Citra Priski Abadi A. Theory of GBA and Teaching Simulations In this section, writer describes some theories of genre —based approach, example of teaching materials based on GBA theories and the simulations of teaching. Definition of Genre-Based Approach Many experts try to introduce and present their concept about genre. According to Christie
Scholars of rhetoric tend to focus on the patterns of communicative action that produce memoranda or tragedies. Of course, all of these aspects of genre are connected.
But it's not easy to describe the connections. Distant reading may seem to lend itself, inevitably, to literary scholars' fixation on genre as an attribute of textual artifacts. But the real value of quantitative methods could be that they allow scholars to coordinate textual and social approaches to genre.
This essay will draw one tentative connection of that kind. It approaches genre initially as a question about the history of reception — gathering lists of titles that were grouped by particular readers or institutions at particular historical moments.
But it also looks beyond those titles to the texts themselves. Contemporary practices of statistical modeling allow us to put different groups of texts into dialogue with each other, in order to discover, for instance, whether competing definitions of the Gothic created at different times and embodied in entirely different lists of works were nevertheless as compatible as some critics claim.
The problem of historical comparison is a pressing one because literary scholars haven't been able to reach much consensus about the life cycles of novelistic genres. The Gothic, for instance, can be treated as a category that lasts for 25 years or for In Graphs, Maps, Trees, The genre cycle essay Moretti surveyed academic studies of genre, and concluded that genres display "a rather regular changing of the guard.
Draculawhich Moretti's chart treats as a phenomenon entirely different from the older Gothic of monks and banditti. Moretti speculatively links the twenty-five-year rhythm of this sequence to generational succession.
On the other hand, there are well-established traditions of reception that suggest genres can sustain a coherent identity over much longer timelines than this generational rhythm would allow.
Fans of contemporary mystery fiction often read Agatha Christie and Wilkie Collins with equal pleasure. Moretti is right that many academic studies of genre do cover generation-sized periods.
But it is also true that categories like "detective fiction" have mattered continuously to readers for more than a century. Textual analysis won't prove either claim wrong, but it may help us understand how they're compatible. For instance, one obvious way to reconcile conflicting accounts might be to say that Moretti is right about the rhythms of genre in the century he discusses the nineteenth — but wrong about the twentieth, because genres harden there into durable marketing institutions.
Moretti, however, has hinted 7 that even a long-lived twentieth-century genre like detective fiction might be at bottom a sequence of generational stages the Holmesian "case," the closed circle of country-house suspects, the crime thrillerlinked by a relatively weak thread of filiation.
Maurizio Ascari, for instance, argues that "the term detective fiction has been increasingly supplanted by crime fiction," and glances skeptically at the old narrative that positioned "Poe as a founding father and his 'tales of ratiocination' as the full-blown model of the genre.
This is where textual evidence could start to be useful. Matthew Jockers has shown that genres framed on a twenty-five- to thirty-year scale are linguistically coherent phenomena in the nineteenth century.
A statistical model trained on examples of silver-fork or sensation fiction can identify other examples of the same genre with reasonably high accuracy.
Intuitively, one might expect the boundaries of a longer-lived category to be blurrier; it's hard to believe that The Moonstone and The Big Sleep have much in common on a textual level.
If it does turn out to be easier to recognize "sensation novels" than "detective fiction," we'll have some evidence that Moretti was right about the underlying generational logic of genre. Evidence of this kind wouldn't rule out the possibility of longer-term continuity: But if we did find that textual coherence was strongest over short timespans, we might conclude at least that generation-sized genres have a particular kind of coherence absent from longer-lived ones.
On the other hand, there are different kinds of historical trajectories we could just as reasonably expect to find. For instance, scholars have spent a great deal of energy tracing the gradual standardization of genre conventions in the early twentieth century, pointing to genre-specific pulps and critical pronouncements like Ronald Knox's so-called "Decalogue" of rules for detective stories as moments of genre consolidation.
Wolfe suggests that "the science fiction novel persistently failed to cohere as a genre" until the s. That's the story I expected to find when I began this project. To investigate these questions, I've gathered lists of titles assigned to a genre in eighteen different sites of reception.
Some of these lists reflect recent scholarly opinion, some were defined by writers or editors earlier in the twentieth century, others reflect the practices of many different library catalogers see Appendix A. Although each list defines its object slightly differently, they can be loosely arranged around three categories: It is debatable whether the Gothic, writ large, is a genre at all — but that's what makes it an interesting case.
The story that emerged from this experiment doesn't line up very neatly with either of the alternative accounts I just gave: I see little evidence of the generational waves Moretti's theory would predict. In fact, it's not even the case that books in a chronologically-focused genre like "the sensation novel, " necessarily resemble each other more closely than books spread out across a long timeline.
Detective fiction and science fiction display a textual coherence that is at least as strong as Moretti's shorter-lived genres, and they sustain it over very long periods or perhaps even years. So I think we can set aside the productive conjecture that twenty-five-year generational cycles have special importance for the study of genre.
But I also haven't found much evidence for the story of gradual consolidation that I expected to reveal. Although it is clearly true that the publishing institutions governing genre developed gradually, it appears I was wrong to expect that the textual differences between genres would develop in the same gradual way.Genre Theory 1.
How do genres develop? A set of films "copy" an original content/form because it was successful as several copies are made, the content AND form profile becomes recognizable to an audience the audience expects certain things from the film because of its genre a very commercial, American process!
2. Goal Genre Cycle Film Studies 14 April Primitive stage: In this stage, the filmmakers are creating a new genre which may have impact on the audience. The first stage of the genre cycle is called the primitive stage. During this stage of the cycle, the genre of horror is very new.
The Western as a Film Genre Essay - The Western as a Genre John Ford’s Stagecoach (United Artists) has been hailed as the official Western Classic. Released in after the lull in production of Westerns. Conclusion Genre-based approaches, where teaching and learning focuses on the understanding and production of selected genres of texts, have been identified by Rodgers () as a major trend in English language teaching (ELT) in the new millennium.
|The Life Cycles of Genres « CA: Journal of Cultural Analytics||Genres in academic writing: Reflective writing The purpose of reflective writing is to help you learn from a particular practical experience.|
Intro to Film: Genres 1. Week 7 LectureFilm Genres 2. What is a film genre?• The Cycle of a Genre Movie• Gianetti () argues thatGenres have 4 major cycles:• Primitive• The conventions of the genre areestablished through experimentation.• Classical• The genre at its peak.
It’s conventions aresolidified.•. In reflective writing, you are trying to write down some of the thinking that you have been through while carrying out a particular practical activity, such as writing an essay, teaching a class or selling a product.