Temporarily Out of Stock Online Please check back later for updated availability. Overview Community Literacy and the Rhetoric of Public Engagement explores the critical practice of intercultural inquiry and rhetorical problem-solving that encourages urban writers and college mentors alike to take literate action.
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Author Linda Flower documents an innovative experiment in community literacy, the Community Literacy Center in Pittsburgh, and posits a powerful and distinctively rhetorical model of community engagement and pedagogy for both marginalized and privileged writers and speakers. In addition, she articulates a theory of local publics and explores the transformative potential of alternative discourses and counter-public performances.
Show More. Average Review. It is delivered to the doorstep of our home in the morning. It comes in the mail with a return address of a bank with which we have no current business. It arrives in our office inbox signed by the name of the CEO of our company. Large areas of our social knowledge are activated to work in tandem with what we find in the text to help us identify what the text is about and what kind of attention we might give it.
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Thus we enter into a mental conception of a social space for interaction within which we start to build relevant meanings, Chapter 2 Knowing Where You Are: Genre 30 evaluations, and stances. In recognizing the genre, we locate an orientation toward the text and the details we will find inscribed within it. If there are gross violations of the expected interaction—if the CEO starts telling intimate confessions about his personal life, if the bank with which we do not do business sends us a statement of our account, if the newspaper has advanced physics equations on its front page—we may well wonder about what is going on.
On the other hand, we may find the answer in the way writers are deploying multiple and complex understandings of discourse to accomplish novel purposes in the documents.
The CEO who regularly sends out messages to build support for his leadership may, when facing a scandal, attempt to maintain support by invoking genres of confession and contrition by baring his heart in the public space of the memo. The bank may be advertising through fictionalized projected statements of wealth if you were to take advantage of their services. The newspaper in attempting to report a major breakthrough may want to quote physical equations not so you can make calculations, but so you may look in wonder that such a strange phenomenon may be explained by such a simple equation.
Multiple generic expectations are being combined in creative ways to evoke special meanings for each specific situation.
Similar looking documents have circulated in similar systems, available to many participants over a period of time, so that a range of people can come to recognize and orient toward these documents with similar understandings of what the documents are doing. Thus the writers can create similar texts with a reasonable expectation that those understandings will be evoked by the documents, particularly if the text is given all the physical appearances that make it recognizable as an exemplar of the genre. At the same time, our own repertoire of generic understandings is also a function of our personal experiences with these publicly available genres.
Before beginning to work as a paralegal, we may have very limited sense of the documents that typically circulate in the legal system, but within a fairly rapid time by observing, and asking questions we can start to get a sense of the kinds of documents we need to work with.
Additionally, prior experiences may make us familiar with a special repertoire we may recognize in a more refined way than our coworkers. If, for example, before working for a law firm we previously worked in 31 A Rhetoric of Literate Action an insurance company, we might be specially skilled in understanding internal insurance company documents when they surface in the course of litigation.
Some genres are well known to almost all members of a culture and are identifiable by name—for examples in contemporary U. Each of these genres is frequently taught in the middle grades of schooling, thereby assuring wide familiarity. But in those areas where we have special experience we may have a very refined set of generic recognitions, some of which we may articulate with names shared with other experts, but some may be entirely private recognitions.
However, if a custom car is involved there may be needed more extensive, novel narrative of damage and needed repair. Such special contingencies and situations might suggest to an experienced examiner various kinds of information and narratives that would meet the needs of the insurance company and address potential litigation. Some of these additional reports may be laid out in requirements, but some of them may simply be known through experience of many cases and reading many examples.
Some variants may be entirely idiosyncratic and lack names as when an examiner over the years has learned that when he writes up certain kinds of cases in a certain way he runs into difficulties, but if he writes them up in slightly different way, they are never questioned.
