Search results

1

Narrative Writing in Digital Formats: Interpreting the Impact of Audience

100%

Lawrence J. F., Niiya M., Warschauer M.

Psychology of Language and Communication

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2015

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vol. 19

|

issue 3

201-221

EN

Digital writing has enabled students to write for a variety of authentic audiences, both in and out of the classroom. As they consider audience, students shoulder a cognitive burden that they must juggle in addition to the task of composition. At the same time, writing provides students with opportunities to craft and express their identities. The ways that identity formation and cognitive load intersect may be particularly complex in digital, online writing environments, as students gain the ability to share and receive feedback from global and local audiences. In this counterbalanced experimental study, 86 seventh- and eighth-grade students responded to two narrative prompts. One prompt was written for the teacher and the other was written for the teacher and peers in an online forum. We examined student writing fluency, mechanical errors, academic word use, and setting. Students were found to be more likely to set narratives in private settings when writing for an audience that included peers. We discuss this finding from cognitive and sociocultural perspectives and how it might inform networked communication research.

2

On the Development of the English Culinary Recipe

100%

Bator M., Bator M.

Academic Journal of Modern Philology

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2016

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vol. 5

7-15

EN

The earliest culinary recipes found in England were written in Anglo-Norman and they date back to the end of the 13th century (cf. Hieatt & Jones 1986). e rst English instructions were mostly translated from these. It is the 14th and 15th centuries when the text type was thriving. Scully (1995: 5) calls the period “a hey-day for medieval cookery,” due to the greater availability of the culinary texts comparing to the earlier times. us, a discussion of the evolution of the English recipe should start from the 14th century. e majority of the available studies deal with the particular features of the culinary instruction, as for instance Culy (1996) who discusses the use of null objects. e main focus of the present paper is to provide a brief comparison of some selected features of the culinary recipes at different stages of their development. e discussion will proceed from the earliest available English culinary material, i.e., the medieval recipe, through the early Modern English texts to the contemporary cooking instructions. e issues which will be taken into consideration are: (i) the general structure of the recipe, especially the components found in the earliest texts, i.e., the heading and the procedure; (ii) the function of the recipe in the particular periods; and (iii) the intended audience for whom the recipes were written down.

3

Grand Vizieral Reception Ceremonies of European Ambassadors in the First Half of the Seventeenth Century

100%

Cevrioğlu M. H.

Legatio: The Journal for Renaissance and Early Modern Diplomatic Studies

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2020

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issue 4

PL

Grand viziers acted as the utmost important figure in the Ottoman bureaucratic administration throughout the early modern era. Conducting relations with foreign countries and, hence, conforming to the rules of an established diplomatic practice in the process were among their duties. The present study, therefore, aims at highlighting the underrated procedure of grand vizierial audiences through selected cases from the first half of the seventeenth century. In this respect, dispatches and final reports of certain representatives of major European monarchs in Istanbul are brought to light along with complementary data from Ottoman fiscal records of the time. The reception of foreign diplomats by the grand vizier – which presents its own intricacies and follows its own set of rules – is hence laid under scrutiny to understand how a physical language of diplomacy was created. Accordingly, welcoming receptions by the grand viziers will be studied instead of focusing on the negotiation audiences between the grand viziers and the incoming embassies. Comparisons with the imperial audiences will also be useful both in underlining the differentiation of this physical language from the one employed in the audiences with the sultan and also in evaluating the diplomatic function of the grand vizier within the framework of Ottoman foreign relations. In this respect, the first receptions by the grand vizier were intended to welcome foreign embassies and played a crucial part in their diplomatic mission since the date for the sultanic audience was arranged herein. Moreover, exchange of gifts between the grand vizier and the emissaries, serving of refreshments and avoidance of any politically consequential issue during the meeting were the main elements of the grand vizierial receptions.

4

A Great Sign Appeared in the Sky . Audience-Oriented Criticism of Revelation 12:1-6

100%

Blajer P.

