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In Writing Genres, Amy J. Devitt examines genre from social, linguistic, professional, and historical perspectives and explores genre’s educational uses, making this volume the most comprehensive view of genre theory today.�
Beginning by defining genre as a typified rhetorical action occurring at the nexus of situation, culture, and other genres, Devitt argues that genre highlights variations in texts necessary for creativity, a treatment that opposes the traditional view of genre as constraining and homogenizing. In step with contemporary genre scholarship, Writing Genres does not limit itself just to literary genres or to ideas of genres as formal conventions. Devitt succeeds in providing a theoretical definition of genre as rhetorical, dynamic, and flexible, as well as ideological and constraining. This theoretical approach sees genres as types of rhetorical actions that people perform and encounter everyday in academic, professional, and social interactions. As such, jokes, sweepstakes letters, junk mail, mystery novels, academic research papers, small talk, lectures, and travel brochures are all complex genres of their own. Genres such as these have the power to ease communication or to deceive, to enable someone to speak or to discourage someone from saying something different.
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Writing Genres demonstrates how genres function within their communities rhetorically and socially, how they develop out of their contexts historically, how genres relate to other types of norms and standards in language, and how genres nonetheless enable creativity. Devitt also advocates a critical genre pedagogy based on these ideas and provides a rationale for first-year writing classes grounded in teaching antecedent genres.
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This study’s research stems from the fields of rhetoric, composition, linguistics, communication studies, literary studies, and critical pedagogy, and works from rhetorical and social constructionist theory. Drawing from such theorists as Tzvetan Todorov, Mikhail Bakhtin, and M.A.K. Halliday, as well as the more recent efforts of Kathleen Hall Jamieson, David Russell, and Carolyn R. Miller, Devitt in turn blazes a trail for modern scholars by examining genres in their multiple contexts, exploring how genres develop, arguing that genres foster rather than restrict creativity, comparing literary and rhetorical genres, and advocating responsible teaching methods for future genre studies.
- Sales Rank: #3112312 in Books
- Published on: 2004-01-29
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .63" w x 6.00" l,
- Binding: Hardcover
- 264 pages
Review
“Writing Genres presents an excellent, comprehensive discussion of contemporary genre theory as it has developed in the field of composition and writing over the past twenty years. The scholarship here is well informed and wide-ranging, drawing on historical linguistics and sociolinguistics, literary theory and history, composition studies, rhetorical studies, and cultural studies, and in its breadth it is excellent.”—Carolyn R. Miller, North Carolina State University
About the Author
Amy J. Devitt is Conger-Gabel Teaching Professor of English at the University of Kansas. She is the author of Standardizing Written English: Diffusion in the Case of Scotland, 1520–1659 and numerous articles on writing and theories of genre.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Information dense
By Sharlene Kenyon
Devitt completes a thorough and interesting discussion of genre theory. A great deal of information but some chapters are overwhelming with information.
0 of 4 people found the following review helpful.
Elementary, dull, and repetitive.
By LD
This is an ambitious, yet poorly written monograph. Devitt's overuse of the term "genre" bludgeons the reader, and her assertions of the manner in which genre dictates certain aspects of how we see the world and organize our experiences borders on the obvious. Anyone familiar with the way in which signs and signifying chains are linked together are already familiar with this concept. For those indoctrinated in a Lacanian framework, she waters down the manner in which the symbolic functions by replacing the Law of the Father in the symbolic with genre sets and other subdivisions of how genres are grouped and ordered. Her claim that genre is at the nexus of the individual and the social is perhaps the point I disagree with most. Her concept of the individual is purely hinged upon the social/ public individual as defined in that space; however, she neglects the private, internalize subjectivity which the subject uniquely experiences. While some might claim that blogs, social media pages, and other narratives will fit into genres and thus cover that internalize experience, she neglects the affective investment in language that is inseparable and impossible to convey to another subject. We can read traces of another and individually re-invest in those signs as we have read and assimilated them. While some may assert that that individualized experience escapes this realm of writing, neglecting the relationship between the subject and their relationship to language escapes the area between the thought and the expression. She never deals with first person, second person, or third person narratives, and how that affects the writer in its articulation. She never addresses the genre of stream of consciousness and what it aims to do or signifiy in relation to the subject's experience. We can read about experiences and compare them to our own, but we never can feel the experience of another outside of the language used. It's always a feigned unicity of discourse.
While those more indoctrinated in genre theory might find this text useful, I found (and several of my colleagues) that the writing was poor, dull, and at times, painfully overwritten and obvious. It reads not only like bad academia, but also as an attempt to bolster the significance of an idea that is rather elementary. Her lack of focus on classic rhetorical philosophy also hinders her ties to the manner in which discourse works, and also how truth and authenticity is situated. There is no mention of Cicero, Quintilian, or Artistotle. Her focus on the social identity of the subject within the realm of genre theory makes sense, but again, is elementary. She doesn't address where writing fails, and for me, that is where the most fascinating work of a subject's experience occurs. What happens when white-space in inscribed, as it is in Shakespeare? What of Joyce's gnomon and his "." at the end of the 17th chapter of Ulysses? Her focus (as well as her admission that many of her ideas never much further research) make this feel like an unfinished project with either easily proved theses, or with ideas conveniently left out because of their ability to unravel claims in her work.
Unless you are very much into genre theory, this may be for you. I am not a fan of, nor am I interested in genre theory (as this was my first taste of it). This book was not for me. If I had a wobbly table, and I needed a book to put under a leg to stabilize that table, I would not use this book, for I believe that it is useless in any and all applications.
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