other discourse communities. She, like all of us, is moving within and across
different subcultural groupings over time.
Not all discourse communities will, of course, have the participatory
structure of a SIG. A teenage magazine will have fewer participatory
structures: few of the readers will ever become writers, and the reader-
ship itself will always be transient and renewed. Bex (1996: 66–7) adapts a
further concept from sociolinguistics to capture the fuzzy and variable
nature of discourse communities: that of loosely-knit and close-knit social
networks (cf. Milroy, 1987). Milroy’s work on dialect preservation and
change resulted in a characterisation of the speech community as more or
less closely knit. Where members interact within a community in a variety
of roles (e.g. at work and socially) then the network is close-knit and can
often be identified by its maintenance of dialect forms. Where, on the
other hand, members of a speech community socialise and work with
different people, and have a range of ‘outsiders’ with whom they interact,
they are ‘weakly or loosely tied’ to their community, and more open to
language innovation.
It is easy to see the parallels with the discourse community. The teacher
who is an active member of the SIG, both reading and writing articles, and
attending and leading workshops, would be closely tied to the discourse
community, and more familiar with its conventions and its generic modes
of communication than a ‘loosely-tied’ teacher who only reads the newslet-
ter on occasion. Readers of a teenage magazine would generally not move
beyond a loose affiliation with a fairly diverse discourse community. The
nature of the discourse community and the strength of the individual’s
involvement with it are therefore both variable. Bex (1996: 66–7) stresses
the dynamic nature of discourse communities:
What I am proposing then is a complex interrelationship between
social discourses, discourse communities, text production and text
reception. The model I have in mind is entirely dynamic. Individuals
either produce, or produce interpretations of, texts according to the
norms of the discourse community and the functions which the text is
intended to serve within that discourse community. These are then
verified by the group as meaningful, or challenged and refined. Such
groups may develop highly characteristic modes of expression that
remain internal to the group. However, these modes of expression are
always situated historically, in that they develop from earlier ‘ways of
saying’, and socially, in that they interact with and take on (some) of the
meanings of the larger social groups of which they are part.
Bex’s model reinforces the view that ‘culture’ is heterogeneous and always
in the process of negotiation and development. This view is further
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affirmed by Hyland (2000: 11) in his discussion of ‘disciplinary cultures’,
that is, the cultures of academic disciplines:
Communities are frequently pluralities of practices and beliefs which
accommodate disagreement and allow subgroups and individuals to
innovate within the margins of its practices in ways that do not weaken
its ability to engage in common actions. Seeing disciplines as cultures
helps to account for what and how issues can be discussed and for the
understandings which are the basis for cooperative action and
knowledge-creation. It is not important that everyone agrees but
members should be able to engage with each others’ ideas and analyses
in agreed ways. Disciplines are the contexts in which disagreement can
be deliberated.
The concept of the discourse community is a powerful explanation of how
and why genres develop. It does not in itself suggest how genres can be
taught, although a clear description of genres and the discourse communi-
ties they serve can suggest some ways of selecting and organising teaching
materials. For example, if we accept Bex’s model of variable membership of
different kinds of close-knit and loosely-knit discourse communities, we
can actively seek texts which exemplify a shift in genre, in order to demon-
strate the importance of contextualising writing in relation to the goals of
different cultural groupings.
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