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This chapter explores the relationship of rhetorical genre studies with archival studies, and identifies commonalities and differences between the two fields. By complementing and expanding the diplomatics approach to the analysis of the documentary reality of organizations, rhetorical genre studies provides the records disciplines with sophisticated conceptual tools that may be used to enhance understanding of how records are made, used, and transmitted in workplace contexts.

All genres are sites of continuous social, cultural, and ideological negotiations, and organizational records make no exception. By recognizing that records are culturally constructed artefacts that shape and are shaped through social interactions, and recordkeeping is an inherently ideological discursive practice, notions such as evidence and accountability take on new, more dynamic meanings. Record keepers as well as the creators and users of the records become agents who continuously engage in the production, reproduction, and transformation of the documentary reality of their organizations.

Drawing on rhetorical genre studies, this chapter offers an inclusive, situated, and dynamic view of organizational records that is in line with postmodern accounts of recordkeeping. The new reading of basic archival concepts and methods proposed in this chapter especially contributes to enrich the theoretical framework of records management, which has traditionally been represented as a technical discipline supporting unspecific ideas of organizational effectiveness.

Though contemporary Genre Studies, and especially American Rhetorical Genre Studies (RGS), has made great progress through prioritizing the functional aspect of genre, there is now much to be gained by giving renewed space to the formal and thematic sides of genre as well, granting the concrete utterances, making up particular genres, equal weight in the theory and analysis of genre. The purpose of this shift is emphatically not to take anything away from current Genre Studies; I admire what is being done in genre research today and want to add to it and expand it by demonstrating some of the possibilities enabled by a modified approach.

Current Genre Studies, as encountered in RGS, is an impressive and highly organized body of knowledge. By re-introducing literary and high rhetorical subject matter, which has been under-studied in RGS, into it, the chapter demonstrates some of the complexities involved when Genre Studies confront genres whose utterances are more complex than the “homely discourses” usually discussed in RGS. Formal and thematic features play a far too significant role in literary works to be explicable simply as derivations from function alone. But this is not limited to works of literature. The chapter finds that though more complex genres, literary and high rhetorical, most consistently invite utterance-based interpretations, other genre-based studies can benefit from them as well.

The chapter offers a perspective on genre which gives renewed weight to formal and thematic interpretations of genre, by allowing the utterances themselves to re-enter center stage. This enables an improved understanding of complex genres. It also revives close reading as a viable approach to understanding genre and thus to inform the rhetorical, linguistic, and sociological perspectives dominant in current genre scholarship. Finally, it improves our understanding of genre in both a systematic and a historical perspective. The chapter demonstrates, thus, that an understanding which puts as much weight on a genre’s utterances, as it does on its function is viable as an interpretation of genres, and is fruitful as an approach to them.

While authenticity, gender, and genre have all been studied in relation to music, the links between the three are underdeveloped theoretically. Specifically, the ongoing gendered process of constructing authenticity and the role of gendered authenticity in the creation and articulation of new musical genres remain fairly unexplored. In particular, more work is necessary to explain the role of gender in the emergence of new subgenres, in the ongoing maintenance of genre boundaries, and in fans' identity work as they construct “authentic” participation in “underground” scenes. In this paper, we examine genre as a gendered process in the Extreme Metal (EM) music scene, a popular subgenre of heavy metal. We explore several gendered dimensions of the EM genre, including the music (instrumentation, vocal style, lyrics, record covers, merchandise), live performance (gender distribution and arrangement, moshing/dancing, audience/crowd interaction), and embodied genre performance (fashion, hair style, makeup). We conclude by suggesting that the construction of new subgenres is, in part, a process of reestablishing and valorizing masculine traits, denigrating feminine traits, and connecting such traits to authenticity, thereby perpetuating gender inequality and hegemonic masculinities.

Using a novel measure incorporating stylistic and acoustic data on recorded music from 1967 to 2017, we search for trends in the evolution of musical diversity in 125,340 albums. We find that temporal patterns of diversity differ for stylistic and acoustic data. We also find that the patterns differ dramatically by genre. Some genres, such as blues, jazz, and pop-rock, decrease in diversity over time; most other genres increase in diversity. The causes of these different trends present a puzzle for future research. We also find different patterns for recordings that made the Billboard 200 charts compared to all recordings, suggesting an association between selection processes driven by consumer popularity and diversity. Moreover, associations of diversity and industry structure found in prior research do not hold when we analyze data beyond the smaller sample of the more popular recordings found in Billboard. These findings have implications for many prior studies based exclusively on best-selling recordings

The purpose of this paper is to illuminate for social studies teachers and teacher educators the ways in which students' disciplinary writing is scaffolded within the context of the inquiry design model; trends in such scaffolding are called “the learner's pathway,” since it leads students to more abstract levels of historical argumentation. The author argues that engaging historical writing genres is a necessary component of historical thinking and that understanding the ways that teachers support students' historical writing capacities can help them to make more intentional choices when building inquiries.

To study genre-related scaffolding across inquiries, this study draws on systemic functional linguistics (SFL)-based genre theory as an analytical structure and seventy-four history-focused secondary social studies inquiries to determine any patterns in the ways that teachers scaffold students' writing genres through an inquiry.

Findings suggest that there is a learner's pathway that teachers use to develop students' argumentative writing capacities; however, there is also evidence to suggest that notetaking and source synthesis are not valued instructional products, limiting the potential impact of historical thinking work within the inquiry process.

