerge alors, celle de la mise en place et de l’incorporation progressive d’une police (...) mondialisée du genre.Where gender is concerned, anthropology has always taken more interest in the effects of divisions than of boundaries. Yet, with the advent of feminism and the subsequent politicising of sexuality, the social sciences were nevertheless coming to a turning point. Issues of two kinds gained increasing importance: those linked to the effects of transboundary movements and those concerned with the women and men of possibly dissimilar origins being brought into physical proximity. A concern then emerged over the establishment and gradual incorporation of globalised gender policing. (shrink)
Issues of genre and persuasion are central to ethical thought and practice. Until recently, there has been an asymmetry between religious ethics and moral philosophy in regard to these issues. Renewed attention to these issues in moral philosophy creates a new context for their consideration in religious ethics--one in which the relation of religious ethics and moral philosophy is less determinate than it has been in previous discussions. The four essays that comprise this Focus Section reflect this new context (...) while also making new contributions to perennial concerns of genre in ethical thought and practice. (shrink)
Genre discourse is widespread in appreciative practice, whether that is about hip-hop music, romance novels, or film noir. It should be no surprise then, that philosophers of art have also been interested in genres. Whether they are giving accounts of genres as such or of particular genres, genre talk abounds in philosophy as much as it does the popular discourse. As a result, theories of genre proliferate as well. However, in their accounts, philosophers have so far focused (...) on capturing all of the categories of art that we think of as genres and have focused less on ensuring that only the categories we think are genres are captured by those theories. Each of these theories populates the world with far too many genres because they call a wide class of mere categories of art genres. I call this the problem of genre explosion. In this paper, I survey the existing accounts of genre and describe the kinds of considerations they employ in determining whether a work is a work of a given genre. After this, I demonstrate the ways in which the problem of genre explosion arises for all of these theories and discuss some solutions those theories could adopt that will ultimately not work. Finally, I argue that the problem of genre explosion is best solved by adopting a social view of genres, which can capture the difference between genres and mere categories of art. (shrink)
Literary genre theory and rhetorical genre theory have stopped speaking to each other. Outside the lively trading station named Bakhtin, exchanges between the two fields are rare. Even though literary scholarship has turned from questions of genre identification to broader examinations of relations among genres, and rhetorical genre theory has focused not only on the social functioning of genres but also on their identifying features, each critical practice is cut off from the resources of the other. (...) It is possible to read very widely in genre theory without encountering a single cross-citation.This article argues that both rhetorical and literary genre theory are constrained by a controlling metaphor of .. (shrink)
Developing a reading of some of Beauvoir and Sartre's most influential writings in philosophy, Max Deutscher explores contemporary philosophy in the light of the phenomenological tradition within which Being and Nothingness and The Second Sex occurred as striking events operating on the border of the modern and the 'post-modern'. Deutscher traces the shifts of genre that produce their gendered philosophies, and responds in terms of contemporary experience to the mood and the arguments of their works. Drawing upon the writings (...) of two contemporary critics in particular - Michele Le Dœuff and Luce Irigaray - Deutscher reworks this part of philosophy's history in order to advance thinking in contemporary philosophy, generate renewed philosophical reflection on consciousness, freedom and one's relation to others, and to return a look still cast in our direction from an earlier time. (shrink)
Le Mouvement pour la Liberté de l’Avortement et de la Contraception, permet d’observer le renouveau des pratiques militantes et des rapports de genre dans les années 1968. Il adopte les avortements clandestins comme moyen de protester contre la législation restrictive alors en vigueur, mais aussi dans une démarche de remise en cause de la médecine, de la définition traditionnelle du militantisme et des normes de genre. Ce répertoire d’actions original permet de produire une vaste mobilisation qui marque durablement (...) ceux qui y participent mais qui a aussi ses limites, particulièrement du point de vue des militantes féministes. (shrink)
In this article, I begin developing what I call the genre view of public lands. It holds that public land designations fall into different genres of land management. I focus on one designation in particular—US national monuments created under the Antiquities Act—to develop the view and illustrate its significance. I characterize the national monument genre in terms of two norms stated in the Act and show how they shape public space in distinctive ways. I then illustrate how the (...)genre view opens avenues for evaluating land designations. By way of example, I evaluate national monuments according to aesthetic considerations. I argue that the genre is, perhaps surprisingly, aesthetically vexed and that there is an aesthetic reason for presidents to depart from the original intent and meaning of the Act. This also lends support for some of the most controversial national monuments. Drawing from case law, I then show how aesthetic evaluations may hold legal weight. Such considerations can also influence decisions about whether to protect an area as a monument. In these ways, the genre view offers a framework for philosophers, and particularly aestheticians, to contribute to environmental law and policy. (shrink)
