Cinnabar and Alabaster

charles bazerman
14. "the places you habituate will develop those parts of you that are most related to and oriented towards the activities of that space. as our grandmothers warned, if you hang around the race track long enough, you become one of those race track characters"; "when you start writing in those genres you begin thinking in actively productive ways that result in the utterances that belong in that form of life and you take on all the feelings, hopes, uncertainties, and anxieties about becoming a visible presence in that world and participating in the available activities. you develop and become committed to the identity you are carving out within that domain….in these ways genre shapes intentions, motives, expectations, attention, perception, affect, and interpretive frame. it brings to bear in the local moment more generally available ideas, knowledge, institutions, and structures that we recognize as germane to the activity of the genre.

anthony paré
57. what is it good for? "by enlarging the focus of attention in rhetorical inquiry to include the full social and symbolic action of textual practice, the reconception of genre encourages us to consider the complex interconnections among these once-separated aspects of writing." 58. fairclough on "the naturalization of ideology": "a particular set of discourse conventions…implicitly embodies certain ideologies—particular knowledge and beleifs, particular 'positions' for the types of social subject that participate in that practice…and particular relationships between categories of participants" (94)
59. in coe's words "genre embody attitudes"; pêcheux says "in the process of acquiring the ways of talking which are normatively associated with a [particular] subject position, one necessarily acquires also its ways of seeing, or ideological norms" (39).
61. "genre's illusion of normalcy may be cracked or exposed at certain moments: when an event occurs that does not match the anticipated, socially constructed exigence to which the genre responds; or, in a related situation, when the genre is stretched too wide, and its forms and actions are inappropriate or ill-suited to the occasion…; when newcomers first begin to participate in a genre and find it 'unnatural' or counter to their own discourse habits and aims…; when there are shifts in power relations within institutions, so that the values produced by discourse practices no longer favor those with authority to change or influence those practices"
64. "a discourse, says gee, is an 'identity kit' (p. 127)"

catherine schryer
76. "when we address the issue of genre and power, we also need to explore a genre's relationship to time and space. in particular, we need to examine the possibilities for human action that exist within specific chronotypes….one of the purposes of genre research, then, should be to catch a glimpse of the 'chronotopic unconscious' or 'set of unspoken assumptions about space and time that are so fundamental that they lie even deeper…than the prejudices imposed by ideology' (holquist, 1990, p. 142)."
77. bourdieu & "habitus," a "set of dispositions which incline agents to act and react in certain ways. the dispositions generate practices, perceptions and attitudes which are 'regular' without being consciously co-ordinated or governed by any rule" (12)
84. in sum: "from bourdieu's perspective, then, genres can be seen as constellations of regulated, improvisational strategies triggered by the interaction between individual socialization or 'habitus' and an organization or 'field.'"
85. "each genre…has a different trajectory, a different potential for producing world views and representing human agency….[genres] function as discourse formations or constellations of strategies that instantiate a 'commonsense' understanding of time and space that can affect their writers or readers. we can become habituated to these constellations of resources and fail to see the possibilities for the constraints on human action that they enact."
95. "when we examine genres as trajectory entities or flexible constellations of improvisational yet regulated strategies that agents enact within fields it is probably useful to think of genres as actions or verbs….we genre all the time in the sense that we classify possible sets of paradigmatic choices," and "at the level of individual human agents, we are genred all the time. we are socialized through genres and acquire our linguistic capital through our exposure to various genres….they create gnoseological systems—systems where commonsense visions of time/space and the possibility of human action exist. consequently, they are profoundly ideological"

joanne yates & wanda orlikowski
108-10. chronos & kairos: "chronos is generally understood as measureably, quantitative time" (the physical moment) and "kairos is understood as the rhetorical opportunity associated with a particular, objectively definable situational context" (the opportunities the moment affords): "kairotic coordination can be seen both to emerge from participants' enactment of a genre system and to shape that enactment as participants situate the communicative action within a particular time and place. chronological time serves as one resource upon which participants may draw in focusing other participants' attention and thus coordinating their communicative activities"

peter medway
141. "perhaps the notion of genre needs to be fuzzy. perhaps there are degrees of genreness, from tightly defined (or ossified…) to baggy and indeterminate"
149. genres don't "exist in a structuralist space of mutually exclusive options from which we have to make definite choices. rather, our utterances are intelligble, have meaning and are social actions because they are situated always with reference to a genre, or, very commonly, to more than one. others can understand us—we can understand ourselves—because we recognize as familiar the sort of thing that is being done. some genres are as much constellations of possible relations to other genres as definite and hard-edged entities"

lorelei lingard & richard haber, m.d.
168. "when situated and accurate, explicit teaching can help cultivate in students a meta-awareness of the oral presentation genre, and this meta-awareness may encourage students towards educators' goal of efficient, effective communication of relevant medical data. students may not be protected from erroneous judgments (of both the structural and attitudinal sort) by this meta-awareness, but they may be empowered by an increased control of their presentations, their interpretation of feedback, and their revisions"

janet giltrow
195. defines meta-genres as: "atmospheres of wordings and activities, demonstrated precedents or sequestered expectations—atmospheres surrounding genres. like genres themselves, meta-genres are indexed to their context of use: every activity—or discipline—having its own relation to and life in language, and meta-genres representing or advancing these relations, positioning genres in relation to other activities."
196. & what is this good for? "the concept of meta-genre can help us attend to the kind and quantity of information a context transmits to writers and readers, we could also come to recognize that meta-genres—like genres themselves—are situated expressions, motivated by their contexts of use"
199. also, potentially, "the history of a meta-genre itself—its timing in the schedule of the ganre's career, its changes over time—could be read to discriminate among rhetorical situations"
201. "a meta-genre that occludes or tactfully or timidly evades, or naturalizes highly contingent practices, may not be bad in itself, but, rather, a sign of unspoken negotiations among conflicting interests, a way of everybody getting on and going on despite hunches and suspicions. but a meta-genre that is contradictory may be a sign of troubles."

peter knapp
283. "for hjelmslev, content is formed through an encounter of substance with expression"