The existence of this learner's pathway has implications for the ways that teachers and preservice teachers can be professionally developed to leverage this pathway. Rather than the often-used methods of support students' generic writing capacities, professional development should focus on the ways social studies teachers can guide students to more abstract reasoning through their writing. This study's findings also have implications for the ways that social studies teachers assess students' summative arguments. Assessment practices should focus on the genre-features of “argument” rather than just the stages of the argumentative essay.

This piece is original because genre-based research is missing from much of the social studies education research. This study's findings present an additional paradigm through which social studies teachers and teacher leaders can explore the purposes of historical writing tasks and assessment.

This paper aims to explain how companies in the region of Arab countries respond to the institutional diffusion of a new communication genre like corporate social responsibility (CSR) reports.

Analysis of the features, content and language of CSR reports published by listed companies in the region, to classify the genres of these reports and infer results about ways of companies’ interaction with newly institutionalized genre.

Three distinct genres are identified: “sustainability reports genre,” “professional CSR report genre” and “light CSR report genre.” When companies interact with institutionally diffused genres, they either adopt them and re-enforce their distinctiveness, mix them with elements from other genres so their distinctiveness will be diluted, or produce the old and established genres under the new name so the new genre will lose its distinctiveness.

The proposed classification of CSR report genres and ways of companies’ interaction with new genres are original and open new horizons for research in social and environmental accounting and corporate communication fields.

The authors’ goal is to investigate variations in the writing style of book reviews published on different social reading platforms and referring to books of different genres, which enables acquiring insights into communication strategies adopted by readers to share their reading experiences.

The authors propose a corpus-based study focused on the analysis of A Good Review, a novel corpus of online book reviews written in Italian, posted on Amazon and Goodreads, and covering six literary fiction genres. The authors rely on stylometric analysis to explore the linguistic properties and lexicon of reviews and the authors conducted automatic classification experiments using multiple approaches and feature configurations to predict either the review's platform or the literary genre.

The analysis of user-generated reviews demonstrates that language is a quite variable dimension across reading platforms, but not as much across book genres. The classification experiments revealed that features modelling the syntactic structure of the sentence are reliable proxies for discerning Amazon and Goodreads reviews, whereas lexical information showed a higher predictive role for automatically discriminating the genre.

The high availability of cultural products makes information services necessary to help users navigate these resources and acquire information from unstructured data. This study contributes to a better understanding of the linguistic characteristics of user-generated book reviews, which can support the development of linguistically-informed recommendation services. Additionally, the authors release a novel corpus of online book reviews meant to support the reproducibility and advancements of the research.

Genre classification of songs based on lyrics is a challenging task even for humans, however, state-of-the-art natural language processing has recently offered advanced solutions to this task. The purpose of this study is to advance the understanding and application of natural language processing and deep learning in the domain of music genre classification, while also contributing to the broader themes of global knowledge and communication, and sustainable preservation of cultural heritage.

The main contribution of this study is the development and evaluation of various machine and deep learning models for song genre classification. Additionally, we investigated the effect of different word embeddings, including Global Vectors for Word Representation (GloVe) and Word2Vec, on the classification performance. The tested models range from benchmarks such as logistic regression, support vector machine and random forest, to more complex neural network architectures and transformer-based models, such as recurrent neural network, long short-term memory, bidirectional long short-term memory and bidirectional encoder representations from transformers (BERT).

The authors conducted experiments on both English and multilingual data sets for genre classification. The results show that the BERT model achieved the best accuracy on the English data set, whereas cross-lingual language model pretraining based on RoBERTa (XLM-RoBERTa) performed the best on the multilingual data set. This study found that songs in the metal genre were the most accurately labeled, as their text style and topics were the most distinct from other genres. On the contrary, songs from the pop and rock genres were more challenging to differentiate. This study also compared the impact of different word embeddings on the classification task and found that models with GloVe word embeddings outperformed Word2Vec and the learning embedding layer.

This study presents the implementation, testing and comparison of various machine and deep learning models for genre classification. The results demonstrate that transformer models, including BERT, robustly optimized BERT pretraining approach, distilled bidirectional encoder representations from transformers, bidirectional and auto-regressive transformers and XLM-RoBERTa, outperformed other models.

To introduce the special issue on “Genres of digital documents.” While there are many definitions of genre, most include consideration of the intended communicative purpose, form and sometimes expected content of a document. Most also include the notion of social acceptance, that a document is of a particular genre to the extent that it is recognized as such within a given discourse community.

The article reviews the notion of document genre and its applicability to studies of digital documents and introduces the four articles in the special issue.

Genre can be studied based on intrinsic genre attributes or on the extrinsic function that genre fulfills in human activities. Studies on intrinsic attributes include classifications of genres as clusters of attributes, though these classifications can be problematic because documents can be used in flexible ways. Also, new information technologies have enabled the appearance of novel genres. Studies on extrinsic function include ways to use genre for education or information accesses, as well as the use of genre as a lens for understanding communications in organizations. The four articles in the special issue illustrate these approaches.

The paper provides a framework that organizes the range of research about genres of digital documents that should be helpful to those reading this research or planning their own studies.

The purpose of this article is to develop a contemporary understanding of genre as digital social action. Particular emphasis will be on archiving, tagging, and searching as social actions afforded by digital media as a function of their materiality.

The approach is critical analysis and discussion.

It is shown through an examination and a concrete example of how the genre is understood as digital social action, how the materiality of digital media affords particular communicative actions.

The article contributes with an understanding of the genre as digital social action consisting of two communicating parts: users’ actions and materiality.