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Discourse analysis capitolo 3, Dispense di Lingua Inglese

Riassunto del terzo capitolo del libro discourse analysis

Tipologia: Dispense

2022/2023

Caricato il 12/11/2023

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A3. TEXTS AND THEIR SOCIAL FUNCTION
Different patterns of texture are associated with different types of texts.
Newspaper articles, for example, tend to favour particular kinds of cohesive
devices and are structured in a conventional way with a summary of the main
points in the beginning and with the details coming later. To understand why
such textual conventions are associated with this type of text, we need to
understand something about the people who produce and consume it and what
they are doing with it. The study of the social functions of different kinds of
texts is called:
GENRE ANALYSIS
Certain types of texts tend to favour certain cohesive devices and are
structured in a conventional way. But why? It depends on the function.
We need to understand what the people who produce the texts are trying to do
with them, and how this doing is mixed up with their social or professional
identities.
GENRE: EXPECTATION AND CREATIVITY
A genre is a recognisable communicative event characterised by a set of
communicative purposes identified and mutually understood by members of
the community in which it occurs. Most often it is highly structured and
conventionalised with constraints on allowable contributions in terms of their
intent, positioning, form, and functional value. These constraints, however, are
often exploited by expert members of the discourse community to achieve
private intentions within the framework of the socially recognised purposes.
Genres are not defined as types of texts but rather as types of communicative
events; these events are characterized by constraints on what can and cannot
be done within them; expert users often exploit these constraints in creative
and unexpected ways.
Vijay Bhatia is a retired Professor from the Department of English at the city
University of Hong Kong. His research interests are: Genre analysis of
academic and professional discourses, including, legal, business, newspaper,
advertising, genres; ESP and Professional Communication;
GENRES ARE COMMUNICATIVE EVENTS
Considering texts events highlights the fact that all texts are instances of
people doing things with or to other people. E.g., informing, instructing,
requesting etc. (A newspaper article is an instance of someone informing
someone else about some recent event).
‘Genres are how things get done, when language is used to accomplish them’
(Martin, 1985)
The communicative purposes of texts can be multiple and complex (e.g.,
persuading and instructing) and the same text can be seen by different people
who may have different purposes in mind (e.g., promoting vs selecting). A
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A3. TEXTS AND THEIR SOCIAL FUNCTION

Different patterns of texture are associated with different types of texts. Newspaper articles, for example, tend to favour particular kinds of cohesive devices and are structured in a conventional way with a summary of the main points in the beginning and with the details coming later. To understand why such textual conventions are associated with this type of text, we need to understand something about the people who produce and consume it and what they are doing with it. The study of the social functions of different kinds of texts is called: GENRE ANALYSIS Certain types of texts tend to favour certain cohesive devices and are structured in a conventional way. But why? It depends on the function. We need to understand what the people who produce the texts are trying to do with them, and how this doing is mixed up with their social or professional identities. GENRE: EXPECTATION AND CREATIVITY A genre is a recognisable communicative event characterised by a set of communicative purposes identified and mutually understood by members of the community in which it occurs. Most often it is highly structured and conventionalised with constraints on allowable contributions in terms of their intent, positioning, form, and functional value. These constraints, however, are often exploited by expert members of the discourse community to achieve private intentions within the framework of the socially recognised purposes. Genres are not defined as types of texts but rather as types of communicative events; these events are characterized by constraints on what can and cannot be done within them; expert users often exploit these constraints in creative and unexpected ways. Vijay Bhatia is a retired Professor from the Department of English at the city University of Hong Kong. His research interests are: Genre analysis of academic and professional discourses, including, legal, business, newspaper, advertising, genres; ESP and Professional Communication; GENRES ARE COMMUNICATIVE EVENTS Considering texts events highlights the fact that all texts are instances of people doing things with or to other people. E.g., informing, instructing, requesting etc. (A newspaper article is an instance of someone informing someone else about some recent event). ‘Genres are how things get done, when language is used to accomplish them’ (Martin, 1985) The communicative purposes of texts can be multiple and complex (e.g., persuading and instructing) and the same text can be seen by different people who may have different purposes in mind (e.g., promoting vs selecting). A

