Journal articles: 'Presse – Audience'

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Malcorps, Sylvain. "L’entreprise de presse et son audience en ligne." Réseaux 205, no. 5 (2017): 145. http://dx.doi.org/10.3917/res.205.0145.

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Dupont, Françoise. "Les lecteurs de la presse : une audience difficile à mesurer." Le Temps des médias 3, no. 2 (2004): 142. http://dx.doi.org/10.3917/tdm.003.0142.

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Bentounsi, Ikram Aya, and Mohamed Ramzi Hechiche. "The North African print media: from reported discourse to subjective discourse." XLinguae 15, no. 4 (October 2022): 91–103. http://dx.doi.org/10.18355/xl.2022.15.04.09.

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Recourse to the discourse of the other is inevitable in the written press. Our objective in this article is to study the subjective use of the reported speech and examine how it is employed by the journalist to better address the targeted audience. In essence, it seeks to detect the traces of the enunciator and to deduce whether he commits himself to the message(s) he tends to convey vis-à-vis the words he reports. That said, we will try to investigate the idea that he reports in his speech, explaining the different discursive strategies that allow him to intervene in the words of others while making attempts to maintain his sense of objectivity. We will, also, try to examine the effects of meaning and the narrative scope of the reported speech in order to see if there is any trace of subjectivity that displays the presence of the journalist or any other author.

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Amiel, Pauline. "Vers une polyphonie énonciative de proximité ? Pages Facebook de communautés, crowdfunding et presse locale en ligne." Sur le journalisme, About journalism, Sobre jornalismo 7, no. 2 (December 16, 2018): 80–91. http://dx.doi.org/10.25200/slj.v7.n2.2018.360.

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FR. Les journalistes de presse locale, ayant perdu en ligne le monopole de l’information territorialisée, font le constat de la diminution de leur lectorat. Face à un sentiment d’éloignement et de méconnaissance de leur audience en ligne, ils tentent de reconstruire une forme de proximité. Alors qu’ils favorisaient auparavant le ré- seau social Twitter, ils s’intéressent désormais à Facebook pour se rapprocher de leurs lecteurs et créer des interactions. À La Dépêche du Midi, à Nice-Matin, au Journal du Centre, au Parisien et à Mars-Actu, les journalistes interrogés ne cessent de se questionner sur le rôle du lecteur dans la fabrique de l’information locale en ligne. À travers la constitution de pages Facebook territorialisées, les journalistes de presse locale adaptent leurs pratiques afin d’adopter les genres et langages de leur audience et créer de nouvelles communautés. Par ailleurs, l’émergence et le succès d’autres pages Facebook territorialisées de type « Tu sais que tu viens de... Quand... », créées par des internautes et en interaction avec les journalistes, engagent une nouvelle façon de s’inscrire dans le local. En parallèle, les opérations de crowdfunding menées par deux des entreprises de presse étudiées positionnent encore différemment ce lectorat pour construire une polyphonie énonciative de la proximité. *** EN. Local journalists, who have lost the local news monopoly online, witness the decline of their readership. Because of a feeling of estrangement and remoteness of their audience online, they try to build new forms of proximity. Today, and instead of Twitter, they prefer to publish on Facebook and try to create territorial communities to encourage interactivity. Journalists of La Dépêche du Midi, Nice-Matin, the Journal du Centre, Le Parisien and the digital native Mars-Actu question the way they work and the reader’s position. By creating territorialized Facebook pages, they adapt their practices to adopt the language of their readership to recreate a sense of community. Furthermore, the success of territorialized Facebook pages “You know you come from... When...”, created by individual users who interact with journalists, promote new ways to adhere into territory. At the same time, crowdfunding operations led by two of the studied press companies propose new roles for the reader. Finally, those three motions are building a new enunciative polyphony of closeness and the locality. *** PT. Os jornalistas da imprensa local, após terem perdido para o on-line o mono- pólio da informação sobre o seu território, têm constatado a redução do seu público leitor. Por conta desse sentimento de desconhecimento e de afastamento da audiência on-line, eles têm buscado reconstruir uma forma de proximidade com o público. Se no início, eles favorecerem o uso da rede social Twitter, em seguida eles passaram a se interessar pelo Facebook como forma de se aproximarem dos seus leitores e estabelecerem interações. Nos jornais franceses La Dépêche du Midi, Nice-Matin, Journal du Centre, Parisien e Mars-Actu, os jornalistas pesquisados se questionam incessantemente sobre o papel do leitor na produção da notícia on-line local. Por meio da construção de páginas territorializadas no Facebook, esses jornalistas da imprensa local adaptam suas práticas buscando adotar os gêneros e linguagens de sua audiência, além de criar novas comunidades. Além disso, a emergência e o sucesso de outras páginas no Facebook como a «Você sabe que você vem de... Quando...», criadas por internautas e onde eles interagem com os jornalistas, resultaram em uma nova forma de inserção no contexto local. Em paralelo, as operações de crowdfunding conduzidas por duas organizações de mídia analisadas neste estudo ainda posicionam de forma distinta o seu público leitor, construindo uma polifonia enunciativa sobre a proximidade.

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Mrozowicki, Michał Piotr. "Tannhäuser réhabilité (VI) – « La Quatrième » devant la presse parisienne – le snobisme et l’enthousiasme." Cahiers ERTA, no. 28 (December 30, 2021): 196–220. http://dx.doi.org/10.4467/23538953ce.21.041.15191.

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« La quatrième »’s image in the parisian press – the snobbery and the enthusiasm The greatest star of the Parisian Tannhäuser’s performances in 1895 was Ernest Van Dyck in the title role. According to the Parisian press this production of Wagner’s work owed its success mainly to this Belgian tenor. However after his departure from Paris, and after some other changes of the cast that took place rather rapidly (still in the summer 1895), the performances’ artistic level hasn’t decreased in a significant way, and the work, played continuously until December 15th, 1913, was always highly appreciated by the French audience. Were the enthusiastic reactions of the Parisian public at the turn of the XIXth and XXth centuries to Wagner’s Tannhäuser and his other operas and musical dramas sincere and spontaneous? What was the part of the snobbery in Wagner’s reception in France during La Belle Époque? That was the question asked by some French journalists (Heugel, Maret, Doumic, Coppée and others). The author of the article recalls Georges Rodenbach’s Solomonic answer to this question presented in his text Tannhäuser et le snobisme.

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Mrozowicki, Michał Piotr. "Tannhäuser réhabilité (IV) – « La quatrième » devant la presse parisienne – les décors et la mise en scene." Cahiers ERTA, no. 26 (2021): 111–26. http://dx.doi.org/10.4467/23538953ce.21.029.14001.

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Tannhäuser rehabilitted (IV) – « La quatrième »’s image in the parisian press – the decor and the staging The article is devoted to the presentation of various aspects of the Tannhäuser’s fourth performance on the Parisian stage on May 13th, 1895, conducted by Paul Taffanel and directed by Alexander Lapissida. The author, following the reviews that appeared in many Parisian journals after this performance, describes the most characteristic elements of the scenery made by Dauphin Amable Petit, known as Amable (the first tableau of the first act), Marcel Jambon (the second tableau of the first act and the third act) and Eugène Carpezat (the second act). All the reviewers underlined the enthusiastic reactions of the audience that were not only provoked by the brilliant interpretation of the Wagner’s opera by the artists in 1895 but first off all by its intention to efface the compromising recollections of the Parisian Tannhäuser’s premiere in 1861.

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Attencourt, Boris. "L’emprise des médias sur le champ intellectuel." Politiques de communication N° 20-21, no. 1 (March 6, 2024): 259–97. http://dx.doi.org/10.3917/pdc.020.0259.

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Cet article analyse l’emprise des médias de grande diffusion sur la circulation des idées à travers le rôle de groupes sociaux et d’institutions « intermédiaires » au sens où ils assurent le passage entre des régions distinctes de l’espace social. À cette fin, nous mobilisons une enquête sur les nouveaux circuits de visibilité des idées qui se sont développés au sortir des années 1970 en associant légitimité savante et audience élargie : presse de qualité, émissions de radio et de télévision, revues intellectuelles à grand tirage, laboratoires d’idées, établissements culturels, agences de conférenciers, maisons d’édition, etc. L’exploration de ce champ nouveau montre que le circuit des conférences savantes pour le grand public y occupe la position d’un espace intermédiaire qui favorise l’accès des intellectuels aux médias et redouble leurs chances d’y faire carrière. Avec l’essor de l’idéologie du décloisonnement culturel à la fin des années 1960, le circuit des conférences a pu bénéficier de la politique d’extension du domaine culturel mise en place au début des années 1980, de l’autolégitimation offerte par une production équivoque en termes de dispositif et de contenus et, enfin, de biens propices au marketing culturel (événementiel et produits dérivés). Par ailleurs, les professionnels engagés dans l’organisation des conférences ont su mobiliser les ressources du décloisonnement culturel pour placer le monde intellectuel dans l’orbite des classements médiatiques et accroître ainsi leur pouvoir d’intermédiaires.

