Generic Criticism

This is the basic

definition of "genre"

Generic criticism is rooted in the assumption that certain types of situa-

tions provoke similar needs and expectations in audiences and thus call for
particular kinds of rhetoric. Rather than seeking to discover how one situa-
tion affects one particular rhetorical act, the generic critic seeks to discover
commonalities in rhetorical patterns across recurring situations. The pur-
pose of generic criticism is to understand rhetorical practices in different
time periods and in different places by discerning the similarities in rhetori-
cal situations and the rhetoric constructed in response to them-to discover
"how people create individual instances of meaning and value within struc-
tured discursive fields." 1 As rhetors develop messages, genres influence them
to shape their materials to create particular emphases, to generate particular
ideas, and to adopt particular personae. Similarly, audience members' recog-
nition of a particular artifact as belonging to a specific genre influences their
strategies of comprehension and response. 2
The French word genre is the term used to refer to a distinct group, type,
class, or category of artifacts that share important characteristics that differ-
entiate it from other groups. A rhetorical genre is a constellation, fusion, or Although Foss breaks genre into
clustering of three different kinds of elements so that a unique kind of arti- elements, she names four, which is
confusing. We'll primarily be looking at
fact is created. One element is situational requirements or the perception of
the first two elements: the community
conditions in a situation that call forth particular kinds of rhetorical
using a genre and its content and form.
responses. A genre also contains substantive and stylistic characteristics of
1. situation (or community)
the rhetoric-features of the rhetoric chosen by the rhetor to respond to the
2. substance (content) and style (form)
perceived requirements of particular situations. Substantive characteristics
3. an organizing principle - how you see
are those that constitute the content of the rhetoric, while stylistic charac- the situation, the content, and the style
teristics constitute its form. 3 The third element of a rhetorical genre, the all working together
organizing principle, is the root term or notion that serves as an umbrella
label for the various characteristic features of the rhetoric. It is the label for

137
 138 Chapter Six

the internal dynamic of the constellation that is formed by the substantive,

stylistic, and situational features of the genre. 4
If there is a genre of eulogistic discourse, for example, then speeches of
eulogy for Eleanor Roosevelt, john Lennon, Ronald Reagan, and soldiers
killed in the Iraq War should be similar in significant aspects. They should
share situational, stylistic, and substantive strategies as well as an organiz-
ing principle that binds them together. While strategic responses and stylis-
tic choices, in isolation, may appear in other rhetorical forms, what is All you need is a quick
distinctive about a genre of rhetoric is the recurrence of the forms together, summary ...
unified by the same organizing principle. A genre, then, is not simply a set DELIBERATIVE:
of features that characterizes various rhetorical acts but a set of interdepen- aim = expedience
dent features. strategies = exhortation &
The roots of the notion of genre and thus of generic criticism can be dissuasion
traced to the writings of Aristotle and other classical rhetoricians. Much of FORENSIC/LEGAL
classical rhetorical theory is based on the assumption that situations fall aim = justice
into general types, depending on the objective of the rhetoric. Classical strategies = accusation &
rhetoricians divided rhetoric into three types of discourse-deliberative or defense
political, forensic or legal, and epideictic or ceremonial. Each of these types EPIDEICTIC/
has distinctive aims-expedience for deliberative speaking, justice for CEREMONIAL
forensic speaking, and honor for epideictic speaking. They have distinctive aim = honor
strategies as well-exhortation and dissuasion for deliberative speaking, strategies = praise &
accusation and defense for forensic speaking, and praise and blame for epi- blame
deictic speaking. 5 Thus, classification of discourse on the basis of similar
characteristics and situations has been part of the tradition of the commu-
nication field since its inception.
The next 5 paragraphs The first person to use the term generic-criticism in the communication
are more recent discipline was Edwin Black in his critique of neo-Aristotelianism in 1965.
history. Pay particular He proposed as an alternative to the traditional method of criticism a
attention to the generic frame that included these tenets: (1) "there is a limited number of
concepts of rhetorical situations in which a rhetor can find himself"; (2) "there is a limited num-
situation and the ber of ways in which a rhetor can and will respond rhetorically to any given
relationship between situational type"; and (3) "the recurrence of a given situational type
genre and community through history will provide a critic with information on the rhetorical
on the next page ... responses available in that situation." 6 Black suggested, then, that distinc-
tive, recurrent situations exist in which discourse occurs and encouraged
critics to analyze historical texts to describe their common features.
Lloyd E Bitzer's notion of the rhetorical situation, presented in 1968,
also contributed to the development of generic criticism. Bitzer's focus on
recurring situations was particularly significant for generic criticism: "From
day to day, year to year, comparable situations occur, prompting comparable
responses; hence rhetorical forms are born and a special vocabulary, gram-
mar, and style are established." 7 Although his conceptualization of the rhe-
torical situation has generated controversy, 8 it further developed the
theoretical base for generic criticism.
Yet another contribution to the development of generic criticism was a
conference held in 1976 called "'Significant Form' in Rhetorical Criticism." _
Sponsored by the Speech Communication Association (now the National
Communication Association) and the University of Kansas, the conference
 Generic Criticism 139

