Pragmatics & Cognition - Volume 25, Issue 3, 2018

The purpose of this paper is to apply the Entrenchment-and-Conventionalization Model (EC-Model hereafter; see Schmid 2014, 2015, 2016, 2017, 2018; Schmid & Mantlik 2015) of language knowledge to genre, with the aim of showing how a unified theory of the relation between usage and linguistic knowledge and convention can shed light on the way genre knowledge becomes entrenched in the individual and shared conventional behavior in communities. The EC-Model is a usage-based and emergentist model of language knowledge and convention rooted in cognitive linguistics and usage-based approaches. It sees knowledge as emerging from language usage, and explains the processes underlying the intertwining of social practice and cognition. However, so far, no suggestion has been advanced on how to extend the model to account for entrenchment and conventionalization at the supra-sentential level. In the area of genre studies various attempts have been made by scholars to develop or apply theories belonging to different scientific domains to understand the nature of genre. However, so far, there has been no research that applies a unified model in the attempt to link entrenchment of genres in individuals to their conventionalization at the societal level. I largely focus on the long tradition of rhetorical studies of genre, one among the different approaches that, over time, have regarded genre as their main topic of investigation. I concentrate on this tradition as it opens up the entire field of enquiry that defines contemporary genre research. To these I add by showing how the explanations provided so far can be cognitively clarified and unified under the EC-Model. The paper, then, argues that the EC-Model is theoretically apt to address questions about the nature of genre, capturing in an elegant way the interplay between cognition and social interaction in genre emergence, evolution, stabilization and variation.

Many scholars have claimed that satire is a genre. At the same time, however, it is also widely acknowledged that satire has changed over the centuries, that it has taken various forms and that it still appears in a variety of other genres. Far from being a drawback in identifying satire as a genre, I will claim that variability is a natural property of genres if the latter are conceived of as dynamic cognitive categories that emerge out of a complex interplay of heterogeneous factors which cluster differently under the effect of different contextual and cotextual attractors. I will assume that, in satire, these factors include a range of linguistic and rhetorical devices which interact in different ways to dynamically bring about specifically intended effects. I will further claim that understanding satire is a context-sensitive complex process which implies setting up and maintaining multiple mental representations, and drawing pragmatic inferences.

This study investigates the cognitive-pragmatic motivations for the emergence of a genre of health communication called Patient Decision Aid (PDA). It elucidates genre as struggle, i.e. how the emerging genre exemplifies various struggles on three strata: the difficulties facing patients, doctors, and health providers at practice level; the changes anticipated to take place at discourse level; and the tensions in the pragmatics-cognition-society nexus. Particularly illustrated here are five struggles that characterize changes or breakthroughs that PDAs are anticipated to make. It suggests that the five struggles roughly correspond to five principles for genre theory proposed by Berkenkotter and Huckin (1993), with some modification of the latter. It also illustrates that genre intervenes in the complexity between social issues and social cognition and that PDAs as a new genre involve restructuring, reshaping and redesigning the key discourse facets (e.g. prior discourse, participants, language, medium, the world, and purpose). Based on examples of Chinese-language PDAs officially released in Taiwan and on information from health professionals, policy makers, and PDA developers, this study contributes empirical evidence toward a better understanding of an emerging genre.

This paper investigates the use of hashtags in the building of brand narratives (i.e. the open-ended, unfolding and participative depiction of a company’s core ideology and beliefs). A collection of over 700 hashtags involved in the creation of the advertising narratives of the four leading soft drinks brands in 2017 (i.e. Coca-Cola, Pepsi, RedBull, Nescafé) has been analyzed both quantitatively and qualitatively to unveil their functions and formal characteristics, as well as the cognitive processes that underlie their interpretation and operate on the framing and dissemination of brand narratives. Ultimately, by categorizing and explaining the roles of hashtags in the construction of a brand narrative, as well as the potential correlations between their formal and functional traits and their retweeting rate and digital lifespan, this paper shapes a preliminary description of the characteristics of the subgenre of hashtag-based brand narratives and spells out some of the factors that should be considered in the choice of hashtags for advertising purposes.

Constructional approaches to genre model genre knowledge in terms of genre-based constructions. Like all constructions, these represent conventionalized pairings of meaning and form, of varying degrees of length and schematicity, whose pragmatic specifications include their association with a particular socio-cultural context. In this state-of-the-art article I review genre-related constructional work, discussing grammatical patterns that are licensed only in particular contexts, including conversational genres, as well as expressions that qualify as constructions simply on the basis of socio-cultural currency. The appropriateness of constructional analysis for the language of genre derives from the definitional incorporation of discourse-pragmatic information in constructional descriptions and the possibility of relating genre-bound, idiosyncratic patterns to the rest of the constructions in a language through relations of inheritance. I further highlight the compatibility of Frame Semantics with the notion of genre and critically discuss the concept of conventionality as it applies to genre language.

The present article investigates a set of discourse connectors in the academic lecture genre from the viewpoint of the inseparable pair of pragmatics and cognition. Making use of the MICASE corpus for data retrieval, a selection of discourse constructions encoding comparative contrastive meanings are analysed and their distinctive features are critically described and explained. The aim is to show how each particular genre promotes the use of certain constructions. The MICASE database reveals that, among all the subgroups of complementary contrastive constructions, some seem incompatible with the academic lecture contexts by virtue of the particular characteristics of this specific genre.

The aim of this paper is to explore the status of argumentative discourse. We argue that argumentation can contribute to instances of different discourse genres, regardless of whether it is functional to their purposes. By analyzing examples from the daily press in the light of an approach to discourse analysis inspired by pragmatics, we show that also texts that are not expected to be argumentative have underlying argumentative structures and that a text’s being argumentative is a matter of degree: the understanding of underlying argumentative structures contributes to a varying extent to the understanding of what a text as a whole means and of its point in the speech situation. This role of argumentative structures in text understanding suggests considering argumentation as a cognitively-based dimension of discourse, connected to human rationality.