Genre Connections

McGregor presents a collection of ideas about how to launch genres, how to introduce your students to the personalities of each, and how to build a curiosity and appreciation for what each genre has to offer. Her lessons use everyday objects, works of art, music, and anchor charts to help readers get acquainted with seven commonly taught genres and to discover what makes them unique.

Here's a fun and easy way to help learners understand and remember comprehension strategies! Making Comprehension Connections: Look, Listen, and Link! effectively combines the senses for greater academic success by providing everything the brain needs for comprehension and memory retention-visual, verbal, auditory, and kinesthetic input. This easy-to-follow program provides colorful and simple icons in the form of posters that help learners remember concepts without the help of words. It also provides learners with multiple ways to remember and understand the comprehension skills and strategies, using songs and other active learning experiences. Audio of all songs are included in the ZIP file and provided in print form in the Teacher's Guide and on transparencies. The included ZIP file also contains all the reproducibles and a professional development video that shows how to implement the lessons. This resource is correlated to the Common Core State Standards.

This book brings genre back to the forefront of the current transmedia trend. Genres are perhaps the most innately transmedial of media constructs, formed as they are from all kinds of industrial, technological and discursive phenomena. Yet, few have considered how genre works in a multiplatform context. This book does precisely that, making a uniquely transmedial contribution to the study of genre in the age of media convergence. The book interrogates how industrial, technological and participatory transformations of digital platforms and emerging technologies reshape workings of genre. The authors consider franchises such as Star Wars, streaming platforms such as Netflix, catch-up services such as ITV Hub, creative technologies such as virtual reality, and beyond. In setting the stage for the revival of genre theory in contemporary transmedia scholarship, this book pushes forward understandings of multiplatform media and the emerging form and function of genre across contemporary culture.

This innovative book employs genre as a fruitful lens for exploring the complexity of science communication online and the new genre assemblages formed at the interface of multiple genres in digital environments. Pérez-Llantada and Luzón argue for a conceptualization of Science 2.0 that views digital genres in conjunction with other genres, accounting for the ways in which diverse Internet users choose different points of entry for accessing information on science of varied depth, views, and perspectives. Taking Swales’s conceptualization of forms of genre collectivity as its point of departure, the book puts forward this new understanding of multisemiotic genre assemblages in digital science communication, considering dimensions of hypertextuality, intertextuality, and multimodality in the interdependent relations between genres. The volume draws on a range of case studies each with a distinct genre assemblage and social agenda, exploring such areas as high stakes science, open peer review, science reproducibility, citizen science, and social media networking. Offering new directions for future research on genre studies and digital science communication, Genre Networks: Intersemiotic Relations in Digital Science Communication will be of interest to scholars in these fields, as well as those working in multimodality, language and communication, and languages for academic purposes.

This book provides researchers and teachers of different disciplines, such as literature, cultural studies, and applied linguistics, with a deeper understanding of the autobiography, both as a genre and a data collection method. The book presents a variety of forms of autobiographies produced in varied fields, including confessional poems, politicians’ autobiographies, and autobiographical novels. Unique among these autobiographies are those that were produced in the field of education, namely foreign language education. The richness of the studies reported in the chapters lies in the wide variety of qualitative and quantitative analytical tools borrowed from different disciplines (mainly applied linguistics and ethnography). The book features conceptual metaphor analysis, appraisal theory, multimodality analysis, generic analysis, and content analysis.

This work in the field of digital literary stylistics and computational literary studies is concerned with theoretical concerns of literary genre, with the design of a corpus of nineteenth-century Spanish-American novels, and with its empirical analysis in terms of subgenres of the novel. The digital text corpus consists of 256 Argentine, Cuban, and Mexican novels from the period between 1830 and 1910. It has been created with the goal to analyze thematic subgenres and literary currents that were represented in numerous novels in the nineteenth century by means of computational text categorization methods. To categorize the texts, statistical classification and a family resemblance analysis relying on network analysis are used with the aim to examine how the subgenres, which are understood as communicative, conventional phenomena, can be captured on the stylistic, textual level of the novels that participate in them.

This collection is a comprehensive resource on conducting research in applied linguistics involving written genres that is distinctive in its coverage of a multiplicity of interdisciplinary perspectives. The volume explores the central approaches, methodologies, analyses, and tools used in conducting genre-based research, extending the traditional focus on a single framework for defining genres by explicating the major approaches that have been invoked in applied linguistics. Chapters address a mix of commonly used methodologies (e.g., case studies, ethnographic approaches), types of analyses (e.g., metadiscourse, rhetorical move-step analysis, multidimensional analysis, lexical bundles and phrase frames, CALF measures, multimodal analysis), and studies that focus on other areas of second language (L2) teaching and learning (e.g., multilingualism, the Teaching and Learning Cycle). Taken together, the volume provides a theoretically and methodologically diverse introduction to foundational topics in genre-related research, supported by detailed discussions of the challenges and practical considerations to take into account when conducting research involving written genres. This book is a valuable resource for graduate students, faculty, and researchers in applied linguistics, particularly those working in second language acquisition, L2 writing, and genre theory and pedagogy.

Film/Genre revises our notions of film genre and connects the roles played by industry critics and audiences in making and re-making genre. Altman reveals the conflicting stakes for which the genre game has been played and recognises that the term 'genre' has different meanings for different groups, basing his new genre theory on the uneasy competitive yet complimentary relationship among genre users and discussing a huge range of films from The Great Train Robbery to Star Wars and from The Jazz Singer to The Player.