UNIT 2: Intertextuality, plagiarism, genre, narrativity Flashcards
How does the flexibility of genres become manifest?
As genres are not fixed/rigid schemas that are fixed in the system, it is possible that with the passing of time, genres can be transformed/changed/ mutated, that is, some conventions are modified with the passing of time if certain conditions push for that change. Another manifestation of the property of flexibility is that a text that belongs to a given genre can stretch the boundaries of that genre by incorporating generic features of other genres.
In conversational discourse, how are performance features like parallelism and direct discourse representation at the service of persuasion?
Performance features, in general, are useful for increasing the persuasiveness of argumentation. DDR provides the narrator with an additional voice to argue since it is a means to recreate the character’s thoughts and also to represent the unreal.
DDR is used to dramatize and increase the interest of an audience.
As regards parallelism, it is another form through which audiences are engaged by text producers. Parallelism has the effect of attracting audiences and leading them to a common point of view.
Can a creative text not be related to any other text?
No, it can’t. There is no text created from scratch. Any text can be taken from its original context and inserted into a new setting where it is recontextualized.
Kristeva points out that all texts are made of bits of other texts.
What makes a text a marginal exemplar of a genre? How is a marginal text related to the IDENTITY of the TP?
a) A marginal text of a given genre deviates from the expected conventions of that genre. This means that it is an innovative text ( a very creative text) that does not follow the conventions of that genre.
b) TPs who produce marginal texts are in a position of power and authority within the social institution in which the text is constructed. ++
At a press conference full of Argentine journalists, an English-to-Spanish interpreter translates the message delivered by the English-speaking spokesperson of a pharmaceutical company about the Covid-19 vaccination campaign. What different ways of participating in the production of this text can you identify for the subjects involved in this case?
There are different ways of being a text producer in this text. There is the role of the principal enacted by the pharmaceutical company who takes responsibility for what is being said. Then, there is the role of the animator enacted not only by the interpreter but also by the spokesperson of the company. They are responsible for uttering the message. Finally, the role of the composer are enacted not only by the pharmaceutical company but also by the translator who has the role of creating the content and form of the message created by the company.
(a) In what sense are genres guiding frameworks for text production and text reception? (b) How does a practice approach to the study of genres account for their transformation?
a)Text producers in order to create their texts use guiding frameworks to make decisions and text receivers use these guiding frameworks to interpret what they are receiving.
b) As genres are not fixed schemas, a practice approach to the study of genres emphasizes how genres are shaped, used, and transformed through the practices of individuals and communities. Genres are continuously produced and modified through the practices of people within particular communities. The genre telephone conversation has been transformed with the passing of time because of material and technological conditions.
Do all the texts that belong to a genre exhibit the same generic features?
No, they don’t. This is because genres are not fixed schemas/structures. They are orienting frameworks and they are flexible. Text producers are social agents who can exercise their agency and decide to what extent they will follow the conventions of a given genre.
How are the concepts of text, genre, and discourses (used as a countable noun) related?
Discourses and genres give form and meaning to a text. Texts are doubly conditioned by discourses and genres: it is shaped by the conventions of a genre and it expresses the meanings of a discourse.
On the one hand, the discourse of the institution in which a text is produced influences what is said. On the other hand, the conventions of a genre influence the construction of a text.
a) What characterizes low-narrativity narratives? b) What makes narratives of counterfactual events useful for arguing?
a) Low-narrativity narratives have a low degree of narrativity and they fail to meet the prototype of a story. Their characteristics are: recounted events are not singular and discrete but overlapping and recurrent (narratives of habitual events); in the case of narratives of counterfactual or hypothetical events, the events are not positive but imaginary or virtual.
b) They are useful for arguing as they can convey the narrator’s standpoint. This is so because these narratives have an evaluative function and position the virtual as opposed to the actual. Therefore, the narrator can back up a claim through irreality.
How do text producers include other voices?
Through represented discourse (DDR, IDR, FIDR), constructed dialogue (all instances of discourse representation involve different degrees of reformulation), negation (it is used to incorporate the opponent’s voice) irony (introduce a voice but with the opposite semantic load) and allusion (a brief, indirect reference to a person, place, etc.)
VOICE–> the manifestation of someone/group/perspectives
How are genres related to intergroup relations?
Genres are a reflection of intergroup relations. They influence how groups relate to one another, how power and identity are negotiated, and how societal norms and values are transmitted across different communities
