Bauman, R. (2004). Introduction. In A World of Others’ Words: Cross-Cultural Perspectives on Intertextuality. Malden, MA: Blackwell.
His basis: “social life as discursively constituted, produced and reproduced in situated acts of speaking and other signifying practices that are simultaneously anchored in their situational contexts of use and transcendent of them, linked by interdiscursive ties to other situations, other acts, other utterances”. (2)
3-4-I conceive of genre, then, as one order of speech style, a constellation of systemically related, co-occurrent formal features and structures that serves as a conventionalized orienting framework for the production and reception of discourse. More specifically, a genre is a speech style oriented to the production and reception of a particular kind of text. When an utterance is assimilated to a given genre, the process by which it is produced and interpreted is mediated through its intertextual relationship with prior texts. The invocation of generic framing devices…carry with them sets of expectations concerning the further unfolding of the discourse, indexing other texts initiated by such opening formulae.
5- I focus in the chapters that follow on a range of relationships by which speakers may align their texts to other texts.
Generic intertextuality, as noted, is my primary concern, having to do with orienting frameworks for the production and reception of particular types of text…Genre thus transcends the bounded, locally produced speech event.
6- Among the conventional expectations for textual production and reception that genre invokes are sets of roles and relationships by which participants are aligned to one other. Such participant structures must be approached in terms of local understandings of role eligibility, recruitment, and enactment.
..each genre will be distinguished in terms of thematic or referential capacities, as a routinized vehicle for encoding and expressing particular orders of knowledge and experience.
9- Performance rests on an assumption of responsibility to an audience for a display of communicative virtuosity, highlighting the way in which the act of discursive production is accomplished, above and beyond the additional multiple functions the communicative act may serve.