Formas e função do discurso do outro no gênero monográfico

The present work investigates related discourse in rewriting discursive practices, at monographic works specifically at the theoretical foundation section. Focalizing some discursive strategies of voice management (direct and indirect discourse and modalization voice) we detach the introduction way and function of cited discourse. To do so, it were analyzed eighteen monographic works: nine of them final graduation works and other nine specialization works seeing that each works belonging to the same student, in two different stages, in the period from 2003 in graduation conclusion to 2005 in the end of specialization course. The data reveal that the monographic writer/student emphasizes the use of direct discourse in graduation works while in specialization works there was an emphasis at indirect speech. The analysis the way they introduce cited discourse pointed out that writer/student in graduation course such as specialization student make meaningless constructions when they do not use discendi verbs, they demonstrate difficulties inarticulate citing discourse with cited discourse. In what is related to functions of cited discourse we verify that the student/writer, in both stages or levels give emphasis to the function maintain an assertion, indicating that other s discourse serve mainly as a resource of authority just because that this function reveals the absence of a dialog between student writing and cited discourse. In a general way, the forms of other s discourse claim a form of writing that is found starting from a sequence of cited discourse in what student/writer voice in graduation and specialization comes to text surface just few times, but most of the times, the student takes other s words as they were themselves, every time there is an overlap of author/source

Referência ao discurso do outro: uma análise de problemas de relações de sentido entre discurso citado direto e indireto citante no gênero monográfico

In this study we investigate the reference to other s discourse done it through the resource of direct cited discourse at background section in monographic texts produced by university students at the last phase of final work in their graduate Letras course. This work is guided in cited/related discourse studies in Bakhtin (2004), Authier-Revuz (1990, 1998, 2004), Maingueneau (1996, 2002), Charaudeau and Maingueneau (2004); in genre approaches developed by Bakhtin (2000); Maingueneau (1996, 2002); socio-discursive interaction (BRONCKART, 1999, 2003; SCHNEUWLY, 2004; DOLZ e SCHNEUWLY, 2004) and Bazerman (2005); and also in presuppositions of Textual Linguistics presented by Charrolles (1988), Van Dijk (1997), Beaugrande and Dressier (1981), Koch and Travaglia (1993, 1995), Koch (2002, 2004) and Val (2000, 2004). We have established as aims to analyze and interpret meaning relations problems in how to articulate direct cited discourse with citing discourse and at the same time explain semantic implications that comes from that articulation that compromise text meaning, at background section in that monographic genre. The analysis, by qualitative and quantitative basis in eleven monographic works that form our corpus, gave us the opportunity to achieve and see that meaning relationships in the articulation of direct cited discourse with citing discourse show problems that may be categorized into three different groups: problems related to meaning relationships with citing discourse that comes before it, problems of meaning relationships with citing discourse that comes after it, and problems with of meaning relationships with citing discourse that come before it and at the same time with citing discourse that comes after it (i.e. in relation to both). These analysis also allow us assert that, these problems, just because they occur frequently, they affect the micro level text coherence, and they also compromise the text global meaning. The results show that students at Letras Course, even in the ending process of their course do not show the real domain in relation to some ways of direct cited discourse organization and working, and also how the ideas articulation work in the construction of relations between direct cited discourse and the citing discourse that can turn those students able to produce a text that enhance acceptable patterns

At breaking point? Challenges for Australian film policy through the lens of genre (horror) films

Cultural policy settings attempting to foster the growth and development of the Australian feature film industry in era of globalisation are coming under increasing pressure. Global forces and emerging production and distribution models are challenging the “narrowness” of cultural policy – mandating a particular film culture, circumscribing certain notions of value and limiting the variety of films produced through cultural policy driven subvention models. Australian horror film production is an important case study. Horror films are a production strategy well suited to the financial limitations of the Australian film industry with competitive advantages for producers against international competitors. However, emerging within a “national” cinema driven by public subsidy and social/cultural objectives, horror films – internationally oriented with a low-culture status – have been severely marginalised within public funding environments. This paper introduces Australian horror film production, and examines the limitations of cultural policy, and the impacts of these questions for the Producer Offset.