While the genre-based approach has assumed increasing prominence in discussions of writing pedagogy for diverse classrooms, little is known about how secondary school student-teachers understand and adopt genre pedagogies in the English as a foreign language writing class. Based on the data from semi-structured interviews and teaching materials, this study examined Chinese EFL student-teachers’ knowledge and use of genre-based writing instruction during the teaching practicum and explored the challenges they encountered in enacting it. The findings demonstrated that (...) teacher informants showed some familiarity with genre pedagogies, especially in terms of scaffolding the linguistic features and semantic patterns in the focused genres. However, they were generally confused over the connection between language, content, and context, and their GBWI practice scarcely involved the explicit teaching of the linguistic and semantic choices for a specific audience and context, which gave rise to some perceived tensions in the teaching reality. Further probing has revealed the complex interplay between Chinese EFL student-teachers’ professional knowledge, perceived difficulties, and genre instructional practice in the secondary school writing class. The study concludes with practical implications for the student-teachers’ professional development of effective GBA. (shrink)
Philosophy is textual - it is written and it is read - yet today much of philosophy regards itself as a kind of science, sometimes reducing itself to a species of intellectual bureaucracy. It is important to see these qualities as having their own aesthetic. Even realism is a genre. The aesthetic of the empirical and the bureaucratic, the aesthetic of the rhapsodic and of the clinical... in each of these the genres of philosophy are as creative as they (...) ever were. They are productive of worlds, not only worlds of thought, but 'real worlds' enabled by the technological and other changes that thought has envisaged. This book explores genres through the history of philosophy, providing new ways of thinking about philosophical writing. Exploring a wide range of both European and analytic philosophers and their works - including Plato, Aristotle, Hume, Kant, Nietzsche, Deleuze, Wittgenstein, Derrida and Rorty - Genres of Philosophy explores the reading and writing of philosophers who themselves read and write, revealing the textual relation to the history of philosophy. While the focus of the book is in aesthetics, Ferrell reveals that the interest in philosophy's writing turns out to be a metaphysical question. The question becomes one of evaluating the ontological basis for writing - its subject and its means of expression - within a world of thought which is presently captivated by a particular aesthetic, that of the empiricist. Presenting fresh readings of classic texts in aesthetics, and offering an original approach to the question of philosophical writing, this unique analysis will prove of particular interest to readers in European philosophy, the history of philosophy, aesthetics, and literary studies. (shrink)
Focusing on the production of lists of evaluative criteria has oversimplified our judgments of qualitative research. On the one hand, aspirations for global criteria applicable to “qualitative” or “interpretive” research have glossed over crucial analytic differences among specific types of inquiry. On the other hand, the methodological concern with appropriate ways of acquiring trustworthy data has led to an overly narrow proceduralism. I suggest that rational evaluations of analytic worth require the delineation of species of analytic tasks and the exercise (...) of genre-appropriate judgments, to determine what constitutes explanatory, interpretive, or explicatory adequacy. I focus on the parameters of judgment for interpretations and explications because their analytic differences have not yet been made distinct in qualitative research. (shrink)
This article examines genre as knowledge organization. Genres are fluid and historically changing categories, and there are different views about the scope and membership of specific genres. The literature generally agrees that genre is a matter of discrimination and taxonomy, and that it is concerned with organising things into recognisable classes, existing as part of the relationship between texts and readers. Genre can be thought of as a sorting mechanism, and genres are not only a matter of (...) codes and conventions but also call into play systems of use and social institutions. This article explores the history of genre analysis across a broad range of disciplines, including literary studies, rhetorical and social action studies, and English for academic and professional purposes. It considers genre theory as a framework for librarianship and knowledge organization and explores the use of genre within librarianship and knowledge organization. Finally, the article discusses the Library of Congress Genre/forms Terms for Library and Archival Materials which, itself an evolving and changing standard, offers a step towards standardisation regarding genre terms and the scope of genre categories. (shrink)
Constructional approaches to genre model genre knowledge in terms of genre-based constructions. Like all constructions, these represent conventionalized pairings of meaning and form, of varying degrees of length and schematicity, whose pragmatic specifications include their association with a particular socio-cultural context. In this state-of-the-art article I review genre-related constructional work, discussing grammatical patterns that are licensed only in particular contexts, including conversational genres, as well as expressions that qualify as constructions simply on the basis of socio-cultural (...) currency. The appropriateness of constructional analysis for the language of genre derives from the definitional incorporation of discourse-pragmatic information in constructional descriptions and the possibility of relating genre-bound, idiosyncratic patterns to the rest of the constructions in a language through relations of inheritance. I further highlight the compatibility of Frame Semantics with the notion of genre and critically discuss the concept of conventionality as it applies to genre language. (shrink)
Imaginative resistance refers to a phenomenon in which people resist engaging in particular prompted imaginative activities. On one influential diagnosis of imaginative resistance, the systematic difficulties are due to these particular propositions’ discordance with real-world norms. This essay argues that this influential diagnosis is too simple. While imagination is indeed by default constrained by real-world norms during narrative engagement, it can be freed with the power of genre conventions and expectations.
