Le fait que toute activité linguistique et toute interactivité soient relatives à un jeu de langage / un genre / un type de conversation a été reconnu depuis longtemps par divers spécialistes. Néanmoins, jusqu'à présent, aucune théorie systématique n'a pas été construite qui peut fournir en une manière formelle la composition et la gamme des types de conversation actuels et possibles. Dans cette thèse, nous adoptons une approche topologique pour classifier les conversations et développons une théorie formelle des types conversationnels dans le cadre de Type Theory with Records. Énoncés non phrastiques (ENP) - des énoncés fragmentaires qui sont des phrases sans prédicat mais qui expriment néanmoins un sens complet dans un contexte donné - sont un phénomène caractéristique de la conversation. Dans cette thèse, nous étudions les ENP dans un corpus chinois et examinons la distribution des ENP dans les genres parlés du Corpus National britannique (BNC). Cette thèse aborde le sujet de l'élaboration d'une théorie des types conversationnels qui peut expliquer la résolution des énoncés non phrastiques à travers des différents types conversationnels. En revanche, nous testerons l’hypothèse que la variation entre des distributions des énoncés non phrastiques peut servir à structurer l’espace des types conversationnels. / That all linguistic activity and interactivity is relative to a domain/language-game /genre/conversational type has long been acknowledged by various scholars. Nonetheless, hitherto there has been no systematic theory that tries to propose a formal account regarding the make-up and range of actual and possible conversational types. In this thesis, we take a topological approach to classifying conversations and develop a formal theory of conversational types in the framework of Type Theory with Records (TTR). Non-sentential utterances (NSUs)—fragmentary utterances which are incomplete sentences but nevertheless convey a complete sentential meaning in the given context—are a characteristic phenomenon of conversation. In this thesis, we study NSUs in a Chinese corpus and investigate the distribution of NSUs across the spoken genres of the British National Corpus (BNC).This thesis tackles the topic of developing a theory of conversational types that can be used to explicate the resolution of NSUs across different conversational types. Conversely, we investigate whether the variation in the distribution of NSUs can serve as a means of structuring the space of conversational types.

La chronique médiatique contemporaine est indissociable de son contexte de production. Un cadre strictement générique ne suffit donc pas à rendre compte de la forme que revêtent aujourd'hui les chroniques. En étudiant l’écologie de production du genre, caractérisée en aval par le pacte conclu entre le chroniqueur et son éditeur et en amont par un narrataire qu’éclaire le courrier du lecteur, nous proposons ici une explication de certains traits caractéristiques du genre – comme la brièveté du texte, l’aspect fragmentaire du propos et le ton de la conversation privilégié par le chroniqueur. Notre étude de quatre recueils de chroniques explore la relation intime mais conflictuelle qu’entretient la chronique avec le temps. François Mauriac, Bernard-Henri Lévy, Gil Courtemanche et Jacques Brault déploient des stratégies variées pour s’acquitter de leur tâche d’écriture périodique, ainsi qu’afin de concilier deux horizons de lecture, dont l’un est immédiat et l’autre dans la durée. Enfin, nos propres chroniques - les Immédiates -, explorent trois thèmes : l’âge adulte, la ville et l’américanité.

Thesis (Ph. D.)--University of Missouri-Columbia, 2000. / Typescript. Vita. Includes bibliographical references (leaves 199-221). Also available on the Internet.

Drawing on a sociocultural perspective of genre as a social action situated in a particular context, this study examines the functions and genres of four second-grade ESL (English as a Second Language) children’s writing at home and at school. The two boys and two girls were born and raised in Canada, speaking English at school and with their siblings, and Cantonese at home with their parents who were immigrants from Hong Kong or China. A total of 67 pieces of school writing and 54 pieces of home writing were collected over a five-week period. Findings show that home writing exhibits a wider range of functions and genres than school writing. In the home context, the participating children wrote for more personal purposes, to entertain themselves, or to engage in social interactions with a real audience. In contrast, school writing narrowed the children’s choice of functions because of the teaching context, teacher expectations, and instructional objectives. Similarly, there was a greater variety in home genres, including greeting cards, diaries, notes, poems, and jokes in comparison to school genres that were confined to stories, journals, and list items. There was a strong relationship between the enactment of specific functions and particular genres while personal and social functions were more prevalent in their home-based than in their school-based writing. Qualitative analysis of the children’s writing shows that they constructed meaning with written language in individual ways in their enactment of functions and choice of genres and the use of different modes to represent meaning. The study suggests that teachers should be aware of the value of the writing opportunities and contexts children have at home and, therefore, incorporate such home experiences into classroom teaching. It also has implications for parents to conceive writing as a sociocultural as well as language practice, and to recognize the role of the home environment in their contributions to their children’s constructing meaning with written language. They should be aware of the need to build on the children’s interests and needs while encouraging them to write, and to make connections with school in working towards their writing development.

No description available.

Crime fiction, despite its long chronicled history, has only recently become prevalent as ‘genre fiction’ in South Africa. Despite being an historically disparaged form, crime fiction offers a platform to engage critically with elements of contemporary society. This thesis focuses in particular on the ‘Clare Hart’ series of krimi novels written by Margie Orford, considering some of the ways in which the author mediates the conventions of the genre. (I base my discussion on Like Clockwork [2006], Blood Rose [2007], Daddy’s Girl [2009] and Gallows Hill [2011], with brief remarks, in my conclusion, on the recently-published fifth novel, Water Music [2013].) I argue that Orford seeks to exploit the thrills and tensions typically associated with the genre even as, working through a gender lens, she attempts to reconfigure genre conventions and constraints in order to tackle ethical, social, economic and political challenges in South and southern Africa, especially as they impact upon women, children, and marginalised groups of people. My study examines how Orford undertakes a possible conscientising of her readership, in a genre which is ostensibly associated with easy, entertaining pleasures. In this endeavour, of particular importance is Orford’s characterisation of her protagonist, Clare Hart, an investigative journalist-cum-profiler whom she uses to turn a “defiant observer’s eye” (Orford 2010: 187) on the naturalised violence against women and children in the country, and to up-end some of the entrenched masculinist orientations of both thriller and hard-boiled traditions. Additionally, the thesis addresses the regional situation of Orford’s novels, the expressly southern African environment. Using selected theories of space and place, I argue that while setting is often important to literary fiction, for the crime thriller, setting is much more complexly spatialised, since it may assist in carrying an author’s contextualised criticism of received spatial hierarchies as they relate (especially) to gender and race. Additionally, I point out that Orford’s novels offer her the opportunity to situate narrative in relation to troubled regional histories and geographies, and to move beyond the immediate southern African locality to map the mass-mediated, global vectors which constitute the present, and to situate history in relation to contentious, provocative contemporary concerns such as “organized crime, collapsing state institutions, [and] street gangsters” (Orford 2010: 184). In doing so, I find, Orford offers psychological insight into the complex and highly unsettled nature of the protracted political transition which has marked South Africa’s shift from apartheid to democracy. / M.A. University of KwaZulu-Natal, Durban 2013.

There is no abstract available for this thesis.

This thesis takes up the genre of the “Asian horror film remake” as a nexus for the illustration of the intersection between two significant theoretical perspectives that inform contemporary film theory: Lacanian psychoanalysis and Deleuzian transcendental empiricism. It employs concepts such as Lacan’s registers of the Real and Symbolic alongside Deleuze (and Guattari’s) theories on the actual present and the virtual past to interrogate terms such as ‘originality’, ‘authenticity’, ‘repetition’, and ‘difference’ in an attempt to account for the role of genre in the production of meaningful reality, both within the bounds of the text and in cultural life more generally. It first deconstructs the term genre as it has been employed throughout classical, structuralist and post-structuralist genre theory, in order to reveal its ephemeral nature, and to show it to be worthy of investigation in its own right as a central component of language, more than simply a critical tool. It goes on to elaborate the contingency of discourse that constructs verisimilitudinous reality, and explicates these ideas through analysis of the Asian horror remake films. It then turns to Lacan’s division between the registers of the Symbolic and the Real in order to explore the function of the repetition that is visible in generic film in relation to the subject’s experience of a coherent and authentic reality. Finally, it proceeds to engage with Deleuze’s ideas regarding virtuality and asignification and argues, with reference to the Asian horror remake, that it is the perpetual tension between sameness and difference that sustains meaningful life. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermartizburg, 2013.

La chronique médiatique contemporaine est indissociable de son contexte de production. Un cadre strictement générique ne suffit donc pas à rendre compte de la forme que revêtent aujourd'hui les chroniques. En étudiant l’écologie de production du genre, caractérisée en aval par le pacte conclu entre le chroniqueur et son éditeur et en amont par un narrataire qu’éclaire le courrier du lecteur, nous proposons ici une explication de certains traits caractéristiques du genre – comme la brièveté du texte, l’aspect fragmentaire du propos et le ton de la conversation privilégié par le chroniqueur. Notre étude de quatre recueils de chroniques explore la relation intime mais conflictuelle qu’entretient la chronique avec le temps. François Mauriac, Bernard-Henri Lévy, Gil Courtemanche et Jacques Brault déploient des stratégies variées pour s’acquitter de leur tâche d’écriture périodique, ainsi qu’afin de concilier deux horizons de lecture, dont l’un est immédiat et l’autre dans la durée. Enfin, nos propres chroniques - les Immédiates -, explorent trois thèmes : l’âge adulte, la ville et l’américanité.

Drawing on a sociocultural perspective of genre as a social action situated in a particular context, this study examines the functions and genres of four second-grade ESL (English as a Second Language) children’s writing at home and at school. The two boys and two girls were born and raised in Canada, speaking English at school and with their siblings, and Cantonese at home with their parents who were immigrants from Hong Kong or China. A total of 67 pieces of school writing and 54 pieces of home writing were collected over a five-week period. Findings show that home writing exhibits a wider range of functions and genres than school writing. In the home context, the participating children wrote for more personal purposes, to entertain themselves, or to engage in social interactions with a real audience. In contrast, school writing narrowed the children’s choice of functions because of the teaching context, teacher expectations, and instructional objectives. Similarly, there was a greater variety in home genres, including greeting cards, diaries, notes, poems, and jokes in comparison to school genres that were confined to stories, journals, and list items. There was a strong relationship between the enactment of specific functions and particular genres while personal and social functions were more prevalent in their home-based than in their school-based writing. Qualitative analysis of the children’s writing shows that they constructed meaning with written language in individual ways in their enactment of functions and choice of genres and the use of different modes to represent meaning. The study suggests that teachers should be aware of the value of the writing opportunities and contexts children have at home and, therefore, incorporate such home experiences into classroom teaching. It also has implications for parents to conceive writing as a sociocultural as well as language practice, and to recognize the role of the home environment in their contributions to their children’s constructing meaning with written language. They should be aware of the need to build on the children’s interests and needs while encouraging them to write, and to make connections with school in working towards their writing development.