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Similarly, in reading reports, he may sense that some of them give him a slightly funny feeling that tell him he needs to check out a particular aspect of the case, but these have no general public name and general recognizability. There is no limit to the number of genres, nor can we say the term refers to document types of any generality, size, or level of public recognizability. The process of genre recognition occurs any time any person at any level of awareness makes some differentiation or particularization of texts on the basis of kind.
Of course, it would be foolish in writing a document to a wide audience to rely on all the readers being familiar with an esoteric or personally idiosyncratic genre.
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On the other hand, if personal knowledge of that genre helps you frame a solution to a rhetorical problem that can be understood or interpreted in a more general way, then that unusual genre knowledge has served you well. On the other hand, certain listeners of the same song may recognize the ironic invocation of folk gospel protest songs signaled by hortatory metaphoric lyrics, but set against the self-absorption Chapter 2 Knowing Where You Are: Genre 32 of teenage love ballads of the nineteen fifties backed by syrupy fake-classical orchestrations.
One of the traditional roles of literary and artistic criticism has been, indeed, to unpack the complex play of types evoked by artistic works that achieve novel and complex effects. Through experience we learn about types of utterances that occur within certain types of circumstances, so that we become attuned to recognize them. Through experience we learn much about how those utterances go, how we might understand them, what makes them succeed and fail, and what their consequences might be.
The first time we may need to write a letter of recommendation for a co-worker seeking a new job, we may be uncertain about the best things to write and how to present them. But as we come to read and write many such letters, we gain an extensive repertoire of strategies and elaborations to draw on, depending on her personal characteristics and accomplishments, the nature of the job she is applying for, and the particular situation and process of hiring, We also know what has captured our attention when reading such letters and what we have found implausible or irrelevant. We know what kinds of letters have helped people get jobs and which are ignored.
This detailed strategic knowledge can be at any level of the rhetorical and linguistic realization—from what typeface looks authoritative and what phrases provide a sense of spontaneous authenticity, to what kind of details establish the depth of knowledge of the applicant. We not only know the genre, we know what we can say through the genre, and how the genre can be made to work. Even more with experience working with the genre we become familiar with the variation of situations in which it can be used and the ways the genre can serve to transform or evolve any particular situation.
If we know something about the organizations our friend is seeking work at, we can modify the letter to fit the particular hiring processes of the company, the corporate culture, their current needs, and what they look for in job candidates; we can particularize the presentation to fit the situation. The genre identifies, we might say, a room and an event, 33 A Rhetoric of Literate Action and implies some orientations, typical understandings, tools, and possible trajectories, but it does not tell us exactly how the event is going to unfold. That is up to the actual people working through their own particular interests and modes of existence in their own particular ways as they make the event real and particular.
Reflections – A Journal of Community-Engaged Writing and Rhetoric
The act of writing then realizes the potentials of action in the generically shaped moment, a way of fulfilling intentions and goals that can be achieved within the genre. We can look at the drama unfolding even as we are totally within it. If the generic space is complex and unfamiliar, on the other hand, too much may be at play to see clearly where all our understandings, thoughts, and impulses are leading us; nonetheless, even fragmented understanding of the generic demands and possibilities of the emerging situation can help to direct and focus our confusions—it is a habitat that we can begin to recognize.
We may not be sure we understand exactly what is happening and how well our words are meeting the situation, but we can start to gather thoughts and channel energies into specific rhetorical tasks. In either case, whether familiar and simple or unfamiliar and complex, this habitat becomes a space in which we start to have spontaneous thoughts in reaction to the particulars of the situation brought together in the interactive space. With the shopping list, as we remember we will have a vegetarian guest tonight, we realize we will need to improvise a dish using a tofu substitute for Chapter 2 Knowing Where You Are: Genre 34 the meat, and as we see more eggs in the refrigerator than expected, we may start to list other ingredients for the omelets that have just entered into the menu.
Similarly, as we discover that the niece of a council member lives in the area served by the day care and sends her child there, we may think of inviting the niece to testify, but realizing that might seem too heavy-handed, we decide to ask women in situations similar to the niece to testify, perhaps even women the niece knows.