Les recherches sur genre et armées d’Amérique latine, pour la période contemporaine, concernent deux grands ensembles thématiques : d’une part les rapports de genre à l’intérieur de la sphère militaire et dans le cadre des conflits armés ; d’autre part les rapports entre genre et dictatures militaires. À l’échelle du sous-continent, en deux siècles d’histoire, les militaires ne forment pas un bloc homogène. Ils ne peuvent être réduits aux seules armées régulières. Depuis la conquête, la viol..
« Noise » has become a generic label for anything deemed to subvert established genre. Where noise orthodoxy substantializes its putative negation of genre into an easily digestible sonic stereotype—the hapless but nevertheless entertaining roar of feedback—, two extraordinary bands, To Live and Shave in LA and Runzelstirn & Gurgelstock, forcefully short-circuit incommensurable genres, and manage to engender the noise of generic anomaly. It is the noise that is not « noise », the noise of the sui generis, (...) that actualizes the disorientating potencies long claimed for « noise ». (shrink)
This article focuses on discursive regularities that can generally be observed in text corpora produced in similar communication situations. One type of such regularities is related to the so-called ‘discourse genres’, considered as a set of tacit instructions broadly constraining the forms of utterances in a given discursive practice. Those regularities highlight the relatively regulated, non-random nature of most of our discursive practices and epitomize the necessary constrained creativity of meaning making in discourse. In this perspective, we suggest that the (...) concepts of Thirdness and Habit, as theorized by Charles S. Peirce, can be fruitful in describing the role and importance of such regularities in our sociodiscursive life. More specifically, we believe that discourse regularities are ideal case studies if one wishes to investigate instances of predictability in semiotic processes. Overall, we suggest that their study can be one of many research orientations through which a prediction-based scientific conception of semiotics could be applied. (shrink)
In Culture, Genre, and Literary Vocation, Michael Davitt Bell charts the important and often overlooked connection between literary culture and authors' careers. Bell's influential essays on nineteenth-century American writers—originally written for such landmark projects as The Columbia Literary History of the United States and The Cambridge History of American Literature—are gathered here with a major new essay on Richard Wright. Throughout, Bell revisits issues of genre with an eye toward the unexpected details of authors' lives, and invites us (...) to reconsider the hidden functions that terms such as "romanticism" and "realism" served for authors and their critics. Whether tracing the demands of the market or the expectations of readers, Bell examines the intimate relationship between literary production and culture; each essay closely links the milieu in which American writers worked with the trajectory of their storied careers. (shrink)
ABSTRACT I begin by considering the nature of philosophy understood as a genre of writing. I claim that genres are impure, porous, changing sites of inclusion and exclusion that are anything but natural kinds. Furthermore, I suggest that works of poetry, drama, painting, dance, and other arts may profitably be understood as works of philosophy and that philosophy itself may profitably be understood as an art, as performance work. I support this claim by an analysis of philosophy's canon as (...) historicist, expressivist, and self-consciously hybrid. I explicate the notion of hybridity in terms of crossings understood as encounters, resistance and opposition, and passing borders. I conclude by drawing parallels between philosophical notions of hybridity and political issues of identity, community, and outsiders. Throughout this article, I am concerned to do philosophy in a way or style consistent with the expressivist view of philosophy I present. (shrink)
Depuis le milieu du xviie siècle, l’histoire coloniale des Indes néerlandaises se distingue par un modèle particulier de relations intimes interraciales, pratiquées au quotidien par la population. C’est ainsi qu’en 1900, on estime que près de 75% de la population européenne est métisse. Mais, à partir de cette époque, un régime « moderne » de ségrégation raciale se met en place, qui émerge dans un contexte dominé par l’introduction du capitalisme, par le développement des investissements étrangers et par une nouvelle (...) législation en matière de citoyenneté. Toutefois, en dépit de tentatives tant politiques que sociales pour renforcer l’étanchéité des frontières raciales au sein de la société coloniale hollandaise de l’archipel indonésien, les relations sexuelles interraciales et la dimension créole de cette société perdurent jusqu’en 1942. Ainsi, ladite supériorité de la communauté européenne apparaît fondée sur une construction parfaitement mythique de l’identité « blanche ». (shrink)