Trouble and autoethnography in assessment genre : a case for postnational design in online internationalized pedagogy

This chapter is interested in the difference between local places with implicit codes and more global spaces with explicit directions, through the case study of the design and conduct of assessment in an online internationalized MBA unit. Online learning is understood to offer new ways of belonging in 'postnational' communities less reliant on locality for their frames of reference. This study reports and analyses firstly a series of troubles which erupted over the international students' desire for more explication of the desired genre for their assessment task. Then it analyses the different, 'autoethnographic' genre structure that emerged when students started to acknowledge the diverse backgrounds within the class.The chapter then offers practical considerations for the design of online internationalized programs.

Contradictions : Genre, causal layered analysis and analysis of institutional change

In what follows, I put forward an argument for an analytical method for social science that operates at the level of genre. I argue that generic convergence, generic hybridity, and generic instability provide us with a powerful perspectives on changes in political, cultural, and economic relationships, most specifically at the level of institutions. Such a perspective can help us identify the transitional elements, relationships, and trajectories that define the place of our current system in history, thereby grounding our understanding of possible futures.1 In historically contextualising our present with this method, my concern is to indicate possibilities for the future. Systemic contradictions indicate possibility spaces within which systemic change must and will emerge. We live in a system currently dominated by many fully-expressed contradictions, and so in the presence of many possible futures. The contradictions of the current age are expressed most overtly in the public genres of power politics. Contemporary public policy—indeed politics in general-is an excellent focus for any investigation of possible futures, precisely because of its future-oriented function. It is overtly hortatory; it is designed ‘to get people to do things’ (Muntigl in press: 147). There is no point in trying to get people to do things in the past. Consequently, policy discourse is inherently oriented towards creating some future state of affairs (Graham in press), along with concomitant ways of being, knowing, representing, and acting (Fairclough 2000).

Rethinking genre studies through distribution analysis : issues in international horror movie circuits

The existence of any film genre depends on the effective operation of distribution networks. Contingencies of distribution play an important role in determining the content of individual texts and the characteristics of film genres; they enable new genres to emerge at the same time as they impose limits on generic change. This article sets out an alternative way of doing genre studies, based on an analysis of distributive circuits rather than film texts or generic categories. Our objective is to provide a conceptual framework that can account for the multiple ways in which distribution networks leave their traces on film texts and audience expectations, with specific reference to international horror networks, and to offer some preliminary suggestions as to how distribution analysis can be integrated into existing genre studies methodologies.

Towards an understanding of Australian genre cinema and entertainment : beyond the limitations of ‘Ozploitation’ discourse

While Australian cinema has produced popular movie genres since the 1970s, including action/adventure, road movies, crime, and horror movies, genre cinema has occupied a precarious position within a subsidised national cinema and has been largely written out of film history. In recent years the documentary Not Quite Hollywood (2008) has brought Australia’s genre movie heritage from the 1970s and 1980s back to the attention of cinephiles, critics and cult audiences worldwide. Since its release, the term ‘Ozploitation’ has become synonymous with Australian genre movies. In the absence of discussion about genre cinema within film studies, Ozploitation (and ‘paracinema’ as a theoretical lens) has emerged as a critical framework to fill this void as a de facto approach to genre and a conceptual framework for understanding Australian genres movies. However, although the Ozploitation brand has been extremely successful in raising the awareness of local genre flicks, Ozploitation discourse poses problems for film studies, and its utility is limited for the study of Australian genre movies. This paper argues that Ozploitation limits analysis of genre movies to the narrow confines of exploitation or trash cinema and obscures more important discussion of how Australian cinema engages with popular movies genres, the idea of Australian filmmaking as entertainment, and the dynamics of commercial filmmaking practises more generally.

In Bed with Autobiography: Unravelling the Fabric of Gender and Genre in Women’s Bed(room) Confessions

This thesis consists of a confessional narrative, What My Mother Doesn’t Know, and an accompanying exegesis, And Why I Should (Maybe) Tell Her. The creative piece employs the confessional mode as a subversive device in three separate narratives, each of which situates the bed as a site of resistance. The exegesis investigates how this self-disclosure in a domestic space flouts the governing rules of self-representation, specifically: telling the truth, respecting privacy and displaying normalcy. The female confession, I argue, creates an alternative space in women’s autobiography where notions of truth-telling can be undermined, the political dimensions of personal experience can be uncovered and the discourse of normality can be negotiated. In particular, women’s confessions told in, on or about the bed, dismantle the genre’s illusion of self and confirm the representative aspects of women’s experience. Framed within these parameters of power and powerlessness, the exegesis includes textual analyses of Charlotte Perkins Gilman’s The Yellow Wallpaper (1892), Tracey Emin’s My Bed (1999) and Lauren Slater’s Lying (2000), each of which exposes in a bedroom space, the author’s most obscure, intimate and traumatic experiences. Situated firmly within and against the genre’s traditional masculine domain, the exegesis also includes mediations on the creative work that validate the bed as my fabric for confession.

