ResuméDenne artikel anlaegger et nyt perspektiv på studiet af sproglige trusler ved at argumentere for at de kan karakteriseres som en genre -en genre der generelt giver staerke konnotationer til intimidering, frygt, aggression, magt og tvang.Vi kombinerer Retoriske Genrestudiers (RGS') teoretiske ramme med resultater fra teoretiske og empiriske analyser af trusler for at nå frem til en mere nuanceret og fyldestgørende forståelse af trusler. Sproglige trusler er som udgangspunkt ikke at finde i gaengse oversigter over genrer, og man laerer heller ikke om dem i skolen. Derfor designede vi et spørgeskema der skulle teste hvor genkendelige trusler egentlig er. Selvom trusselsforskere rapporterer at trusler har en bemaerkelsesvaerdig variation i deres formmaessige og kontekstuelle traek, kategoriserede størstedelen af vores respondenter testemnerne som trusler, på trods af at de ikke fik praesenteret nogen tekstuel, kontekstuel eller layoutmaessig ramme for fortolkningen.Dette indikerer at truslen er en genkendelig genre. Vi argumenterer for at truslen hører under en bredere kategori af illegitime genrer: genrer der generelt set har skadelige eller ubehagelige konsekvenser for samfundet, og som almindeligvis påvirker deres ofre negativt. Den måde illegitime genrer tages op på i samfundet, deres uptake, adskiller sig meget fra hvordan andre genrer tages op. De der benytter illegitime genrer, undgår ofte aktivt at navngive dem, hvilket indebaerer at de grupper der reagerer på illegitime genrer, på ganske betydelig vis er med til at definere dem. Dette studie bidrager til forskning i sproglige trusler, idet genreteori kaster lys over vigtige situationelle faktorer der påvirker fortolkningen af en tekst som en trusseldette er et saerligt omstridt spørgsmål i forhold til trusler der er indirekte formuleret. Studiet bidrager også til genreteori ved at pege på et nyt område genreforskere kan undersøge, nemlig illegitime genrer. Undersøgelser af illegitime genrer har også bredere samfundsmaessig relevans da de belyser forskellige slags problematisk, retorisk opførsel der kan have destruktive 2020 © Sakprosa Bind 12, Nr. 1 M. Bojsen-Møller, S. Auken, A. J. Devitt & T. K. Christensen 3 / 53 Sakprosa.no konsekvenser for det enkelte menneske og for den demokratiske samfundsorden bredt set. AbstractThis study takes a novel approach to the study of threatening communications by arguing that they can be characterized as a genre -a genre that generally carries strong connotations of intimidation, fear, aggression, power, and coercion. We combine the theoretical framework of Rhetorical Genre Studies (RGS) with results from theoretical and empirical analyses of threats to arrive at a more comprehensive perspective of threats. Since threats do not form part of any regular curriculum of genres, we designed a survey to test how recognizable they are. While scholars on threats describe threatening communications as remarkably varied in form and contextual features, the majority of our respondents categorized test items as threats without ...
Carolyn Miller’s (1984) “Genre as Social Action,” the primary topic—or target—of Anne Freadman’s brilliant and thought-provoking article, holds a special place in genre research. If I pick up an unknown piece of research on genre, the first thing I do is look for Miller’s article in the bibliography. If it is not there, the text in my hand will probably be of little of value to my work for lack of orientation. Moreover, as Freadman (2012) notes, convention in genre research suggests that when you mention the article, it is in good form to add a positive qualifier. It will often be framed as having “formative influence” (MacNeil, 2012), as a “landmark essay” (Feinberg, 2015), or as “seminal” (Andersen, 2008; Devitt, 2009a; Motta-Roth & Herbele, 2015; Møller, 2018; Paré, 2014; Tachino, 2012), “groundbreaking” (Bawarshi, 2000; Smart, 2003; Winsor, 2000), or “oft-cited” (Devitt, 2009b). More than just paying lip service to the greats in the field, adding this qualifier demonstrates that the author knows her way around Rhetorical Genre Studies and is mindful of Miller’s central place within it. This status as a classic text is in itself an example of the bidirectionality of uptake that holds a central place in Freadman’s work. “Genre as Social Action” could not be canonical when it was first published. A canon had to form, and the article’s central place within it had to be recognized by later researchers, before Miller’s text could be taken as oft-cited, seminal, or groundbreaking.
In order to grasp the state of contemporary genre studies one must recognize that literary scholarship has long been out of vogue. Scholars of literature may have defined the subject for many years, but those days are long gone. From the mideighties onwards, literary genre studies has stalled, whereas linguistic, rhetorical, and didactic genre studies have flourished-the dominant subject in genre studies these days is, in fact, writing studies, with ethnographic and sociological subjects following close on its heels. There is still interesting work being done among literary scholars, and I will marginally touch upon some of it here, but compared to the cohesiveness and impact achieved in the other fields, literary genre studies has fallen behind. However, much remains to be done. Whereas genre as a phenomenon is omnipresent in human culture, understanding and communication, genre studies is not as prolific. It is a specific and highly specialized scholarly endeavour that may be very well developed but is not universally known, or even well-known in academia. Thus, you may live, study, interact with, and even research genres throughout your life without ever giving a thought to the existence of a cohesive body of knowledge concerned with the subject. Consequently, not only do scholars often discuss questions of genre without knowing the state of the art in genre studies; they may make discoveries which have already been made in genre studies and proclaim them as breakthroughs (bad), or make new discoveries relevant to genre studies without news of these developments ever reaching genre studies (worse). Thus, the purpose of this article is to contribute to the mediation between contemporary genre studies and scholars from other fields who work with genre; in casu: Biblical scholars working with the Gospel of John. So it will present some of the developments in current genre theory and suggest some ways in which these may be worked into the interpretative practices in literary and biblical studies. These remarks are of a general nature and not aimed immediately at John. In order to illustrate a few of the points, the article will also attempt a tentative reading of one passage from John. This reading is only included for illustration. It is clearly literary in character, and has no claim to profoundness or originality in biblical studies.
Artiklen er en interdisciplinær studie imellem den litterære og den retoriske genreforskning med udgangspunkt i den retoriske genreforsknings velfortjente dominans. Artiklen foreslår et samarbejde og angiver ét muligt startpunkt for samarbejdet, idet den bruger Carolyn Millers berømte begreb om genre som social handling som redskab til at analysere litterære figurers sociale handlinger gennem genre internt i fiktioner.
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