Open genre, new possibilities: democratizing history via social media

Myers, Cayce; Hamilton, James W.

doi:10.1080/13642529.2014.973712

Cited by 9 publications

(6 citation statements)

References 20 publications

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“…The layout of the interface in the examples in this article recalls a physical archival record, which give all contributions, institutional as well as private, an institutional frame and thus gives priority to the creation of the institutional voice. Nevertheless, the development of platforms for open archives such as Historypin might entail the increased democratization that Myers and Hamilton (2015) envisage for the writing of history in the context of social media and the constant renewal of genres that occurs there.…”

Section: Resultsmentioning

confidence: 99%

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The personal versus the institutional voice in an open photographic archive

Wagner

2017

Arch Sci

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In an open photographic archive where both archival institutions and the general public can upload images and provide them with descriptions, a noted difference can be perceived between the institutional voice and the personal voice. Private persons' written descriptions of their photographs tend to have a more subjective style than the neutral, objective style of descriptions written by institutional staff influenced by archival guidelines. Seven examples from the site Historypin will be analysed using semiotics, rhetoric and genre theory as theoretical approaches. Deixis is a key concept in the analyses. In order to discern the institutional voice, meta-genre documents like archival guidelines have been studied. Regarding the personal voice, it is shown how genres that evolved long before the web serve as patterns for the contributions to Historypin, and at the same time how these genres undergo a renewal in this context. The article concludes by suggesting ways the personal voice could be strengthened and that institutions might benefit from creating fictional stories emulating the personal voice.

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Section: Resultsmentioning

confidence: 99%

“…The objective style of descriptions fostered by such guidelines is also prevalent in the genre of historiography at large, according to Cayce Myers and James F. Hamilton. They regard social media as a genre in its own right, with a potential of democratizing history writing (Myers and Hamilton 2015).…”

Section: Genre Theorymentioning

confidence: 99%

The personal versus the institutional voice in an open photographic archive

Wagner

2017

Arch Sci

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“…In line with principles governing traditional corpora (Gilquin and Gries 2009), it consists of a time-bound data set of networked assemblages of streaming data (Zappavigna 2012). In the literature, blogs are defined as a distinct text type differing from social media texts from other sources in terms of structure and size (Baldwin et al 2013;Myers and Hamilton 2015;Berger et al 2015). The blog post texts can be considered as a text type that shares many characteristics with impromptu spoken conversation in that the contributions are relatively spontaneous and very often not supervised, and not revised or according to the norms of formal writing.…”

Section: Corpus Description and Annotation Processmentioning

confidence: 99%

Annotating Speaker Stance in Discourse: The Brexit Blog Corpus

Simaki

Paradis

Skeppstedt

et al. 2017

Corpus Linguistics and Linguistic Theory

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The aim of this study is to explore the possibility of identifying speaker stance in discourse, provide an analytical resource for it and an evaluation of the level of agreement across speakers. We also explore to what extent language users agree about what kind of stances are expressed in natural language use or whether their interpretations diverge. In order to perform this task, a comprehensive cognitive-functional framework of ten stance categories was developed based on previous work on speaker stance in the literature. A corpus of opinionated texts was compiled, the Brexit Blog Corpus (BBC). An analytical protocol and interface (Active Learning and Visual Analytics) for the annotations was set up and the data were independently annotated by two annotators. The annotation procedure, the annotation agreements and the co-occurrence of more than one stance in the utterances are described and discussed. The careful, analytical annotation process has returned satisfactory inter-and intra-annotation agreement scores, resulting in a gold standard corpus, the final version of the BBC.

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“…This community, Miller adds, has taken on a more agentive role of producers rather than consumers, contributing to a rise in digital genres (p. 25). Myers and Hamilton's (2015) analysis of "open genres" offers a similar rationale for why genres like these might be proliferating in digital realms. This is what ordinary people live, and their means for communicating with each other-the private letter, the laundry note-are not considered artistic.…”

Section: Emerging (Everyday) Genres and Media In The Digital Agementioning

confidence: 99%

“…In analyzing the Facebook post as a genre ("open," "vernacular," and/or "everyday"), I have also found scholars' delineations of genre conventions insightful. Myers and Hamilton (2015) outline social media characteristics that they believe led to its "openness": "fragmentariness, disunity and multiplicity, multiperspectivalism, and dialogism" (p. 223). 40 Such aspects contributed to my analytical threads used below, particularly "dialogism."…”

Section: Emerging (Everyday) Genres and Media In The Digital Agementioning

confidence: 99%

Pens, print, and pixels : gendered writing and the epistolary genre in transitional eras.

Mathis¹

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This dissertation proposes a retheorization of rhetorical genres, media, and modes, with a particular emphasis on how this interrelationship reinstantiates and/or subverts deeply entrenched power dynamics over time. Current scholarship often depicts genres and media in a one-to-one relationship that obscures the intricate ways rhetorical genres and media rely on one another to enable (or hinder) writers' participation in particular discourse communities. This project primarily focuses on gendered power and analyzes letters-a traditionally feminized genre-in three distinct time periods marked by media transition. Specifically, I explore ways women employ genre and media affordances together to assume positions of greater authority and examine how texts mediate who can exercise power. The first chapter reviews scholarship on rhetorical genre theory, media studies, and multimodal composition and introduces a new theoretical model. The first case focuses on Renaissance women's manuscript letterwriting in the Bagot family collection (Chapter Two). The second case examines Samuel Richardson's gendered epistolary writing in his vernacular letters, printed manuals, and fiction (Chapter Three). Finally, viii Chapter Four examines epistolary conventions of social media posts in Pantsuit Nation. Using these cases, I drew conclusions about how genres and media can continue to exclude and/or promote certain writers' voices in and over time-even when the genres and media appear more accessible and inclusive. The project emphasizes how genres and media influence our lives and enable us to make space for ourselves in the world. Genres and media shape each other in recurrent, dynamic processes through their modal affordances and respond to the social and cultural exigencies of a particular moment. As a field committed to inclusivity and the study of power in language, we must retheorize the dynamic processes involved in writing platforms if we are to empower students and other writers and citizens with whom we work.

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Open genre, new possibilities: democratizing history via social media

Cited by 9 publications

References 20 publications

The personal versus the institutional voice in an open photographic archive

The personal versus the institutional voice in an open photographic archive

Annotating Speaker Stance in Discourse: The Brexit Blog Corpus

Pens, print, and pixels : gendered writing and the epistolary genre in transitional eras.

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