“…The present article seeks to not only reiterate what previous research has demonstrated, namely, that RGS (Freedman, 1999) has the theoretical foundation to develop a concept of embodied genres (see Artemeva & Fox, 2011;Bawarshi 2015;Fogarty-Bourget et al, 2019), but also demonstrate the necessity of attending to embodied genres to understand how the design process is executed and taught. To do this, we answer previous calls to embrace, in the words of Devitt (1993), "new notions of genre as dynamic patterning of human experience" (p. 573).…”
Using rhetorical genre theory, the authors theorize the engineering design process as a type of embodied genre enacted through typified performances of bodies engaged with discourses, texts, and objects in genre-rich spaces of design activity. The authors illustrate this through an analysis of ethnographic data from an engineering design course to show how a genred repertoire of embodied routines is demonstrated for students and later taken up as part of their design work. A greater appreciation of the interconnection between genre and design as well as the role of typification in producing embodied genres can potentially transform how writing studies conceive of and teach both design processes and genres in technical and professional communication settings.
“…The present article seeks to not only reiterate what previous research has demonstrated, namely, that RGS (Freedman, 1999) has the theoretical foundation to develop a concept of embodied genres (see Artemeva & Fox, 2011;Bawarshi 2015;Fogarty-Bourget et al, 2019), but also demonstrate the necessity of attending to embodied genres to understand how the design process is executed and taught. To do this, we answer previous calls to embrace, in the words of Devitt (1993), "new notions of genre as dynamic patterning of human experience" (p. 573).…”
Using rhetorical genre theory, the authors theorize the engineering design process as a type of embodied genre enacted through typified performances of bodies engaged with discourses, texts, and objects in genre-rich spaces of design activity. The authors illustrate this through an analysis of ethnographic data from an engineering design course to show how a genred repertoire of embodied routines is demonstrated for students and later taken up as part of their design work. A greater appreciation of the interconnection between genre and design as well as the role of typification in producing embodied genres can potentially transform how writing studies conceive of and teach both design processes and genres in technical and professional communication settings.
“…Essentially, the underlying principle in these new studies is the fact that all communication is inherently multimodal (Kress 2010). Against this background, lectures have been widely analyzed from a multimodal perspective in English for Specific Purposes (Crawford Camiciottoli and Bonsignori 2015), English as a Means of Instruction (Costa andMair 2022), andL1 contexts (Bernad-Mechó 2022;Bernad-Mechó and Fortanet-Gómez 2019;Fogarty-Bourget et al 2019). Few studies, however, have explored lectures using a Multimodal (Inter)action Analysis framework.…”
This paper offers a Multimodal (Inter)action Analysis study of how metadiscourse is used in university lectures. Metadiscourse is frequently employed in spoken academic discourse to guide the audience through the contents of the speech, thus becoming an essential element to foster comprehension in lectures. Although lectures have been largely researched under a multimodal eye, studies looking at the multimodal nature of metadiscourse are still scarce. In fact, previous multimodal explorations of metadiscourse in lectures point towards discrepancies in the attention given by lecturers to metadiscursive instances. In this study, six face-to-face lectures in fields within Humanities were analyzed to spot all instances of organizational metadiscourse. Next, the fragments containing such metadiscourse were further explored through a Multimodal (Inter)action Analysis to identify the structure of higher-level actions and the ways in which metadiscourse was integrated as part of the modal configurations of the actions. The analysis of higher-level actions using the foreground-background continuum reveals two main roles in the use of metadiscourse: an active one, in which metadiscourse is explicitly used to guide and engage the audience, as expected; and a passive one, in which metadiscourse is rather used as a filler in the background. These results contribute to reflecting on teaching practices and raising awareness on the importance of multimodal literacy for teacher training.
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