دانلود رایگان مقاله ساخت ریمیکس با فصاحت: گونه شناسی دگرگون شونده کار

Abstract

Since it entered the critical lexicon in composition and rhetoric, remix has become an increasingly popular topic for scholarly work and pedagogical focus. Despite its pervasiveness, remix remains a cumbersome and overwhelming conceptual category. As such, this article has two interconnected purposes: To develop a pliable and useable framework for understanding the rhetorical significance of remix, and to begin to chart some of the major types of remix writers compose today. I open by arguing that the rhetorical concept of imitation (imitatio) can serve as a malleable frame both to understand the rhetorical importance of remix and to help map the many ways in which remix writers accomplish their rhetorical goals. After developing this frame, I offer a four-part typology of remix: assemblage, reappropriation, redistribution, and genre play. Finally, I close by providing strategies for teaching and directions for future research.

4. Implications for teaching and research

The overarching purposesfor this article have been twofold: first, to situate remix rhetorically by drawing on theories and pedagogies of imitation, and second, to isolate and explain common types of remix. These two go hand in hand. In order to explain the central needs and uses for remix, which are both productive (i.e., solving a problem or attempting to effect change) and pedagogical (i.e., learning more about ourselves and others), we need a durable yet malleable theory. And in order to make this theory more usable—that is, more productive and more pedagogical—we need to start to chart the ways in which this theory does work in the world. Hence, a revived theory of imitation serves as a pliable frame from which remix types—assemblage, reappropriation, redistribution, genre play, and still others—can emerge.