1008 THEORY AND PRACTICE IN LANGUAGE STUDIEStime” because he loves her “more <strong>and</strong> more”. Though the poem is not written <strong>in</strong> German, it reflects some thought ofWordsworth <strong>and</strong> Dorothy <strong>in</strong> Germany. The severe weather made them homesick <strong>and</strong> they decided to live <strong>in</strong> LakeDistrict. The description is the true state of their m<strong>in</strong>ds at that time. The narrator feels the joy of his desire among themounta<strong>in</strong>s <strong>in</strong> Engl<strong>and</strong>. But from where comes his patriotism? There are many reasons. But <strong>in</strong> this poem, it is the deathof Lucy which raises his patriotism. Engl<strong>and</strong> is the place where Lucy lived: “Thy morn<strong>in</strong>gs showed, thy nightsconcealed the bower where Lucy played”. And also, it is the place where Lucy died: “And th<strong>in</strong>e too is the last greenfield that Lucy’s eyes surveyed”. Death of Lucy leaves the narrator only memory <strong>and</strong> deep grief. In reality, he onlyf<strong>in</strong>ds the places where Lucy once lived. They may recall his memory of her. Engl<strong>and</strong> becomes important to the narratorbecause of the death of Lucy. With the feel<strong>in</strong>g of the narrator, all th<strong>in</strong>gs described are important. It is clear this is whatWordsworth says, “the feel<strong>in</strong>g there<strong>in</strong> developed gives importance to the action <strong>and</strong> situation” (Wordsworth, 1996, p.7).It is the feel<strong>in</strong>g of the narrator that gives importance to Engl<strong>and</strong> <strong>and</strong> develops his patriotism. So it is the death of Lucygives significance to Engl<strong>and</strong>, <strong>and</strong> the narrator’s memory of Lucy makes Engl<strong>and</strong> important to him <strong>and</strong> develops hispatriotism.With the above discussions, it shows Wordsworth reveals five aspects concern<strong>in</strong>g death from a perspective of a lover:premonition of death, <strong>in</strong>fluence of death, mean<strong>in</strong>g of death, attitude towards death, <strong>and</strong> significance of death. It reflectsWordsworth’s contemplation of death. Together with other poems concern<strong>in</strong>g death, Lucy poems give Wordsworth’sworldview. The feel<strong>in</strong>g there<strong>in</strong> developed occupies the most important position <strong>in</strong> all the poems. It justifiesWordsworth’s poetics. On the other h<strong>and</strong>, it also shows importance of the subjectivity of the <strong>in</strong>dividual. Death of<strong>in</strong>dividual only has social mean<strong>in</strong>g. With this underst<strong>and</strong><strong>in</strong>g, one can underst<strong>and</strong> Wordsworth better.REFERENCES[1] Abrams, M. H. ed. (1986). The Norton Anthology of English Literature. (5th edn). Vol. 1. New York: Norton.[2] Abrams, M. H. ed. (1993). The Norton Anthology of English Literature. (6th edn). Vol. 2. New York: Norton.[3] Car-Gomm, Sarah. (1995). The Dictionary of Symbols <strong>in</strong> Western Art. New York: Facts on File.[4] Curran, Stuart ed. (1993). The Cambridge Companion to British Romanticism. Cambridge: Cambridge UP.[5] Frazer, James George. (1963). The Golden Bough: A Study <strong>in</strong> Magic <strong>and</strong> Religion. Abridged ed. London: Macmillan Co. Ltd.[6] Heidegger, Mart<strong>in</strong>. (1999). Be<strong>in</strong>g <strong>and</strong> Time. Trans. John Macquarrie <strong>and</strong> Edward Rob<strong>in</strong>son. Beij<strong>in</strong>g: Ch<strong>in</strong>a Social SciencePublish<strong>in</strong>g House <strong>and</strong> Chengcheng Books Ltd.[7] Pipion, F. B. (1988). A Wordsworth Chronology. London: Macmillan Press.[8] Pipion, F. B. (1984). A Wordsworth Companion: Survey <strong>and</strong> Assessment. London: Macmillan Press.[9] Ross, Marlon. (1986). “Naturaliz<strong>in</strong>g Gender: Woman’s Place <strong>in</strong> Wordsworth’s Ideological L<strong>and</strong>scape.” ELH, 53, 2, p.391-410.[10] Spenser, Edmund. (1993). Edmund Spenser’s Poetry: Authoritative Texts Criticism. Ed. Hugh MaClean <strong>and</strong> Anne LakePrescott. (3rd edn). New York <strong>and</strong> London: Norton <strong>and</strong> Company.[11] Stokstad, Marilyn. (1995). Art History. Vol. I. New York: Prentice Hall, Inc., <strong>and</strong> Harry N. Abrams, Inc.