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Essay On Genre

Genre Analysis Essay

Genre Analysis preliminary draft due 2/3/10 at 1:30 pm.

Genre Analysis final draft due 2/17/10 1:30 p.m.

To deepen our understanding of discourse community concepts, we will analyze both traditional and multimedia documents as genres.  A genre is a form of communication such as a book, a billboard, or a blog. When we conduct a genre analysis, then, we are looking at the forms of two different texts within or across discourse communities.  The purposes of this assignment are to help you understand the importance of genre and discourse community knowledge to writers. Additionally, this assignment will reinforce your understanding of the ways writing differs among genres and allow you to strengthen your skills in writing in the genre of a textual analysis.

  

Compose:  Locate and photocopy (or print, save, link, or scan) two types of genres on the same issue or topic.  Consider our discussion on the concept of genre, how to recognize different genres, and the features that differentiate one genre from another. You should begin the process by creating a matrix that shows the differences and similarities through the four areas of genre analysis: rhetorical issues, content, structure, and style/language as a way to formulate/outline the content in the body of the essay.  

 

Design: As you begin, read about different genres such as posters, documentary photography, instruction sets, editorial and opinion pieces, essays, and comics in Section 3, pages 315-509 in your textbook: Compose, Design, Advocate. Carefully choose two different genres about the same subject matter for your genre analysis essay. 

 

Address the following areas, and use evidence from the genres to support your discussion, and maintain third person voice throughout:

 

Introduction: 

·        Start with a brief discussion of the subject/topic that the two genres are focusing on.  Include the title of each piece, the genre type, and the author or company name of each in the introduction. 

·        State the thesis, either implied or stated, in each genre.  Your thesis, which goes in the last paragraph, is the synthesis of the two genres.  

 

Audience and Purpose Questions: 
 

·        Who is the intended audience for each genre?

·        What discourse community (or communities) is this audience in?

·        What is the audience likely to know? Want to know? Why?

·        How much time will this audience want to spend with the information presented in the genres?

·        What is the purpose of the information presented in the genres? (inform, persuade, entertain)

 

 

Rhetorical Issues: Ethos, Pathos and Logos:

·        How does each genre help to establish the information's credibility?  Is it effective?

·        How does each genre help to evoke an emotional response from the audience?  Which emotions?  Why?

·        What types of evidence are used to support the claims of the information in the genres? Is it appropriate? Why or why not? 

 

Structure:

·        How is the information shaped by the genre (s)? (Consider the limitations/freedoms of space, time, layout, audience, and so on.)

·        How are the genres organized to convey its message?

·        How does the structure facilitate the purpose of the information in the genre(s)? 
  

 

Style/Language:

·        How formal/informal is the language?

·        What specialized vocabulary is used?

·        What other language features do you notice?

 

Conclusion/Synthesis:

·        Which genre was more effective in conveying its message?  Why?

·        Offer a final comment on the impact of genres on discourse.  

 

Product Testing:  You will receive comments on drafts through peer review, the Writing Center, the evaluators, and/or your instructor.  

 

Advocate: Submit a 4-6 page essay in which you analyze and compare two genres on the same subject/topic.  Maintain third person voice throughout. 

  

**Choose your genres carefully—poor choices will lead to an insufficient genre analysis.**

  

Submit both a rough draft and the final draft as well as copies of both genres (can be a link) to the submission area in Blackboard.  Save your paper using your last name, and the word, "genre,” and “draft” or “final” depending on the version of the paper you are submitting.

 Format:

 ·        Use 12 pt. font, Times New Roman, Arial, or Georgia style, double space, and use appropriate voice/tone for an analysis essay.   

·        Provide a Reference page and use in-text citation when referring to specific passages or examples of each genre. 

·        Use third person voice.  

Key Elements Checklist:

ü       Choose two distinct genres.

ü       Provide evidence from the genres to answer all questions.

ü       Provide a conclusion that synthesizes your analysis.

ü       Keep the essay in third person voice.

 

*Rubrics are subject to minor changes. Students will be notified if changes occur.

