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Our field has become riddled with dichotomies that threaten to undermine our holistic understanding of writing. Form and content (and the related form and function, text and context), product and process, individual and society-these dichotomies too often define our research affiliations, our pedagogies, and our theories. If we are to understand writing as a unified act, as a complex whole, we must find ways to overcome these dichotomies. Recent conceptions of genre as a dynamic and semiotic construct illustrate how to unify form and content, place text within context, balance process and product, and acknowledge the role of both the individual and the social. This reconception of genre may even lead us to a unified theory of writing. The most recent understandings of genre derive from the work of several significant theorists working with different agendas and from different fields: from literature (M. M. Bakhtin, Tzvetan Todorov, Jacques Derrida), linguistics (M. A. K. Halliday, John Swales), and rhetoric (Carolyn Miller, Kathleen Jamieson). However, this work has not yet widely influenced how most scholars and teachers of writing view genre. Our reconception will require releasing old notions of genre as form and text type and embracing new notions of genre as dynamic patterning of human experience, as one of the concepts that enable us to construct our writing world. Basically, the new conception of genre shifts the focus from effects (formal features, text classifications) to sources of those effects. To accommodate our desires for a reunified view of writing, we must shift our thinking about genre from a formal classification system to a rhetorical and essentially semiotic social construct. This article will explain the new conception of genre that is developing and will suggest some effects of this new conception on our thinking about writing.1
Amy J. Devitt (Wed,) studied this question.