An in-depth exploration of Realistic Fiction, Mystery, Folk Literature, Autobiography, Science Fiction/Fantasy, and more! Includes descriptions and samples of each genre, cross-curricular activities and literature links.

This title is a comprehensive volume that focuses on genre study through inquiry-based learning with an emphasis on reading comprehension and the craft of writing. In exploring genre study, Fountas and Pinnell advocate a way of thinking and learning where students are actively engaged in the thinking process.

Drawing from theory and research that suggests students learn better and more deeply when learning is contextualized and genuinely motivated, the book presents five guiding principles for teaching genre. Emphasizing purposeful communication, it will guide you through teaching students to read, write, speak, and listen to different real-world genres that inspire and engage them."--Pub. desc.

Literacy remains a contentious and polarized educational, media and political issue. What has emerged from the continuing debate is a recognition that literacy in education is allied closely with matters of language and culture, ideology and discourse, knowledge and power. Drawing perspectives variously from critical social theory and cultural studies, poststructuralism and feminisms, sociolinguistics and the ethnography of communication, social history and comparative education, the contributors begin a critical interrogation of taken-for-granted assumptions which have guided educational policy, research and practice.

Genre across the Curriculum will function as a "good" textbook, one not for the student, but for the teacher, and one with an eye on the context of writing. Here you will find models of practice, descriptions written by teachers who have integrated the teaching of genre into their pedagogy in ways that both support and empower the student writer. While authors here look at courses across disciplines and across a range of genres, they are similar in presenting genre as situated within specific classrooms, disciplines, and institutions. Their assignments embody the pedagogy of a particular teacher, and student responses here embody students' prior experiences with writing. In each chapter, the authors define a particular genre, define the learning goals implicit in assigning that genre, explain how they help their students work through the assignment, and, finally, discuss how they evaluate the writing their students do in response to their teaching.

Contemporary genre theory is probably not what you learned in college. Its dynamic focus on writing as a social activity in response to a particular situation makes it a powerful tool for teaching practical skills and preparing students to write beyond the classroom. Although genre is often viewed as simply a method for labeling different types of writing, Deborah Dean argues that exploring genre theory can help teachers energize their classroom practices. Genre Theory synthesizes theory and research about genres and provides applications that help teachers artfully address the challenges of teaching high school writing. Knowledge of genre theory helps teachers challenge assumptions that good writing is always the same; make important connections between reading and writing; eliminate the writing product/process dichotomy; outline ways to write appropriately for any situation; supply keys to understanding the unique requirements of testing situations; and offer a sound foundation for multimedia instruction.

This collection examines academic genres - types of writing produced by students in secondary school and college - from the perspective of genre as social action. Such a perspective expands the understanding of what students do when they learn new school genres, of what teachers and institutions do to enhance and constrain such learning, and of what all this signifies for conceptions of writing pedagogy. The book begins with an overview of the reconception of genre study. The essays that follow have an interest in genre, particularly those that appear in educational settings as instances of either student reading or writing. Common motifs recur throughout: questions are raised concerning learning and teaching new genres, the ideological power of genres read and written, and the power of the teacher, curriculum planner, or student to invent new genres or to resist and subvert those that exist. Throughout, the contributors give detailed accounts of successful classroom practices. Learning and Teaching Genre brings recent developments in research and thinking about written genres to the attention of high school and college teachers, and illustrates how that work can effectively inform classroom practice.

GENRE: AN INTRODUCTION TO HISTORY, THEORY, RESEARCH, AND PEDAGOGY provides a critical overview of the rich body of scholarship that has informed a “genre turn” in Rhetoric and Composition, including a range of interdisciplinary perspectives from rhetorical theory, applied linguistics, sociology, philosophy, cognitive psychology, and literary theory.

Genre is a key means by which we categorize the many forms of literature and culture. But it is also much more than that: in talk and writing, in music and images, in film and television, genres actively generate and shape our knowledge of the world. Understanding genre as a dynamic process rather than a set of stable rules, this book explores: the relation of simple to complex genres the history of literary genre in theory the generic organisation of implied meanings the structuring of interpretation by genre the uses of genre in teaching. John Frow’s lucid exploration of this fascinating concept will be essential reading for students of literary and cultural studies.

This book analyzes how the English as a Second Language (ESL) pedagogic genre has been re-contextualized in the Shanghai Foreign Language Education Press National College English Teaching Contest (SFLEP) for presentation to the contest judges and audience. Departing from prior research on contest discourse, it focuses on the role of teaching contests in re-contextualizing educational practices. Moreover, it addresses the processes of genre blurring and solidification at work in new discourse events. The results presented here serve to frame teaching contest discourse in a fuller contextual configuration and will help contest sponsors, participants, and audience members better understand this popular social event and its relations to real-world teaching practices, while simultaneously helping teachers to understand the relevance of such contest practice. Moreover, the research methods will benefit those linguists who are interested in researching other types of event discourses.