Genre theory
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expected of a translator either. Why should a ‘literary’ translator know the
conventions of all kinds of pragmatic texts? Does a comparative analysis of
genres that are hardly ever translated in practice have any pedagogical value
in the translation classroom? For this kind of decisions, a differentiation of
genre categories might be useful.
a) Complex genres
In another context, Lux points out that some genres may be ‘embedded’ in
other genres.
The genre ‘novel’, for example, is extremely tolerant with regard to
the inclusion of embedded genres, whereas the genre ‘sermon’ is much
more restrictive, and genres like ‘recipe’ do not permit any embed-
ding at all.
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In other words: a novel may include pragmatic genres such as recipes, obitu-
aries (
example 1,
below), business letters, etc. as embedded texts. Literary
translators who naїvely reproduce the source-culture conventions in the target
text because they are not aware of the target-culture conventions will probably
produce an inadequate translation.
Genres that are ‘tolerant’ with regard to the inclusion of embedded genres
will be called ‘complex genres’. They are not only to be found in literary
works, like novels or biographies, but also in diaries, job applications and so
on. Complex genres make greater demands on the translator’s competence
than genres that do not allow such embedding.
b) Simple genres
Simple genres have been described in the most detail so far. For translator
training, where the main focus is on pragmatic texts, the study of simple genres
and the comparative analysis of their conventions in different cultures are
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