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Hopkins-Loféron, Fleur. "Adèle en Égypte ou l’adaptation-trahison Les Aventures extraordinaires d’Adèle Blanc-Sec (2010) de Luc Besson." Transcr(é)ation 2, no. 1 (March 14, 2023): 1–25. http://dx.doi.org/10.5206/tc.v2i1.16314.

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En 2010, le réalisateur Luc Besson adapte au cinéma la saga Les Aventures extraordinaires d’Adèle Blanc-Sec (1976-2022) de Jacques Tardi, composée à cette date de 9 albums. L’œuvre du bédéaste, considérée par beaucoup comme féministe, antimilitariste et anarchiste, est métamorphosée à plus d’un titre. D’abord, le film rompt la continuité entre les albums en adaptant dans le désordre les premier (Adèle et la Bête, 1976) et quatrième (Momies en Folie, 1978) tomes de la série, dont il retranche ou invente certains personnages et intrigues. À présent, Adèle n’est plus le personnage glacial que l’on connaît, distribuant coups de poings et phrases assassines, mais une élégante espiègle. Encore, Besson la transforme en aventurière potache, égale d’Indiana Jones, imaginant qu’elle accomplit un voyage jusqu’en Égypte, contrée exotique absente de l’œuvre de Tardi. Pour toutes ces raisons, le film de Besson apparaît comme une déclinaison grand public, destinée aussi bien à une audience familiale, friande de films d’aventures, qu’internationale, grâce à la mise en scène d’un Paris touristique. À côté de ces nombreuses prises de liberté avec l’œuvre-source, que Tardi qualifie d’« adaptation-trahison », le film donne à voir un hommage appuyé aux ressorts narratifs qui caractérisent l’œuvre de Tardi. En se proposant comme une transfiction, voire une métafiction, plutôt qu’une simple adaptation, le film Les Aventures extraordinaires d’Adèle Blanc-Sec intègre l’univers total de Tardi. Il se propose comme une mise en récit supplémentaire des aventures d’Adèle, déjà visibles dans les bandes dessinées, sous la forme d’entrefilets de presse ou d’adaptations en romans-feuilletons.

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Mithun, Marianne. "Grammars and the community." Perspectives on Grammar Writing 30, no. 2 (March 31, 2006): 281–306. http://dx.doi.org/10.1075/sl.30.2.06mit.

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The audience for a grammatical description is an important consideration for anyone involved in descriptive linguistics. Potential grammar users include linguists, the interested public, and members of the communities in which the language is spoken. An awareness of the target audiences is necessary in shaping the grammar to meet varying needs. It might, for example, affect the choice of topics to be discussed, the organization and style of the presentation, the depth of detail to include, the use of technical terminology, and the nature of exemplification. It is not yet clear whether one grammar can serve all potential audiences and purposes. Whether it can or not, however, there is a good chance that any grammar will eventually be pressed into service for more than one. This paper offers some suggestions based on the author's experience with Mohawk communities situated in Quebec, Ontario, and New York State.

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Kuznetsov, Egor S. "The evolution of clickbait: from a yellow press tool to the key Internet media technology." Verhnevolzhski Philological Bulletin 2, no. 25 (2021): 48–54. http://dx.doi.org/10.20323/2499-9679-2021-2-25-48-54.

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The article examines the technology of click-bait headlines, which have become one of the main tools to attract the attention of the media audience, but the public opinion continues to regard them as an unacceptable tabloid technique. Most of the definitions of clickbait contain negative connotations and are not exactly what modern clickbait is. It has evolved significantly: it has become less formulaic, primitive and annoying to the audience, but it has retained its unique advantage of attracting clicks. It is a necessary technology for the media in today's unprecedentedly competitive information market. Throughout the history of the media there has been a competition for audiences and for the best way to attract attention: for example, in the 19th century, the press used the means of sensation, in the 20th century – expressive means on television. But never before has the manner of presenting material played such an important role as it does now. This can be explained by the transition of all traditional media to one competitive platform – the Internet. They all have to compete for audience's time with online media that only exist in e-format, as well as with professional bloggers and ordinary users who also produce content. Creative and appropriate clickbait is designed to help draw the consumer's attention to the information product. This is an effective method in a situation where the competition for consumers' time has reached an unprecedented level. The chances to get a large audience with a headline that does not stand out among others and does not arouse emotion are small. Thus, clickbait has become an integral part of the functioning of most media market participants.