An attempt to evolve a puristic definition of poetry in which the poem itself serves as the point of departure. The examination is systematically conducted throughout the three parts of the book: "Phonétique," "Sémantique," and "Ontologie." Frequent textual examples are offered; the accompanying analyses are often illuminating, particularly in the case of the cryptic "sonnet du Cygne" by Mallarmé. A key concept in the discussion is "la conversion poétique du langage": the means by which a word is freed from its (...) accepted meaning and enabled to acquire a multiplicity of meanings. The hierarchy of symbol and object-symbolized is always destroyed by "la conversion": that which is poetic cannot be symbolic. "Symbolist poetry" is, therefore, a misnomer. By modifying or totally eliminating traditional literary formulae, Champigny arrives at and ably defends his own concept of "le genre poétique."—B. B. C. (shrink)
Paradoxically, loss is the only unconditional possession possible in elegy. A deep understanding of this phenomenon is to be found in long prose forms and lyricism of contemporary Australian writers. Turning the history of literature – from the Medieval to the contemporary – into a body of work more relevant to our ecological plight, in Kinsella’s corpus genres are consequences of textual events operating within an organic totality. This totality deconstructs the reference point for elegy: loss as the condition of (...) thought and experience. Sidestepping while matrixially reconfiguring traditional and experimental forms of writing, Kinsella’s engagement with genre exemplifies not only the undoing of the codes that constitute all possible readings of a text; it is an implicit critique of speech acts that tend to “fix” life into static nouns, reflecting our culture’s ideology of appropriation of nature. Within a critical counterpoint to appropriation, Australian writing can be read as both urging readers to remain alert to pastoral precedents yet avoid projecting genre onto texts. To some extent, elegy has been decolonised in Australian pastoral. (shrink)
Cover -- Half Title -- Title Page -- Copyright Page -- Contents -- Notes on Contributors -- Introduction to the Series -- Acknowledgements -- 1. Introduction -- 2. Oral History as Genre -- 3. Silences -- 4. A Brazilian Worker's Autobiography in an Unexpected Form -- 5. Family Fables -- 6. Anecdote as Narrative Resource in Working-Class Life Stories -- 7. My Life as Consumer -- 8. Distant Homes, Our Genre -- 9. The Oral History Interview in a (...) Cross-Cultural Setting -- 10. In the Archieve, In the Field -- 11. Sharing and Resharing Life Stories -- Raphael Samuel -- Raphael Samuel -- A Call for Contributors -- Index. (shrink)
Les concours d’entrée aux ENS de Sèvres et d’Ulm, comme les agrégations féminines (considérées comme inférieures à celles des hommes) sont des examens qui, ayant survécu jusque dans les années 1970 et 1980, attestent de l’existence d’un « genre des concours ». La question de la fusion des concours masculins et féminins est pour la première fois posée entre les deux guerres. La relecture de cette histoire permet de mettre en évidence les hésitations et les réticences qui ont voué (...) pendant plus de soixante ans le projet initial à l’échec. (shrink)
Why are bookstore shelves filled with mysteries, horror stories, romances, Westerns and other genre fiction? Why should one spend time reading narratives that are so similar? Why, for that matter, should one write works that are so similar to those of other authors? One philosopher, Noel Carroll, in fact, refers to the phenomenon as the ?paradox of junk fiction?. Are there works in political theory as well that share characteristics with these genres? And is there also a paradox involved (...) among both these readers and authors? This essay reviews both the criticisms and defenses of popular generic texts focusing on arguments that defend the complexity of genre texts and those that deny the distinction between generic works and others. Utopias are identified as counterparts in political theory and are applied to this genre debate. I conclude by revising the genre paradox. (shrink)
ABSTRACTIssues of genre and persuasion are central to ethical thought and practice. Until recently, there has been an asymmetry between religious ethics and moral philosophy in regard to these issues. Renewed attention to these issues in moral philosophy creates a new context for their consideration in religious ethics—one in which the relation of religious ethics and moral philosophy is less determinate than it has been in previous discussions. The four essays that comprise this Focus Section reflect this new context (...) while also making new contributions to perennial concerns of genre in ethical thought and practice. (shrink)
This study uses the genre analysis methodology used in the English for Specific Purposes school, relying mostly on Bhatia’s and Swales models of genre analysis. Two hundred letters of appeal written by postgraduate students whose native language was other than English in a public university in Malaysia were included in the study. The sample included letters written by a variety of students from different language backgrounds. The criterion for selecting the corpus was the communicative purpose of the letters: (...) stating a request. The study analyzed the genre of the letters of appeal to identify the structural or rhetorical moves that existed in the genre. (shrink)