A silver bullet for Australian cinema? Genre movies and the audience debate

There has been a renaissance in Australian genre cinema in recent years. Indeed, not since the 1980s have Australian genre movies across action, adventure, horror, and science-fiction among others, experienced such prominence within production, policy discourse, and industry debate. Genre movies, typically associated with commercial filmmaking and entertainment, have been identified as a strategy to improve the box-office performance of Australian feature films and to attract larger audiences. Much of this conversation has revolved around the question of whether or not genre can deliver on these high expectations and transform the unpredictable local film industry into a popular and profitable commercial production sector. However, this debate for the most part has been disconnected from analysis of Australia’s genre movie heritage in terms of their position within Australian cinema and their reception with domestic audiences, and how this correlates to contemporary trends. As this chapter argues, genre production is not a silver bullet which will single handedly improve the Australian feature film industry’s commercial performance. Genre movies have occupied, and continue to occupy, a difficult position within Australian cinema and face numerous challenges in terms of reception with national audiences, limited production scale and enterprise structures, and ongoing tensions between culture and commerce.

Personality, genre and videogame play experience

This study explored relationships between personality, videogame preference and gaming experiences. Four hundred and sixty-six participants completed an online survey in which they recalled a recent gaming experience, and provided measures of personality and their gaming experience via the Game Experience Questionnaire (GEQ). Relationships between game genre, personality and gaming experience were found. Results are interpreted with reference to possible implications for a positive impact on wellbeing of videogame play and possible means of improving the breadth of appeal of specific genres.

Towards an understanding of Australian genre cinema and entertainment : beyond the limitations of ‘Ozploitation’ discourse

While Australian cinema has produced popular movie genres since the 1970s, including action/adventure, road movies, crime, and horror movies, genre cinema has occupied a precarious position within a subsidised national cinema and has been largely written out of film history. In recent years the documentary Not Quite Hollywood (2008) has brought Australia’s genre movie heritage from the 1970s and 1980s back to the attention of cinephiles, critics and cult audiences worldwide. Since its release, the term ‘Ozploitation’ has become synonymous with Australian genre movies. In the absence of discussion about genre cinema within film studies, Ozploitation (and ‘paracinema’ as a theoretical lens) has emerged as a critical framework to fill this void as a de facto approach to genre and a conceptual framework for understanding Australian genres movies. However, although the Ozploitation brand has been extremely successful in raising the awareness of local genre flicks, Ozploitation discourse poses problems for film studies, and its utility is limited for the study of Australian genre movies. This paper argues that Ozploitation limits analysis of genre movies to the narrow confines of exploitation or trash cinema and obscures more important discussion of how Australian cinema engages with popular movies genres, the idea of Australian filmmaking as entertainment, and the dynamics of commercial filmmaking practises more generally.

Marking out the pitch : Defining the soccer fiction genre

The fiction of football, or soccer as it is commonly known in both the US and Australia, has a long and deep history. Despite this, there is still academic uncertainty as to whether it qualifies description as a distinct fictive genre. This paper seeks to address this question. It brings a genre analysis approach to the football fiction canon. Starting with definitions of what constitutes football fiction and genre, the paper goes on to distinguish and aggregate common trends, tensions and divergences and identify emerging and popular movements within football fiction. The paper will then assess football fiction’s status as a discrete genre.

Personality & video game genre preferences

This research has been conducted to ascertain whether people with certain personality types exhibit preferences for particular game genres. Four hundred and sixty-six participants completed an online survey in which they described their preference for various game genres and provided measures of personality. Personality types were measured using the five-factor model of personality. Significant relationships between personality types and game genres were found. The results are interpreted in the context of the features of particular game genres and possible matches between personality traits and these features.