DISCOURSE

ANALYSIS
DISCOURSE & GENRE
We’re 3rd Group
INTAN FIBRIANA 16420143
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 CONTENT
DISCOURSE & GENRE

WHAT IS GENRE ?
RELATIONSHIP BETWEEN GENRES
WRITTEN GENRE ACROSS CULTURES
SPOKEN GENRE ACROSS CULTURES
STEPS IN GENRE ANALYSIS
THE SOCIAL & CULTURE CONTEXT OF GENRE
THE DISCOURSE STRUCTURE OF GENRE
APPLICATION OF GENRE ANALYSIS
 ?
WHAT IS GENRE?
 WHAT IS GENRE?
DISCOURSE & GENRE

• Schmidt (2002):
A type of discourse that occurs in a particular setting, that
has distinctive recognizable patterns and norms of
organization and structure and that has particular and
distinctive communicative functions.
 EXAMPLES OF GENRE
DISCOURSE & GENRE

• A letter to the editors

• News

• Reports

• Parliamentary speeches

• Summing up in a court of law

USE OF NOTION OF GENRE
DISCOURSE & GENRE

• Teaching ESP :based on Swales (1981, 1990)

• Teaching of writing : Sydney School (Hyon 1996)

• Schematic structure, generic structure

 GENRES ARE
DISCOURSE & GENRE

Ways in which people get things done

through their use of spoken and written discourse.

 DEFINING GENRE
DISCOURSE & GENRE

• Martin (1984): A staged, goal-oriented, purposeful activity in which speakers

engage as members of our culture.
• Swales (2004): Definitions are often not true in all possible worlds and all possible
times and can prevent us from seeing newly explored or newly emerging genres for
what they really are.
• Swales (2004): Genres are dynamic and open to change, but it is not a case of ‘free
forall’or ‘anything goes’.
• Devitt (2004): Conformity among genre users ‘is a fact of genre, for genres provide
an expected way of acting’.
• Constraint and choice are necessary and positive component of genres.
 GENRE CATAGORY
DISCOURSE & GENRE

Cook (1989)

• Author or speaker • Pre-sequence to the text

• Intended audience • Content of the text

• Purpose of text • The level of formality

• The situation in which the • Particular uses of language
text occurs
• The style or register
• The physical form
• Spoken or written
• The title
 DEFINING GENRE
DISCOURSE & GENRE

• Askehave and Swales (2000):

While discourse structure is clearly a characterizing feature of some genres, it is n

ot always the case that every instance of a particular genre will have exactly the
same discourse structures (nor indeed the same communicative purpose).
• Swales (2002):
Genres are seen as ‘resources formeaning’ rather than ‘systemsof rules’.
RELATIONSHIP BETWEEN GENRE
RELATIONSHIP BETWEEN GENRES
DISCOURSE & GENRE

• The way a use of one genre may assume, or depend on the use of
a number of other interrelated genres.

• Job interview
 RELATIONSHIP BETWEEN GENRES
DISCOURSE & GENRE

• Genre Chain VS Genre Network

Letter of Resume Job Offer of Negotiation
Job Advertisement Position Description
application interview appointment of offer

• Genre repertoire
Phone calls, an email, casual conversation, a letter, a fax

• Genre sequence and hierarchy

• Occluded or supporting genre VS Open genre

WRITTEN GENRE ACROSS CULTURES
WRITTEN GENRE ACROSS CULTURES
DISCOURSE & GENRE

• Kaplan (1966): Different patterns in the academic essay of student from

different languages and cultures.

• Connor (1996): Contrastive rhetoric

• Connor (2004): Intercultural rhetoric

 CONTRASTIVE RHETORIC
DISCOURSE & GENRE

• Leki (1997): Contrastive rhetoric can be seen, not as the study of culture-spe
cific thought patterns, but as the study of ‘differences or preferences in the pra
gmatic and strategic choices that writers make in response to external deman
ds and cultural histories.
• Canagarajah (2002): Contrastive rhetoric research needs ‘to develop more
complex types of explanation for textual differences’ if it is to enjoy continued
usefulness in teaching of academic writing.
SPOKEN GENRE ACROSS CULTURES
SPOKEN GENRE ACROSS CULTURES
DISCOURSE & GENRE

• Nakanishi (1998): Examination of going on a first date in Japanese

and U.S.
• 61 women and 67 men Japanese

Conclusion: While there maybe ways of performing the same genre across

cultures that are quite the similar, there may be parts of the genre that are

significantly quite different.

STEPS IN GENRE ANALYSIS
STEPS IN GENRE ANALYSIS
DISCOURSE & GENRE

1. Consider what is already known about the particular genre.

2. Refine the analysis by defining the speaker or writer of the text,
the audience of the text and their relationship, the goal and
purpose.
3. Select collection of texts to examine.
THE DISCOURSE STRUCTURE OF GENRES
THE DISCOURSE STRUCTURE OF GENRES
DISCOURSE & GENRE

• The example of discourse analysis of theses and dissertations

• Conclusion: There are at least four different types of pattern that

writers choose from, depending on the focus and orientation of
their thesis or dissertation. Simple traditional, complex traditional, topic
-based and compilations of research articles.
THE SOCIAL & CULTURE CONTEXT OF GENRES
THE SOCIAL & CULUTURE CONTEXT OF GENREA
DISCOURSE & GENRE

• The example of discourse analysis of theses and dissertations. It

shows the range of factors that impact on how the text is written,
how it will be read and, importantly, how it will be assessed.
THE SOCIAL & CULUTURE CONTEXT OF GENRES
DISCOURSE & GENRE

a. Settings of the text

b. Focus and perspective of the text
c. Purpose of the text
d. Audience, role and purpose in the reading the text
e. Relationship between the writer and readers of the text
f. Expectations, conventions and requirements for the text
g. Background knowledge, values and understandings
h. Relationship the text has with other texts
APPLICATION OF GENRE ANALYSIS
APPLICATION OF GENRE ANALYSIS
DISCOURSE & GENRE

• Hammond and Macken-Horarick (1999): Genre-based teaching can help students

gain access to text and discourses which help them participate more successfully in L2
spoken and written interactions.

• Luke (1993): Teaching ‘genre of power’ leads to uncritical reproduction of the status
quo and does not necessarily provide the kind of access we hope for our learners.

• Chiristie (1993) and Martin (1993): Not teaching genres of power is socially
irresponsible.
Thank you