The Biblical Annals

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2022

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vol. 12

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issue 1

45-63

EN

Revelation 12:1-6 recounts two signs that appear in heaven. The first sign is a woman and the second one is a dragon with seven heads, ten horns and seven diadems on its seven heads. The somewhat unusual description of the two signs has its grand finale in 12:4-6 which tells about the interaction between the woman and the dragon, as well as her child. The dragon, aware that its power must last for only a short period, a symbolic ten days, tries to swallow the child to whom the woman is about to give birth. In this way, the dragon wants to thwart and frustrate God’s plan. The newborn child is caught up by God to his throne in heaven. The reference to the OT helps the audience to identify the newborn child as the Messiah who will shepherd all the nations. The presentation of the child’s mission to shepherd all the nations assures the audience that God’s plan will be realized. This vision assures the audience that God is almighty, and that he is the ‘hidden actor’ in the entire vision. The reader-oriented exegesis of the passage discloses how the audience respond to the author’s rhetorical arguments and presentation.

5

Budowanie relacji. Teatr Ziemi Mazowieckiej i jego publiczności

88%

Morawski P.

Didaskalia. Gazeta Teatralna

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2021

|

issue 163/164

62-105

EN

The article is an attempt to examine the archive of letters written to the Teatr Ziemi Mazowieckiej and to reconstruct the theatre’s practices aimed at giving voice to its audience. The preserved letters allow us to ask questions about the ways of building relations with the audience by the theatre, which inspired their creation and also used them in its programmes. The content of the letters and the strategies used by their authors allow us to pose a hypothesis that the theatre’s management constructed a discourse different from that of the reviewers, who disdained the work of the theatre. The archive also allows us to postulate a counter-criticism which, unlike the hierarchically establishing criticism, uses the rhetoric of enthusiasm and care, locating a political potential in kindness and seeing in it an ability to make things happen.

6

Psychological operations after the Second World War

88%

Modrzejewski Z.

Security and Defence Quarterly

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2016

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vol. 12

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issue 3

74-99

EN

This paper has two purposes. From the personal side, the topic was chosen because I am interested in the history of psychological operations. To benefit the reader, I address psychological operations in selected military conflicts after the Second World War in order to consider this issue. The goal of this study is to depict examples of the psychological operations conducted after World War II as part of military operations and examine the increasing importance of these issues to all involved in the battle. The article describes methods and means of psychological activities carried out by both sides in conflicts against both soldiers and civilians. Most attention in the article is devoted to the potential of the United States, which is without doubt a leader in the development of psychological operations. US PSYOP equipment is the most sophisticated and covers a broad spectrum of diverse technological means of influence. It results especially from the permanent engagement of US troops in military activities in various parts of the world after the end of World War II. Psychological operations have been an essential element of warfare since ancient times. The purpose of psychological operations is to induce or reinforce foreign attitudes and behaviour favourable to the originator’s objectives. It has been used throughout history to influence foreign groups and leaders. Moreover, psychological operations targeted the enemy’s will to fight. In various conflicts after World War II, we can observe more and more attention being paid to psychological operations. Today we can observe arevolution in PSYOP capabilities. This is related to the development of modern technologies, especially the internet, which gives new opportunities for information transfer.

7

Adolescents on YouTube: Gender Differences Regarding the Videos They Upload and Watch

88%

Suarez-Alvarez R., García-Jiménez A., Montes-Vozmediano M.

Central European Journal of Communication

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2021

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vol. 14

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issue 2(29)

321-342

EN

This study examines whether gender is a key factor when producing and uploading audio-visual content to this social network. The research has been carried out using content analysis methodology applied to a sample of 300 videos uploaded to YouTube by adolescents aged 11-17 years, which were collected and analysed during the state of emergency in Spain (13 March – 21 June of 2020) as a result of the COVID-19 pandemic. Contents uploaded by these YouTubers are amusing, and their topics differ significantly depending on the author’s gender. Boys focus mainly on playing games, while the range of topics among girls is more diverse. There are no significant differences in the way both genders approach the topic of COVID-19. Channels oriented toward girls are protected from comments their followers might make about them, whereas boys are more exposed to members of the public who view their audio-visual productions.

8

Orędzie prezydenckie w komunikacji publicznej — konwencja i/lub oryginalność a kontekst polityczny

88%

Sękowska E.

Język a Kultura

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2016

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vol. 26

175-185

EN

The article analyses proclamations pronounced by four Polish presidents: S. Wojciechowski, I. Mościcki, L. Kaczyński and B. Komorowski. The president’s inaugural proclamation is a ritualised genre directed at the nation, concerning matters of high importance. Its structure depends on the political context which defines the topic, the audience and the role of the rhetoric subject. The proclamations contain axiological vocabulary, defined by the country’s historical situation, as well as pathetic constructions. Also, in this genre the impressive function predominates. The linguistic means of persuasion are independent of the historical period, nonetheless, its intensity differs. The construction of the implied receiver differs from text to text, which is aresult of the role taken by the speaker.

9

Kilka uwag na temat wiersza Teofila Lenartowicza Wspomnienie

88%

Supady G.

Prace Literaturoznawcze

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2018

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issue 6

75-86

EN

In the poem Wspomnienie [Remembrance], Teofil Lenartowicz, one of the forgotten Polish poetsof the 19th century, describes his audience with Pope Pius IX in 1853. Lenartowicz and his friend,Rev. Hipolit Terlecki, asked the pope to support the aspirations of the Poles to reclaim independencefor their occupied country. Pius IX declined to support the Polish aspirations, and Lenartowicz describeshis disappointment at the indifference displayed by the pope. The poem is examined in the contextof another audience at which Adam Mickiewicz, a distinguished Polish author, was received by the samepope as well as in the context of the Kulturkampf – the conflict between the German governmentand Roman Catholics in East Prussia.

10

Convergence in Digital Games: A Case Study of League of Legends

88%

Škripcová L.

Acta Ludologica

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2022

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vol. 5

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issue 2

86-103

EN

The study deals with content media convergence, i.e. the fragmentation of media into different forms and formats in order to reach new audiences. The main thesis is that this form of convergence, which has been observable in the media segment over the last decades, has in recent years started to be deliberately and purposefully implemented in the digital games segment as well, and game studios are trying to reach audiences that are not players of the original game from which the media content converged through the creation of media content. However, not in order to attract them to play the game, which could be considered a classic marketing strategy, but in order to create a narrative and intermedia universe from which each converged part can have a separate audience, for which it is not necessary to know the whole universe. The study proves this through a case study of the game League of Legends by the game studio Riot Games and on the contents that converged from the game, through a discursive content analysis in the categories of gaming segment, audio-visual contents, music, social networks and other contents. The study concludes that the analysis supports the thesis that League of Legends converges and is able to fully reach non-gamer audiences.

11

Publiczność w wirtualnej rzeczywistości

88%

Tabak W.

Didaskalia. Gazeta Teatralna

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2020

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issue 155

1-32

EN

The author outlines the development horizon for virtual reality and offers a multilevel analysis of Nietota, the first Polish production using virtual reality, staged in a repertory theatre by Krzysztof Garbaczewski in collaboration with the artistic collective Dream Adoption Society. Historical and theoretical reflections are complemented by a report of the empirical studies conducted in February 2019 at the Zygmunt Hübner Powszechny Theatre in Warsaw and an analysis of the reviews of that performance. The study group was comprised of spectators who attended Nietota then and volunteered to fill in the questionnaire.

12

Pustijalakomoodia Eestis: estraadietendustest Comedy Estoniani

88%

Laineste L.

Mäetagused

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2012

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vol. 52

9-30

EN

The article describes stand-up comedy in Estonia in relation to the local history of the genre. The aim is to cast light upon how the cultural context, but also the performer and audience interaction, works in achieving popularity of comic performance. The figure of a comedian as a “negative exemplar” as described by Lawrence Mintz in 1985, provides an excellent entrance point into discussing the different degrees of status of the genre in both the Soviet period and recent years. Two periods in Estonian history – totalitarian Soviet time and democratic present time – are under surveillance. During the Soviet period, public shows and recordings of estrada performances were highly valued among the audiences, providing commentary on the shortcomings of the regime and daily life in a seemingly innocent manner. The topics and popularity of the most iconic of these performances are analysed side by side with the repertoire of comedians from Comedy Estonia. The latter, a recent importer of Anglo-American tradition of stand-up in Estonia, also has a devoted audience and established topics, but these differ significantly from the Soviet predecessor, that of estrada. Through a historically situated analysis, it is possible to describe the adoption of traditions (and texts within it) in a meaningful way, so that foreign becomes native and starts functioning as an aspect of collective identity, be it on the level of the entire nation or just a group of fans. The empirical part of the study presents material from both periods, referring comparatively to some legendary comic texts from the Soviet period and routines of Comedy Estonia comedians. The main focus of the analysis is on the topics and targets that are prevalent in these very distinctive periods and, consequently, on the popularity of the different “stages” of local Estonian stand-up.

13

Representation as Social Relation In Praise of Georg Simmel on the Centenary of the Publication of his Essay The Stranger

88%

Waśkiewicz A.

Polish Sociological Review

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2010

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vol. 171

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issue 3

305-318

EN

This article is inspired by Georg Simmel’s formal sociology and written in his characteristic essay style. The article is about the representation relation viewed as a form of social interaction. Contrary to approaches which are dominant in the literature, the author argues that representation is a trilateral relation: the representative always represents the representee before an audience, even if this audience is not always easy to define. The same, paradoxically, can be said about the representee. In its pure forms, the object of representation may be the very presence of the representee, the representee’s will or his/her interest and mutual expectations among the three parties will vary depending on what is being represented. Many representation relations only become such relations ex post; they are initiated not in the act of authorization but in the act of usurpation which is legalized and institutionalized not only by the representee but also by the audience. For this reason, the difference between representation and usurpation is often fluid and fuzzy. The representation relation, as it is understood in this article, is one of the main forms of social interaction because thanks to this relation people who cannot appear personally in the public sphere for various reasons can nevertheless make an appearance.

14

The Role of Audience in the Turkish Film Industry

75%

Babayagmur Apa A., Balta Peltekoglu F.

Przegląd Orientalistyczny

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2022

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vol. 1-4 (281-284)

3-20

EN

According to consumer-centered marketing theories, “the consumer is the king”. As there are so many alternative brands in the market, it is vital to understand the reasons for customers’ choices. Likewise, in the film industry, the audience is “king” heaps of times. The filmmakers rely on popular genres, characters, actors, and directors to gain the target audience’s appreciation. However, when it comes to art, cultural and creative industries, implementing customer-focused strategies has caused controversy. If cinema is an art, how important should the expectations and needs of the audience be? This study addresses the audience’s role in the Turkish film industry. Following a literature review of the Turkish film industry’s history and current structure, the study interprets the audience profile and box office data using statistical analysis. The study shows that the audience has been influential in almost every period of the Turkish film industry and at every stage of the value chain, from planning to distribution.

15

Between intentionality and affect : on Jan Mukařovský's theory of reception

75%

Meerzon Y.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

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2014

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vol. 17

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issue 2

24-40

EN

Erin Hurley and Sara Warner in their insightful study "Affect/Performance/Politics" (2012) remind us that humanities and social sciences today experience a new sweep of theoretical inquiry, focusing on studying affect as a leading mechanism of our cognition and communication, as well as making and receiving art products. This paper takes this theoretical proposition further. I argue that although the theory of affect is still struggling to find its own methodology of textual and performance analysis, when it is paired with semiotic approaches in theatre scholarship, it can offer interesting insights on how theatrical performance capitalizes on its built-in structural or artistic intentionality – Jan Mukařovský's semantic gesture - to evoke the audience's emotional responses.

16

Zmienność upodobań – zmienność perspektywy

75%

Świdziński W.

Kwartalnik Filmowy

|

2023

|

issue 121 Kino i młoda widownia

205-214

PL

Książka Josepha Garncarza Zmienność upodobań. O preferencjach filmowych Europejczyków w latach 1896-1939 (2022) jest próbą rekonstrukcji wyborów, jakich historyczna widownia dokonywała przy kasach kinowych. Dane zgromadzone przez autora wskazują, że wczesne kino miało charakter ponadnarodowy, a widzowie w wielu krajach europejskich wybierali te same filmy. W latach 30. zaś, mimo że na większości rynków ilościowo dominowały produkcje hollywoodzkie, widzowie preferowali filmy z własnego kraju. Podmiotowe ujęcie publiczności i przekonanie o jej wpływie na przemysł filmowy pozwala autorowi spojrzeć na kino przed 1939 r. z nietypowej perspektywy. Testowana przez Garncarza metoda ilościowa ujawnia zarazem szereg ograniczeń, przede wszystkim w związku z niemożliwością zgromadzenia w pełni wiarygodnych danych. Nie zmienia to faktu, że ze względu na metodologiczne ambicje autora i wiele interesujących ustaleń jest to niezwykle ciekawa i ważna pozycja filmoznawcza.

EN

Joseph Garncarz’s book Zmienność upodobań. O preferencjach filmowych Europejczyków w latach 1896-1939 (2022) [Polish translation of the original German edition, Wechselnde Vorlieben: Über die Filmpräferenzen der Europäer 1896-1939 /2015/] attempts to reconstruct the choices that historical audiences made at cinema box offices. The author gathered figures which show that, early on, cinema was transnational, with audiences in many European countries choosing the same films. By the 1930s, however, even though Hollywood films dominated most markets quantitatively, audiences preferred films from their own country. The conviction that the audience is the main driving force behind the film industry allows the author to look at pre-1939 cinema from a new perspective. At the same time, however, the quantitative method reveals some limitations, primarily regarding the impossibility of gathering fully reliable data. Still, due to its methodological ambitions and many interesting findings, this is a significant publication.

17

Taniec w kajdankach albo nowy teatr Milo Raua

75%

Kautsch-Landorf J.

Didaskalia. Gazeta Teatralna

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2020

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issue 155

1-26

EN

The article discusses the creative methods of Milo Rau and the changes he brought to the NTGent theatre after becoming its artistic director. Rau established a set of 10 principles called the Ghent Manifesto in order to change the traditional operating system of a city theatre. The article also discusses the circumstances behind the creation of La Reprise, the play inspired by a real-life murder of a young gay man in Liège. This opera is an example of what theatre of the real means, and what the role of the media and the audience is according to Milo Rau. The article includes an interview with the director as well.

18

Online Media Audience during the Covid-19 Pandemic as an Active Amplifier of Disinformation: Motivations of University Students to Share Information on Facebook

75%

Tkáčová H., Maturkanič P., Pavlíková M., Slobodová Nováková K.

Communication Today

|

2023

|

vol. 14

|

issue 2

154-167

EN

Disclosure of disinformation has attracted increasing attention in recent years. The society recognises that false reports pose a real threat to the credibility of information and, ultimately, to the security of society. On the Internet an active audience is a distributor of media content because they are convinced of its truth, and in the online environment they find it in other people. Therefore, the audience seems to be an active amplifier of disinformation (sharing), and thus explicitly as a creator of (unwanted) web content (sharing and commenting). People’s willingness to share disinformation is linked to people’s similar attitudes; it is related to the similarity of faith and to the perception of the message, considered as appropriate and interesting (“I like it”), etc. The term “homogeneity” turns out to be a key term in audience research, and experts speak about a phenomenon that in fact appears to be the main driving force for the dissemination of any content. The aim of the research is to identify and classify the factors that motivate university students to share information on the social networking site Facebook.

19

Opis obyczajów bywalców filmowej Atlantydy

75%

Świdziński W.

Kwartalnik Filmowy

|

2020

|

issue 111 Zmysły i afekty

282-290

PL

Gorączka filmowa. Kinomania w międzywojennej Polsce (2019) Pawła Sitkiewicza jest pierwszym polskim opracowaniem w całości poświęconym publiczności filmowej dwudziestolecia międzywojennego. Będąc pionierską pracą z dziedziny audience studies, wypełnia zarazem ważną lukę w badaniach nad kinem sprzed 1939 r. Autor omawia takie zagadnienia, jak przekrój społeczny publiczności, przemiany obyczajowe, którym towarzyszyło kino, cenzura czy reklama filmowa. W swoich badaniach wykorzystuje najróżniejsze źródła: dzienniki i reklamy prasowe, wspomnienia, filmy, recenzje, reportaże, listy, artykuły i wywiady. W efekcie powstał pierwszy kompleksowy portret polskiej publiczności przedwojennej oraz jej praktyk odbiorczych – nieraz niezwykle podobnych, a czasem diametralnie różnych od naszych.

EN

Gorączka filmowa. Kinomania w międzywojennej Polsce [Movie Fever: Cinephilia in Interwar Poland] (2019) by Paweł Sitkiewicz is the first Polish book-length study devoted to the film audience of the interwar period. A pioneering work in the field of audience studies, it also fills an important gap in research on cinema before 1939. The author discusses such issues as the social profile of the audience, the changes in morality accompanied by cinema, censorship, or film advertising. In his research, he uses a variety of sources: newspapers and press advertisements, memoirs, films, reviews, reportages, letters, articles and interviews. The result is the first comprehensive portrait of Polish pre-war audiences and their perception practices – sometimes extremely similar and sometimes diametrically different from ours.

20

"Alle raus!" - von rechtspopulistischen Feind(zerr)bildern: ein Vergleich der Bremer, Dresdner und Potsdamer Inszenierung nach Jaroslav Rudišs Roman Nationalstraße

75%

Häußermann J.

Theatralia: Revue současného myšlení o divadelní kultuře (Theatralia: The revue of contemporary thought on theatre culture)

|

2021

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vol. 24

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issue 2

96-115

EN

The novel Nationalstraße (Czech original: Národní třída) written by Jaroslav Rudiš has been staged in German by Theater Bremen, Staatsschauspiel Dresden, and Hans Otto Theater in Potsdam. Vandam, the main character of the novel, has his own perception of the antagonists, which can be interpreted as right-wing populist. This article analyses each scene of the three aforementioned stagings available through video recordings, focusing on the constructions of Vandam's enemies – from the perspectives of Parody and Audience. The article aspires to offer a multidisciplinary approach to interpretation of the present-day issues raised in the performances; hence sociological and linguistic perspectives as well as cultural, political, and theatre studies approaches are applied in the analysis.

Refine search results

Narrative Writing in Digital Formats: Interpreting the Impact of Audience

On the Development of the English Culinary Recipe

Grand Vizieral Reception Ceremonies of European Ambassadors in the First Half of the Seventeenth Century

A Great Sign Appeared in the Sky . Audience-Oriented Criticism of Revelation 12:1-6

Budowanie relacji. Teatr Ziemi Mazowieckiej i jego publiczności

Psychological operations after the Second World War

Adolescents on YouTube: Gender Differences Regarding the Videos They Upload and Watch

Orędzie prezydenckie w komunikacji publicznej — konwencja i/lub oryginalność a kontekst polityczny

Kilka uwag na temat wiersza Teofila Lenartowicza Wspomnienie

Convergence in Digital Games: A Case Study of League of Legends

Publiczność w wirtualnej rzeczywistości

Pustijalakomoodia Eestis: estraadietendustest Comedy Estoniani

Representation as Social Relation In Praise of Georg Simmel on the Centenary of the Publication of his Essay The Stranger

The Role of Audience in the Turkish Film Industry

Between intentionality and affect : on Jan Mukařovský's theory of reception

Zmienność upodobań – zmienność perspektywy

Taniec w kajdankach albo nowy teatr Milo Raua

Online Media Audience during the Covid-19 Pandemic as an Active Amplifier of Disinformation: Motivations of University Students to Share Information on Facebook

Opis obyczajów bywalców filmowej Atlantydy

"Alle raus!" - von rechtspopulistischen Feind(zerr)bildern: ein Vergleich der Bremer, Dresdner und Potsdamer Inszenierung nach Jaroslav Rudišs Roman Nationalstraße