[12] Williams, John. (1993). William Wordsworth: A Literary Life. N Y: St. Mart<strong>in</strong>’s Press.[13] Wordsworth, William. (1974). Wordsworth’s Criticism. Ed. W. J. B. Owen. London <strong>and</strong> Boston: Routledge & Kegan Paul.[14] Wordsworth, William. (1996). Selected Poems. New York: Pengu<strong>in</strong> Books Ltd.D<strong>in</strong>gm<strong>in</strong>g Wang was born <strong>in</strong> Qionglai, Sichuan Prov<strong>in</strong>ce, Ch<strong>in</strong>a <strong>in</strong> 1975. He received his M. A. degree <strong>in</strong> literature fromSouthwest University, Ch<strong>in</strong>a <strong>in</strong> 2007.He is currently a lecturer <strong>in</strong> English Department of Literature <strong>and</strong> Law School, Sichuan Agricultural University, Ch<strong>in</strong>a. Hisresearch <strong>in</strong>terests <strong>in</strong>clude English literature <strong>and</strong> American literature.D<strong>in</strong>i Zhang was born <strong>in</strong> Huaiyang, Henan Prov<strong>in</strong>ce, Ch<strong>in</strong>a <strong>in</strong> 1982. She received her M. A. degree <strong>in</strong> literature from HunanUniversity, Ch<strong>in</strong>a <strong>in</strong> 2008.She is currently a lecturer <strong>in</strong> English Department of Literature <strong>and</strong> Law School, Sichuan Agricultural University, Ch<strong>in</strong>a. Herresearch <strong>in</strong>terests <strong>in</strong>clude English literature <strong>and</strong> American literature.© 2013 ACADEMY PUBLISHER
ISSN 1799-2591<strong>Theory</strong> <strong>and</strong> <strong>Practice</strong> <strong>in</strong> <strong>Language</strong> <strong>Studies</strong>, Vol. 3, No. 6, pp. 1009-1020, June 2013© 2013 ACADEMY PUBLISHER Manufactured <strong>in</strong> F<strong>in</strong>l<strong>and</strong>.doi:10.4304/tpls.3.6.1009-1020The Effects of Genre-based Instruction on ESPLearners‟ Read<strong>in</strong>g ComprehensionBahador Sadeghi (Correspond<strong>in</strong>g Author)English Department, Islamic Azad University, Takestan Branch, Takestan, IranMohammad Taghi HassaniEnglish Department, Islamic Azad University, Takestan Branch, Takestan, IranMohammad R. HemmatiEnglish Department, Islamic Azad University, Takestan Branch, Takestan, IranAbstract—Despite the important role the genre-based <strong>in</strong>struction as a novice approach to teach<strong>in</strong>g at tertiarylevel, little research has been done on its application <strong>in</strong> ESP learners’ read<strong>in</strong>g comprehension. Furthermore,the actual implementation of this approach <strong>and</strong> its outcomes on enhanc<strong>in</strong>g learners’ read<strong>in</strong>g comprehensionhave not yet been fully explored, this study aimed to <strong>in</strong>vestigate the effects of genre-based <strong>in</strong>struction on ESPlearners’ read<strong>in</strong>g comprehension. The participants of the study <strong>in</strong>cluded 116 junior <strong>and</strong> senior B.S students(both males <strong>and</strong> females) at Islamic Azad University of Kurdistan, major<strong>in</strong>g <strong>in</strong> biology. Participants werer<strong>and</strong>omly assigned <strong>in</strong>to 2 groups of control <strong>and</strong> experimental. The <strong>in</strong>structors taught the experimental group(genre-group) based on the genre <strong>and</strong> the control group (non-genre-group) based on the traditional method ofteach<strong>in</strong>g ESP, prevail<strong>in</strong>g <strong>in</strong> Iranian universities. To meet the aim of the study, the <strong>in</strong>structors adm<strong>in</strong>istered one30-item proficiency test of English <strong>and</strong> two 30-item st<strong>and</strong>ard tests of English read<strong>in</strong>g comprehension to theparticipants. The results of the read<strong>in</strong>g comprehension test, analyzed through a t-test <strong>and</strong> <strong>in</strong>dependentsamples test suggested teach<strong>in</strong>g based on genre had a significant role <strong>in</strong> enhanc<strong>in</strong>g ESP learners’ read<strong>in</strong>gcomprehension ability <strong>and</strong> the descriptive <strong>and</strong> <strong>in</strong>ferential statistics showed learners improved significantly <strong>in</strong>read<strong>in</strong>g comprehension compared with that of non-genre-group.Index Terms—genre, genre analysis, genre move, genre-based <strong>in</strong>struction, esp, read<strong>in</strong>g comprehensionI. INTRODUCTIONThe term genre was first <strong>in</strong>troduced <strong>in</strong> the area of English as Specific Purpose (ESP) <strong>and</strong> has been def<strong>in</strong>ed <strong>and</strong>discussed from different viewpo<strong>in</strong>ts. Accord<strong>in</strong>g to Hyl<strong>and</strong> (2007) “genre refers to abstract, socially recognized ways ofus<strong>in</strong>g language” (p. 149).Ch<strong>and</strong>ler (1997) states the term genre is generally used <strong>in</strong> rhetoric, literary theory, mediatheory, <strong>and</strong> more recently l<strong>in</strong>guistics, to refer a dist<strong>in</strong>ctive type of text. Accord<strong>in</strong>g to Richards <strong>and</strong> Schmidt (2002),“agenre can be def<strong>in</strong>ed as: a type of discourse that occurs <strong>in</strong> a particular sett<strong>in</strong>g, that has dist<strong>in</strong>ctive <strong>and</strong> recognizablepatterns <strong>and</strong> norms of organization <strong>and</strong> structure, <strong>and</strong> that has particular <strong>and</strong> dist<strong>in</strong>ctive communicative functions” (p.224).S<strong>in</strong>ce the publication of Swales‟ “Genre Analysis” <strong>in</strong> 1990, more than two decades ago an <strong>in</strong>creas<strong>in</strong>g attention hasbeen given to the concept of genre <strong>and</strong> its application <strong>in</strong> language teach<strong>in</strong>g <strong>and</strong> learn<strong>in</strong>g. This has led to two prom<strong>in</strong>entmovements <strong>in</strong> the teach<strong>in</strong>g <strong>and</strong> learn<strong>in</strong>g of languages, namely, English for Specific Purposes (ESP) <strong>and</strong> SystemicFunctional L<strong>in</strong>guistics (SFL).Accord<strong>in</strong>g to Hyon (2001) previous studies carried out <strong>in</strong> ESP doma<strong>in</strong> have generallyreported positive effects of genre-based teach<strong>in</strong>g for non-native English speakers; however, some have reportedlimitations. Johns (1997), for <strong>in</strong>stance, puts forward the advantages of us<strong>in</strong>g what she calls a “socioliterate approach” toteach<strong>in</strong>g read<strong>in</strong>g <strong>and</strong> writ<strong>in</strong>g <strong>in</strong> developmental university composition of language m<strong>in</strong>ority students.In the area of genre <strong>and</strong> second language read<strong>in</strong>g <strong>in</strong>struction, accord<strong>in</strong>g to Carrell (1985), schema research, as wellhas demonstrated positive outcomes of teach<strong>in</strong>g genre structure on read<strong>in</strong>g recall <strong>and</strong>/or comprehension. Furthermore,Hyon(2001) found that students who were <strong>in</strong>terviewed immediately after an EAP genre-based read<strong>in</strong>g course reportedpay<strong>in</strong>g greater attention to rhetorical features <strong>in</strong> texts than before the course, as well as improved read<strong>in</strong>g confidence<strong>and</strong> speed. Flowerdew (as cited <strong>in</strong> Chen, 2008) states there are two major approaches to genre theory: a text-basedapproach <strong>and</strong> a situation-oriented approach. In the case of text-based approach there is a focus on analyz<strong>in</strong>g <strong>and</strong>describ<strong>in</strong>g textual patterns of different genres. In a situation-oriented approach of genre theory, accord<strong>in</strong>g to Chen(2008), the focus is on the dynamic <strong>and</strong> evolv<strong>in</strong>g nature of genre <strong>and</strong> seeks a description of the situational contexts <strong>in</strong>which writ<strong>in</strong>g takes place. In another genre categorization accord<strong>in</strong>g to Derewianka (1990) there are six ma<strong>in</strong> genresconcern<strong>in</strong>g their primary social purposes:(1)Narratives which tell a story <strong>and</strong> usually aim to enterta<strong>in</strong>; (2) Recount which tell what happened; (3) InformationReports which provide factual <strong>in</strong>formation; (4) Instruction which tell the listeners or readers what to do;(5)Explanationwhich expla<strong>in</strong> why or how someth<strong>in</strong>g happens;(6) Expository texts which present or argue a viewpo<strong>in</strong>t. Also various© 2013 ACADEMY PUBLISHER