Thus as the situation emerges in the genred habitats, we come to populate it with the specifics of life that are far from rule determined or faceless. Even the simplest and most recurrent spaces can become complex and novel. The genre of sonnet is constitutive of a formal kind of poem, regulated in formal features of number of lines, verse and rhyme patterns, meter, and somewhat more flexibly subject and stance.
Patent applications are legally regulated in the content and by tradition and practice in some of their formal appearances. On the other hand, textbooks of different subjects, levels, and pedagogic philosophies and strategies may vary in formal appearances, but what is characteristic of them all is that the books are designed to fit into classroom practices. Certainly some genres are highly regulated with many compulsory features. On income tax returns the taxpayer is highly compelled in what he or she must fill in on each line—name, total gross income, and so on.
Even the specific answer is held accountable by many procedures and related documents so that the taxpayer cannot make up any number to place in the gross income space. A letter complaining about a product and seeking refund also must do a number of standard things to accomplish its ends: identify the product, the place and time of purchase, the defect, the warranty conditions, the address and identity of the writer, the specific required adjustment.
Further, the letter of complaint is more likely of success if it follows a standard format of business letters. Yet a personal letter to a friend who works for a small company may accomplish the task without once breaking into formality, though it still requires all the necessary information.
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The friend will recognize the business letter that lies beneath and within the friendly note. On the other hand, a business letter that has all the formal markings and overt signs may fail because it is directed toward the wrong officer in the company. The company may in fact have intentionally 35 A Rhetoric of Literate Action made it confusing to figure out who an unhappy customer should send the letter to as a way to evade responsibility.
Yet such signaling hardly encompasses all we come to understand about a genre. Given this range of features that may signal a genre and the range of aspects that might be then considered typical or constitutive of the genre, the best way to come to understand a genre is descriptive rather than by any prescriptive definition of necessary features. What features to describe as most characteristic of the genre cannot be determined outside of human use and practice.
Rather we as analysts might best begin with what seems to form the similarity and what other people seem to orient toward in talking about similarity. We might consider what would surprise the genre users within the genre and how they would recognize the difference between neighboring similar genres. We should note what aspects of the genre clue the users into its nature, and what kind of assumptions or attitude they take for granted as part of the genre. We might then note what kinds of thoughts users mobilize when they recognize the genre, and what kinds of interactions they sense they are entering into with what kind of partners in what kind of institutional setting, in what situation and moment.
That is, we need to take seriously the idea that genre is a psychosocial recognition category and not fixed in the form of the text. We should rather attempt to characterize what triggers the recognition and what users then recognize. It is quite another as writers to have our desired co-participants meet us in that place, to attend to the discourse at all, let alone with shared understanding.
To put it bluntly, we cannot always get our desired readers to read what we have written, nor with the desired level of attention, nor with the spirit and attitude we hope for. They Chapter 2 Knowing Where You Are: Genre 36 may not want to come into the room we create, or at least through the door we hoped, and they may not remain long enough to understand in detail what we want to show them. We may write a poem and nobody will come visit it. Articles for publication have to be inviting enough and of the right sort for the editors and reviewers of the journal to grant space to reach the readers of the journal or magazine or newspaper.
Even if our text gets published, it does not mean that readers will find the title and subject sufficiently inviting to do more than rush by the door, or step in for a quick look and then wander away. So the realization of the genre needs to come alive and deliver something of value to the readers who drop by with some expectations. It needs to be an attractive example of the genre— but what makes attractiveness may be very particular to the genre and to the specific case.
In reports of stocks, signs of timeliness and accuracy and depth of judgment may convince investors to spend their time reading further. Readers of celebrity fan stories, however, may be looking for endearing personal details. On the other hand, sometimes people are obligated within their activity system to attend to a text. Tax inspectors are bound by their conditions of employment to look over tax forms, and every U.