Education English | Genre and Register | In this case, the writer will explain about the relationship between genre and register depend on argue from Halliday and Hasan (1985: 12), they define the three main concepts, they are : 1. The field of discourse refers to what is happening, to the nature of the social action that is taking place: what is it that the participant are engaged in, in which the language figures as some essential component
2. The tenor of discourse refers to who is taking part, to the nature of the participants, their statuses and roles: what kinds of role relationship obtain among the participants, including permanent and temporary relationships of one kind or another, both the types of speech role that they are taking on in the dialogue and the whole cluster of socially significant relationships in which theya re involved ?
3. The mode of discourse refers to what part the language is playing,what it is that the participants are expecting the language to do for them in that situation: the symbolic organization of the text, the status that it has, and its function in the context, including the channel (is it spoken or written or some combination of the two?) and also the rhetorical mode, what is being achieved by the text i terms of such categories as persuasive, expository, didactic, and the like.The three features, field, tenor and mode are called register. We can conclude from the states above if register can be defined as a particular configuration of field, tenor and mode choices. The context situation of the text is the immediate environment in which a text is actually functioning. The three register variables use in the grammatical form from language (field, tenor and mode). From it, only two ways that has done. The first, by making certain linguistic choices much more likely than others, so that when we read or hear a text certain patterns start to emerge in a non-random way, in what Martin argue (2001: 157) “These patterns re-present a particular register choice telling us it’s there”. The second, the register categories take over a small number of linguistic choices as their own, in what Martin calls ‘indexical realization’, that is, certain linguistic choices, once made by the text producer, lead the hearer/reader to immediately identify the register in which the text is being produced. In short, register corresponds to the context of situation, and genre to the context of culture.
Genres are realize through a language . Genres create meaning by shaping the register variables tenor (how people relate to one another within this situated event) and mode (is the medium) in Martin’s argument (2001: 189). Genre is realized in two ways namely probabilistic and indexical ways. both in
probabilistic and indexical ways. Martin (2001: 212) uses narrative to illustrate this point: two of the most famous indexical forms in narrative genres are the opening ‘once upon a time’ and the closing ‘and they lived happily ever after’. From this, we immediately know which genre we are dealing with. Probabilistic realizations are also relevant in narratives.
The Orientation from Labov & Walet Sky (1967: 12), which are introduces the characters and locates the story in time and space, tends to include relational clauses. The complication, which answers the question “What happened then?”, tends to include a series of material processes (“She did this and then she did that ...”), leading to something unexpected (a crisis). This is followed by the Resolution (“What finally happened?”), which presents similar forms to those found in the Complication until the problem is solved. Finally, the narrator(s) might make comments on the point of her/his narrative, in what Labov & Walet Sky (1967:18) called Coda, often by using a demonstrative pronoun such as ‘this’ combined with an expression of attitude to refer to the story itself (E.g. “That was really scary”).
We have to keep in mind, though these patterns are not open but they can be adapted by the text producer according to her/his interests. As Martin (2001: 162) points out: “Since both genre and register are realised for the most part probabilistically, they allow the individual considerable freedom in determining just how they are to be realized. The patterns of selection by which we recognise a genre, or some field, mode or tenor, are distributed throughout a text; there are only a few local constraints.”
2. The tenor of discourse refers to who is taking part, to the nature of the participants, their statuses and roles: what kinds of role relationship obtain among the participants, including permanent and temporary relationships of one kind or another, both the types of speech role that they are taking on in the dialogue and the whole cluster of socially significant relationships in which theya re involved ?
3. The mode of discourse refers to what part the language is playing,what it is that the participants are expecting the language to do for them in that situation: the symbolic organization of the text, the status that it has, and its function in the context, including the channel (is it spoken or written or some combination of the two?) and also the rhetorical mode, what is being achieved by the text i terms of such categories as persuasive, expository, didactic, and the like.The three features, field, tenor and mode are called register. We can conclude from the states above if register can be defined as a particular configuration of field, tenor and mode choices. The context situation of the text is the immediate environment in which a text is actually functioning. The three register variables use in the grammatical form from language (field, tenor and mode). From it, only two ways that has done. The first, by making certain linguistic choices much more likely than others, so that when we read or hear a text certain patterns start to emerge in a non-random way, in what Martin argue (2001: 157) “These patterns re-present a particular register choice telling us it’s there”. The second, the register categories take over a small number of linguistic choices as their own, in what Martin calls ‘indexical realization’, that is, certain linguistic choices, once made by the text producer, lead the hearer/reader to immediately identify the register in which the text is being produced. In short, register corresponds to the context of situation, and genre to the context of culture.
Genres are realize through a language . Genres create meaning by shaping the register variables tenor (how people relate to one another within this situated event) and mode (is the medium) in Martin’s argument (2001: 189). Genre is realized in two ways namely probabilistic and indexical ways. both in
probabilistic and indexical ways. Martin (2001: 212) uses narrative to illustrate this point: two of the most famous indexical forms in narrative genres are the opening ‘once upon a time’ and the closing ‘and they lived happily ever after’. From this, we immediately know which genre we are dealing with. Probabilistic realizations are also relevant in narratives.
The Orientation from Labov & Walet Sky (1967: 12), which are introduces the characters and locates the story in time and space, tends to include relational clauses. The complication, which answers the question “What happened then?”, tends to include a series of material processes (“She did this and then she did that ...”), leading to something unexpected (a crisis). This is followed by the Resolution (“What finally happened?”), which presents similar forms to those found in the Complication until the problem is solved. Finally, the narrator(s) might make comments on the point of her/his narrative, in what Labov & Walet Sky (1967:18) called Coda, often by using a demonstrative pronoun such as ‘this’ combined with an expression of attitude to refer to the story itself (E.g. “That was really scary”).
We have to keep in mind, though these patterns are not open but they can be adapted by the text producer according to her/his interests. As Martin (2001: 162) points out: “Since both genre and register are realised for the most part probabilistically, they allow the individual considerable freedom in determining just how they are to be realized. The patterns of selection by which we recognise a genre, or some field, mode or tenor, are distributed throughout a text; there are only a few local constraints.”
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