was organized around the idea of significant form, which referred to recur-
ring patterns in discourse or action. These patterns include the "repeated
use of images, metaphors, arguments, structural arrangements, configura-
tions of language or a combination of such elements into what critics have
termed 'genres' or 'rhetorics."' 9 The result of the conference was a book,
Form and Genre: Shaping Rhetorical Action, edited by Karlyn Kohrs Campbell
and Kathleen Hall Jamieson, which provided theoretical discussions of the
concept of genre and included samples of generic criticism.
Anthony Pare and Graham Smart expanded the study of genre by focus-
ing specifically on rhetorical genres in organizational settings. They define
genre as a distinctive profile of regularities across four dimensions: (1) tex-
tual features such as styles of texts and modes of argument; (2) regularities
in the composing process such as information gathering and analysis of
information; (3) regularities in reading practices such as where, when, and
why a document is read; and (4) the social roles performed by writers and
readers so that no matter who acts as social worker, judge, or project man-
ager, the genre is enacted in much the same way. Pare and Smart believe
this view of genres in organizations explains how the effective production
of discourse and knowledge occurs within organizations. 10
The work of Mikhail Bakhtin also has been influential in the develop-
ment of genre studies. Bakhtin asserts that we
speak only in definite speech genres, that is, all our utterances have def-
inite and relatively stable typical forms of construction of the whole. Our
repertoire of oral (and written) speech genres is rich. We use them con-
fidently and skillfully in practice, and it is quite possible for us not even
to suspect their existence in theory.
Bakhtin suggests that even "in the most free, the most unconstrained conver-
sation, we cast our speech in definite generic forms, sometimes rigid and trite
ones, sometimes more flexible, plastic, and creative ones." Among the speech
genres that are widespread in everyday life are the various genres of greet-
ings, farewells, congratulations, information about health, and the like. These
genres have official, respectful forms as well as intimate, familiar ones. 11
The Sydney School of genre studies, named after its primary institu-
tional base in the University of Sydney's Department of Linguistics, offers
another contribution to genre studies--:the study of genres to effect social
change. Michael Halliday, who once headed the department, sought to bring
linguists and educators together to create a literacy pedagogy appropriate for
a multicultural society. 12 The result was the use of generic analysis to probe
Be sure you can define
systems of belief, ideologies, and values. The work of the members of tliis
"valorization" in order to
school encourages critics to ask questions about genres such as: How do
understand what these
some genres come to be valorized? In whose interest is such valorization?
questions are trying to
What kinds of social organization are put in place or kept in place by such
uncover ....
valorization? What does participation in a genre do to and for an individual
or a group? What opportunities do the relationships reflected in apd struc-
tured by a genre afford for humane creative action or, alternatively, for the
domination of others? Do genres empower some people while silencing oth.,'
ers? What repre_sentations of the world are entailed in genres? These ques-
140 Chapter Six

tions suggest as an agenda for the next phase of generic studies a critical
examination of issues such as the nature of the sanctioned representations
in genres and their implications for people's lives, the degree of accessibility
of a genre to potential users, and genre maintenance as power maintenance.
More generally, the Australian genre researchers contribute to generic criti-
cism an explicit acknowledgment of the political dimensions of genres. 13
Other efforts to link genres to issues of power and ideology include
those of critical discourse analysis (CDA) scholars. CDA is primarily con-
cerned with demonstrating issues of power and dominance in private and
public discourse, and critics who work in this tradition go beyond identify-
ing the components of genres and seek to expose the v.alues and beliefs of
the society that shape the construction of particular genres. Their efforts,
then, are devoted to discovering the role that power and ideology play in the
construction and interpretation of genres. 14

Procedures
Using generic criticism, a critic analyzes an artifact in a four-step pro-
cess: (I) selecting an artifact; (2) analyzing the artifact; (3) formulating a
research question; and (4) writing the essay.

salactlna an Artifact
Your choice of an artifact or artifacts for generic criticism depends on
the kind of analysis you are doing. As explicated below, generic criticism
involves three options-generic description, generic participation, and
generic application. If you are interested in generic description, your arti-
facts should be a variety of texts that appear, on the surface, to share some
rhetorical similarities. These artifacts can come from different time periods
and be of various forms-speeches, essays, songs, works of art, and adver-
tisements, for example-if they all seem similar in nature and function. If
your goal is generic participation, choose an artifact that seems like it
should belong to or has been assigned to a particular genre but does not
seem to fit. If you are doing generic application, your artifact should be one
that you want to assess in terms of how well it conforms to the genre of
which it is a part. This should be an artifact that, for some reason, leads you
to question how it is functioning in the context of its genre.

Ana1uz1na tna Artifact

Generic criticism involves three different options for a critic, with each
leading to a different contribution to the understanding of genres-generic
description, generic participation, and generic application. 15 The first
option is generic description, where you examine several artifacts to deter-
mine if a genre exists. This is an inductive operation, in which you begin
wit;ha consideration of specific features of artifacts and move to a generali-
zation about them in the naming of a genre. The second option, generic par-
ticipation, is a deductive procedure in which you move from consideration
of a general class of rhetoric to consideration of a specific artifact. Here, you
RHETORICAL
CRITICISM
Exploration and Practice

Fourth Edition

Sonja K. Foss
University of Colorado at Denver

WAVElAND

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Long Grove, lllinois