 

378Philosophy and Literature Notwithstanding this stirring rhetoric, Schultz (like many other social scientists and literary theorists on this topic) shows little command ofwhat contemporary philosophical work on relativism and realism is actually about. But by now she is enthralled by her vision of Whorf as tragic hero, a "Moses-like figure" (p. 152). She can even write of this prosperous insurance assessor who repeatedly declined offers of academic jobs: "It almost seems that the torture Whorf underwent was worse than the outright persecution, imprisonment, and exile suffered by Bakhtin or Dostoevsky. For if he was imprisoned, it was in a comfortable , complacent world ofcapitalist success" (p. 151)! By this point Schultz's perspective on Whorf is sorely in need of a bracing dialogic encounter with a more skeptical other's. Massey University, New ZealandRoy W. Perrett Essays on the Essay: Redefining the Genre, edited by Alexander J. Butrym; ix &: 309 pp. Athens: University of Georgia Press, 1989, $35.00 cloth, $15.00 paper. Drawn from a symposium, "The Essay: Redefining the Genre for the Humanities ," these papers offer fresh critical and pedagogical perspectives on the literary essay, linking its fortunes to those of the humanities. Relatively eclipsed in today's college curriculum, often serving merely to provide writing models in composition courses, the essay remains a vital form whose understanding, according to the editor, "prepares students for a lifelong process of personal discovery and education in the humanities" (pp. 4—5). An elegant keynote address by the late O. B. Hardison, Jr., deftly surveys the evolution of this protean genre, suggesting that, despite its many metamorphoses , it bears today its original Montaignian stamp. Under the heading "Essayists on Their Work," Scott Russell Sanders, Barbara Mellix, and Rockwell Gray exemplify the form while focusing on authorial voice and the importance of a sense of place to the formation of the writing self. Eleven chronologically ordered papers, beginning with Michael L. Hall's study linking the essays of Montaigne and Bacon to those of Donne and Browne, enable the reader to trace the history of the genre. Five of these contributions are insightful (re)assessments. Paul Korshin's study of the printing history and reception of Johnson's essays points to a wider, more thoughtfulreadership than thatreached by Addison and Steele. Georgia Johnston demonstrates the unity of Virginia Woolf's The Common Reader and its progression from focusing on the reader Reviews379 to studying canon formation. J. P. Riquelme sees T. S. Eliot's "Tradition and the Individual Talent" as an important prose precursor of The Waste Land. Sherman Paul's study of Aldo Leopold's A Sand County Almanac examines his evolving environmental ethic and measures his stature as a nature essayist. For E. Fred Carlisle, Loren Eisley's fusion of autobiographical, scientific, figurative, and metaphysical elements leads to an almost Thoreauvian achievement in The Immense Journey. Five other contributions lie in the domain of criticism, suggesting directions for future studies. The relation between essayisdc writings and the overall opus concerns both Robert Atwan, as he examines Emerson's essays, journals and correspondence, and Duane Edwards, as he walks the boundaries between D. H. Lawrence's self-revealing essays and novels. From her vantage as a teacher of composition, Nancy Enrightjudges dextrous William Hazlitt's reconciliation of the familiar style's demands with the essay's boundless possibilities. Charles O'Neill's topic is aesthetic ritual in W. B. Yeats's Ideas of Good and Evil, while James Cunningham studies the rhetorical function of personal remembrances in James Baldwin's major essay collections. Papers under the rubric "Theory and Definition" point to the essay's vitality in contemporary critical discourse: George Core attributes some of the form's prestige to New Yorker writers E. B. White and James Thurber; and R. Lane Kauffmann argues persuasively for its philosophical legitimacy, citing Frankfurt School proponents Adorno and Walter and recent French poststructuralist practitioners. Pedagogical concerns surface in four final papers. Observing the inscription of a complex itinerary in American essays of the last thirty years, William Howarth is skeptical of their use as models of orderly composition. Renewing Montaigne's historic defense of plain language as the instrument of inquiry, Kurt Spellmeyer argues against...