By Brahy, Corbeyran, Braquelaire
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Extra info for Climax, Tome 2 : Vostok
A writer or reader recognizes recurrence because she or he recognizes an existing genre. But for existing genres to exist at all, people must have perceived similarities among disparate situations. Paradoxically, then, people recognize recurring situations because they know genres, yet genres exist only because people have acted as though situations have recurred. This paradox works, I propose, because people construct genre through situation and situation through genre; their relationship is reciprocal and dynamic.
The genre is constructed differently because the situation is constructed differently. Cases where the genre is chosen rather than assigned make explicit the role of situation in constructing genre: people identify the situation in order to choose an appropriate genre. Once the genre is chosen, however, the genre reciprocally acts to shape the situation. Writing a letter to the editor entails certain roles for the writer and reader, leads readers to expect certain types of subject matter, and lends itself to particular types of purposes.
As opposed to an abstract concept of genre, the context of genres is the existence of particular genres, the already existing textual classifications and forms already established and being established within a given culture, the set of typified rhetorical actions already constructed by participants in a society. This context of genres influences each symbolic act, sometimes more visibly than others. Jamieson has demonstrated how existing genres constitute antecedent genres when people must construct new genres for new situations and cultural contexts, an idea explored more fully in chapter 4.
Climax, Tome 2 : Vostok by Brahy, Corbeyran, Braquelaire