Respostas
Resposta:
Digital genres have unique features deriving from the multimodal and hypertextual affordances of the Internet. Many studies on such genres have focused on analysing the degree to which they have taken advantage of Web functionalities and have evolved to become significantly different from genres existing in other media (e.g. Shepherd and Watters, 1998; Crowston and Williams 1998; Dillon and Gushrowski, 2000; Askehave and Nielsen, 2005). These studies are based on the assumption that functionality, i.e. the capabilities afforded by the new medium (Shepherd and Watters, 1998), is as important as form and content, and suggest that the analysis of digital genres should take account of the unique properties that the medium adds to the web genre “in terms of production, function and reception” (Askehave and Nielsen, 2005: 3). Kress’ (2003: 35-36) proposal that it is necessary to move from a theory that accounts for language alone to “a theory that can account equally well for gesture, speech, image, writing, 3D object, colour, music and others” (i.e. a semiotic theory) seems to be relevant here. In addition, since hypertextual technology has multiplied text and image capabilities, it is also necessary to analyse the effect of hypertext on how meaning is constructed. Finnemann (1999) proposes that hypertext can activate at least two modal shifts in the reading process: the reading mode (the “reading-as-such”) and the navigation mode or linking mode. The guiding principle in the reading mode is sequential reading. In the navigating mode the reader actively constructs his/her own reading path by traversing sites. The possibility of traversing sites allows questions such as: “what are the possible options, what does the system provide, what are my present purposes?” (Finnemann, 1999: 30).
Explicação: