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First published in 1991, Textual Communication examines the character and development of the novel from Richardson to Nabokov in relation to the printing and publishing industry. The book blends literary theory with a historical analysis of communication, carrying the debate on the novel beyond the pioneering work of Booth and Genette, while responding to and taking issue with the writings of Foucault, Baudrillard, McLuhan, and Barthes. It analyses the structures of the industry which manufactured and marketed novels to show how novelists solved the communication problems that they faced in the eighteenth, nineteenth, and twentieth centuries. It also pinpoints critical moments in the history of the novel when new narrative strategies appeared, and places them in the context of the communication environment in which the texts were produced. Using Lacan’s theory of the divided subject, the book defines textual communication as a form of interaction in which two divided subjects, the author and the reader, try to communicate with each other under or against the law of the book market, censorship, literary conventions, and language.
'Designing Texts' is an edited collection dedicated to teaching visual communication in non-visual disciplines, with a particular focus on the fields of technical and professional communication, rhetoric, and composition.
The chapters in this volume investigate how visual and material features of early English books, documents, and other artefacts support - or potentially contradict - the linguistic features in communicating the message. In addition to investigating how such communication varies between different media and genres, our contributors propose novel methods for analysing these features, including new digital applications. They map the use of visual and material features - such as layout design or choice of script/typeface - against linguistic features - such as code-switching, lexical variation, or textual labels - to consider how these choices reflect the communicative purposes of the text, for example guiding readers to navigate the text in a certain way.
This book brings together a broad and diverse range of new and radical approaches to public relations focussing on the increasingly vital role that visual, sensory and physical elements factors play in shaping communication. Engaging with recent developments in critical and cultural theories, it outlines how non-textual and non-representational forces play a central role in the efficacy and reception of public relations. Challenging the dominant accounts of public relations which center on the purely representational uses of text and imagery, the book critiques the suitability of accepted definitions of the field and highlights future directions for conceptualizing strategic communication within a multi-sensory environment. Drawing on the work of global researchers in public relations, visual culture and communication, design and cultural theory, it brings a welcome inter-disciplinary approach which pushes the boundaries of public relations scholarship in a global cultural context. This exciting analysis will be of great interest to public relations scholars, advanced students of strategic communication, as well as communication researchers from cultural, media and critical studies exploring PR as a socio-cultural phenomenon.
Understanding the discourse of text messaging has profound implications for society. SMS text messaging has impacted considerably on how we communicate with others. Negative, sometimes alarmist media coverage continues to fuel debate surrounding its 'damaging' effects on language and literacy, yet these portrayals tend to be based on extreme or fictionalised accounts of text messaging. What kind of language do people really use when they text? Drawing on a range of academic sources from various fields, this book describes the language used in a corpus of over 11,000 text messages, as yet the largest collection in the UK. In particular, the book shows how the discourse of text messaging is shaped by users' often creative responses to the functions and constraints of the medium. This is an essential book for upper level undergraduates and postgraduates studying discourse analysis, as well as educators wanting to understand this important new form of discourse.
Thesis (M.A.) from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 1,3, University of Paderborn, 205 entries in the bibliography, language: English, abstract: Ever since McEwan's first publications, his work has received considerable attention from critics and scholars. Thus, it is not surprising that McEwan has been awarded with a number of prizes for his work and that he has been praised to be one of the leading representatives of the young generation. Despite the extraordinary praise of McEwan's work, it has been discussed most controversially. The fact that he often engages taboo subjects like masturbation, incest, regression, child abuse, dismemberment, sadism-masochism etc. earned McEwan the reputation of an author who writes to shock his audience. McEwan himself appears to be surprised about these attributions and objects them. However, it seems to be undisputable that the narrations are extremely shocking but it seems that not only the choice of topics is responsible for the extreme response to McEwan's narrations. In my opinion, the shock value of McEwan's narrations is mainly caused by his particular way to present these topics. In keeping with this, I consider the form of McEwan's narrations to be as important as their content. McEwan seems to experiment with the employment of perspectives, subjective perspectives in particular. In fact, it can be argued that he taps the full potential of the employment of subjective perspectives in his narrations as the reader is confronted with the subjectivity of perspectives on all levels of textual communication. In my opinion, McEwan's most outstanding accomplishment is his ability of depicting subjective perspectives in all consequence. The absence of morality in many of McEwan's narrations, for example, which is usually regarded as an underlying topic, can also be seen as a result of depicting consistently a specific subjective perspective. Therefore, this paper will exa
An ethnographic study of communities of media fans, their interpretative strategies, its social institutions and cultural practices. Jenkins focuses on fans of popular TV programmes, including Star Trek and The Professionals.
Provides an engaging and thought-provoking exploration of the way texts emerging in the legal process 'travel' in various ways to produce new forms and new meanings in new contexts.
Featuring diverse chapters written by thirty principal scholars in the discipline, Communication Is...Perspectives on Theory is an innovative and evocative collection that examines what communication theory is and how it functions. Throughout the text, each scholar offers unique and insightful perspective, exposing readers to the myriad ways in which to analyze, understand, and think about communication. The book helps readers envision communication in alternative ways and better understand how various ideas and viewpoints within the discipline can work together to expand the overarching definition of communication. Nineteen different completions of "communication is" give voice to contemplative and exceptional constructions of what communication is and what it accomplishes. The chapters are organized around four broad methods of defining communication: locating, processing, appreciating, and actualizing. Holistically, the text invites readers to discuss, interrogate, and work through various ideas, interpretations, and definitions of communication. Designed to stimulate lively discussion, deep introspection, and critical thought, Communication Is... serves as an ideal textbook for senior and graduate-level courses in the discipline. It is also an excellent resource for communication scholars who are inspired to challenge, develop, or revisit their own definitions and understanding of communication.
It is only since global media and digital communications became accessible to ordinary populations – with Telstar, jumbo jets, the pc and mobile devices – that humans have been able to experience their own world as planetary in extent. What does it mean to be one species on one planet, rather than a patchwork of scattered, combative and mutually untranslatable cultures? One of the most original and prescient thinkers to tackle cultural globalisation was Juri Lotman (1922-93). On the Digital Semiosphere shows how his general model of the semiosphere provides a unique and compelling key to the dynamics and functions of today's globalised digital media systems and, in turn, their interactions and impact on planetary systems. Developing their own reworked and updated model of Lotman's evolutionary and dynamic approach to the semiosphere or cultural universe, the authors offer a unique account of the world-scale mechanisms that shape media, meanings, creativity and change – both productive and destructive. In so doing, they re-examine the relations among the contributing sciences and disciplines that have emerged to explain these phenomena, seeking to close the gap between biosciences and humanities in an integrated 'cultural science' approach.