ABSTRACTIn this paper, I approach the political and philosophical similarities and differences between late eighteenth-century thinkers John Thelwall and William Godwin from the point of view of their respective choices for the genre of political communication. I approach their thought and its expression by weaving an interpretation of what they were saying with a reflection on how and to whom they were speaking. This, I contend, helps us clarify further the thought of each thinker and track the changes in (...) their conception of equality in the framework of political communication. As the 1790s unfolded, both thinkers, I argue, tried to diversify their audience, be generally more inclusive, and re-think the hierarchies of relationship between authors/speakers and their audience in their political communication. Nevertheless, they did so asymmetrically and in different ways: Thelwall quickly started tapping into popular culture, especially oral culture, while Godwin chose the modes of fiction and the conversational essay. By making these choices, both authors enacted a different understanding and practice of political education, and political equality. (shrink)
Though not as widely studied as the Research Article, the abstract has attracted increasing interest among researchers over last decades. A number of contrastive or comparative studies of abstracts in English and other languages have already been carried out considering mainly the hard sciences and some soft sciences such as linguistics and history, however no cross-cultural analyses have been conducted so far between RA abstracts in English and RA abstracts in French published in the legal field. This paper seeks to (...) investigate genre variation and changes in frame sequences comparatively in English and French RA abstracts from criminology journals. Using a genre analytical approach to qualitative and quantitative data, the paper reports on two comparable corpora, i.e. English and French, of electronically retrieved abstracts from Criminology Journals published in 2014. The two corpora are composed of three journals per language, namely Criminology, Journal of Criminal Justice, Journal of Criminal Law and Criminology for the English corpus, and Champ Pénal, Criminologie, Revue Canadienne de Droit Pénal et Criminologie for the French corpus. The analysis will be carried out following two main steps, i.e. a macro-analysis and a micro-analysis. In the former step, the corpora are compared by the analysis and discussion of the basic IMRD rhetorical move structure for the RA often proposed in the literature and the additional five moves model postulated by Dos Santos with the aim of investigating the linguistic and rhetorical variation in the abstract genre from a cross-cultural perspective. In the latter, we look at frame sequences combining forms of self-mentions and frame markers, i.e. personal patterns, impersonal patterns and locational patterns. Provisional results show that the abstracts under investigation largely follow the international conventions based on the norms established by the English-speaking international academic community. However, variation across the two cultures emerged from the linguistic realizations of framework sequences. Cross-cultural implications are discussed at the close. (shrink)
Book Reviews Andrea Wilson Nightingale, Genres in Dialogue: Plato and the Construct of Philosophy. New York: Cambridge University Press, 1995. Pp. xiv + ~a~. Cloth, $49.95. This is an important and timely book. Nightingale argues that notwithstanding Socra- tes' remarks about dialectic as the philosophical mode of discourse, Plato uses tradi- tional genres in constructing philosophy. Key to her argument are two notions. The first is that prior to Plato, 'philosophy' referred to intellectual cultivation in the broad sense and consequendy, (...) poets, sophists, playwrights, and orators had claim to the title "philosopher." The second is that "genres of discourse" be understood as referring not only to artistic forms or styles, but also to "forms of thought" that represent and conceptualize some aspects of experience better than others; therefore, "an encounter between two genres within a single text is itself a kind of dialogue" . Nightingale.. (shrink)
Comment les discours et les images produits sur le thème des pratiques sociales de danse deviennent-ils, dans l’entre-deux-guerres, le réceptacle d’un discours plus ample sur les mutations des rapports de genre? C’est ce que cet article essaie d’éclairer, en analysant le contexte de profond bouleversement qui caractérise le domaine de la danse de société au lendemain de la Grande Guerre, avec l’introduction en France de danses importées des Amériques. L’imaginaire des danses nouvelles, support privilégié de la représentation du couple, (...) suscite alors des représentations transgressives des rôles sexués, à travers les figures de la garçonne et du danseur mondain, tandis que les pratiques corporelles des femmes sont profondément affectées par les mutations du répertoire chorégraphique. (shrink)