recipe, for example, may be persuading you to make a certain dish as much as it is instructing you how to do it. CONVENTIONS AND CONSTRAINTS The way genres are structured and the kinds of feature they contain are largely determined by what people want to do with them. Genres have some built-in constraints as to what kinds of things they can include and what kind of things they cannot, based on the activity they are trying to accomplish, The constraints regard what can be included but also how it should be included. The order in which things are done in a genre is called move structure of a particular genre. It is also a measure of the ability to use a genre to fulfil the communicative purposes of the genre. Conventions and constraints make the communicative event more efficient and demonstrate that the person who produced the text knows how “we do things”. The ability to successfully produce a genre ( eg job application letter) following particular conventions is an indication of how the writer knows how to communicate like us. CREATIVITY Sometimes the most successful texts are those that break the rules, that defy conventions and push the boundaries of constraints. Expert producers of texts sometimes mix different kinds of text together, or embed one genre into another, or alter the moves that are included or the order in which they are presented. Being creative can be risky. But of course, there are limitations to how much a genre can be altered and still be successful. Creativity is impossible without conventions and constraints, so innovations can be successful because they exploit previously formed expectations. Creativity must have some relationship to the communicative purpose of the genre and the context in which it is used. Finally, being able to successfully defy conventions is a matter of and a marker of expertise: in order to break the rules effectively, you must be able to show that you have mastered the rules. DISCOURSE AND COMMUNITY At the centre of the concept of genre is the idea of belonging. Genres are ways to get things done but also to show ourselves as members of particular groups and to demonstrate that we are qualified to participate in particular activities.

  1. Abstract
  2. Orientation
  3. Complicating action
  4. Resolution
  5. Coda John Swales – it gets better videos’ moves
  6. Announcing the purpose of the video
  7. Explaining the problem, I had when I was young
  8. Explaining how those problems were solved
  9. Comparing your situation to my situation
  10. Offering encouragement and advice
  11. Reminding you that it gets better C3. ANALYSING GENRES Analysing genres means understanding how those text types function in social groups, how they reinforce and reflect the concerns of and social relationships and how they change over time as societies and groups change. It is fundamental to pay attention to genres’ social context. Genres are related to other genres in a number of different ways:
  • Actions or communicative events associated with genres are usually part of larger chains of events that involve different genres (sequential relationship): video followed by comments, discussions… Just as moves in a genre are often arranged in a kind of sequential structure, genres themselves are also often related to one another in sequential chains based on the ways they are employed by people as they work to achieve larger communicative purposes.
  • Networks of events (non-sequential relationship): job application letter related to job ad, cv, other applicants’ letters. Genres are said to be linked together in networks when they have some sort of intertextual relationship with one another (that is when one genre makes reference to another or when the users of a genre need to make reference to another genre in order to realize the communicative purpose for which the genre is intended.
  • Genres can also be seen as genre ecologies: in which texts are not directly related to one another in chains or networks, but anyway they affect each other even in subtle or dramatic ways. Genre ecologies are not static: conditions change. Genres change and evolve as users creatively bend or blend them, or else become extinct if they can no longer fulfil the communicative goals for their users.
  • Genre analysis, must account not just for the way a particular genre is structured and its function in a particular discourse community, but also the dynamic nature of the genre, how it has and continues to evolve in response to changing social conditions, the relationships it has to other

genres past and present, and the multiple functions it might serve in multiple discourse communities. D3. DISCOURSE COMMUNITIES Genres have the function of promoting the values of the community. They can do this explicitly or implicitly, through the kinds of social relationships that they make possible among members. Genres have also the function of bringing new people in the community, which includes attracting new members and socialising new members into the way of acting and thinking associated to the community. Rules and constraints in genres are important because they make the communicative actions more efficient and also because they demonstrate that the person who uses them knows “how to do things” and so is a ‘person like us’. Genres have political or ideological dimension because they create and maintain communities and serve as the means through which people in those communities learn how to be ‘legitimate members’. COMMUNICATIVE PURPOSE Genres can have multiple purposes, e.g. for the author addresses… Sometimes genres are designed with a specific audience in mind, in other cases the audience can be multiple. In the It gets better project, it can include young people struggling with an anti- gay bullying, parents/teacher of LGBT+ teens, school or government officials, people who were involved in bullying stories in the past… The communicative purposes is thus multiple: encourage and empower (bullied teens), arouse concern and help understand (parents/teachers), alert and demand action (policy makers), shame (former or current bullies). Carry out a move analysis: Start stating the text purpose, then continues with what the text is doing in each move. MULTIMODAL TEXT – SEMIOTIC RESOURCES INVOLVED: what areas are there?

  • Language
  • Visual resources (primary)
  • We also have language involved and other micro-semiotic resources are used
  • Multimodal can be dynamic and static It’s static, you have the impression of movement (tail of the dog— lines for the movement) but a cartoon is a static text