Formulaic Genres
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Formulaic Genres
Mikhail Bakhtin was right. Humans could not use the languages they know without also learning the genres which govern so much of our social life. These genres frequently consist of rules prescribing the order in which we must say things and formulaic phraseology which prescribes what can and should be said. Native speakers know only a small fraction of the formulaic genres in a speech community. This relativizes the concept of a native speaker in all situations. Koenraad Kuiper illustrates these views with an array of fascinating case studies of engagement notice writers, horse race commentators, weather forecasters, pump aerobics instructors, square dance callers, cartoonists, and Red Guards.
Interpretation and Genre
Kent proposes a general theory of genre classification arid applies this genetic model to American fiction written during the last half of the nineteenth century. Combining theory and application, Kent attempts to demonstrate that what we say about texts is related directly to our generic perception of them.
The Formulas of Popular Fiction
This book creates a taxonomy for the major bestselling fictional genres: romance (e.g., authors Heyer, Cartland, Woodiwiss and Roberts), religious and inspirational (Corelli and Douglas), mystery and detective (Conan Doyle, Christie and Mankell), and science fiction, horror and fantasy (Wells, Tolkien, Orwell, Niven, King and Rowling). Chapters look at a genre from its roots to its most recent works. The structural patterns in the plot, characters and setting of these genres are then explained. The book also provides a critique of currently popular hyper-formulaic, hack, unliterary writings that have multiplied in recent decades. Special topics such as the publishing oligopoly and the resulting homogeneity among bestselling works and the steady movement from literary to unliterary fiction are also examined.