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GOERG, ODILE. "VISIBILIDADE E INVISIBILIDADE DOS CINEMAS NA áFRICA COLONIAL: revivendo as primeiras cenas." Outros Tempos: Pesquisa em Foco - História 13, no. 22 (December 28, 2016): 89–102. http://dx.doi.org/10.18817/ot.v13i22.548.

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O cinema tem o seu apogeu nos anos 1950-1970, mas o que nós sabemos sobre as modalidades de sua difusão a partir do inácio do século XX? Este artigo discute o sucesso precoce do cinema, vindo na bagagem de conquista colonial, por meio dos vestágios deixados pelos relatos de viajantes, pela imprensa ou pelas memórias de espectadores. Empresários, africanos ou europeus, desempenharam um importante papel de intermediários da modernidade para garantir o fluxo de imagens em movimento. Eles são fotógrafos, engenheiros, comerciantes. Inicialmente, eventos efêmeros que ocorrem no interior de concessões ou hotéis, as sessões do cinema se fixam pouco a pouco. Enquanto o cinema ambulante anima, esporadicamente, as praças da aldeia, os cinemas são construádos nas grandes cidades. São eles que atraem a atenção dos administradores. O modelo dominante do entreguerras permanece, todavia, aquele dos espaços fechados, a céu aberto, protegidos por um toldo ao fundo. A diferenciação dos lugares corresponde aquela dos públicos: aos mais pobres, majoritariamente africanos, são destinados os lugares da frente. O ambiente das sessões e a experiência dos espectadores variam fortemente segundo o espaço frequentado. As sessões a céu aberto, onde são projetados, sobretudo, filmes de westerns e os filmes de ação, contrastam com aquelas do centro da cidade em que a atmosfera é mais ”civilizada”.Palavras-chave: Cinema. Colonialismo. áfrica. VISIBILITY AND INVISIBILITY OF CINEMAS IN COLONIAL AFRICA: reviving the first scenesAbstract: The cinema had its peak during the 1950s-1970s, but what do we know about the modalities of its diffusion from the beginning of the twentieth century? This paper analyses the success of cinema, a pastime which followed European colonization, through various sources: travellers”™ accounts, newspapers, memoirs and recollections of audience members. Entrepreneurs, African or European, played a powerful role as conveyors of modernity by circulating moving images. They were photographers, engineers and merchants. At first, movie shows were sporadic events, taking place in compound yards or hotels; they gradually found permanent locations. While mobile shows sometimes animated village squares, cinemas were built in the main cities. The colonial administration focused its attention on them. But the main model between the two World Wars remained the open-air cinema, protected only at the rear by an awning. This differentiation of spaces was accompanied for the same process for the spectators. The poorest, mainly Africans, were located at the front. Therefore, atmosphere and audience experiences differed greatly. The Audience behavior at open-air shows, where Westerns and action movies dominated, contrasted with more polite behavior in downtown theaters.Keywords: Cinema. Colonialism. Africa. Visibilidad e invisibilidad de LOS cineS en áfrica colonial: reviviendo las primeras escenasRésumé: Le cinéma connait son apogée dans les années 1950-1970 mais que savons-nous des modalités de sa diffusion á partir du début du XXá¨me siá¨cle ? Cet article évoque le succá¨s précoce du cinéma, arrivé dans les bagages de la conquête coloniale, á travers les traces laissées par les récits de voyageurs, la presse ou des souvenirs de spectateurs. Des entrepreneurs, africains ou européens, jouá¨rent un formidable rôle de passeurs de modernité pour assurer la circulation des images animées. Ils sont photographes, ingénieurs, commerçants. D”™abord évá¨nements éphémá¨res, se déroulant dans les cours des concessions ou les hôtels, les séances du cinématographe se fixent peu á peu. Tandis que le cinéma ambulant anime, sporadiquement, les places de village, des cinémas sont construits dans les grandes villes. Ce sont eux qui attirent le regard des administrateurs. Le modá¨le dominant de l”™entre-deux-guerres reste toutefois celui de vastes enclos, á ciel ouvert, protégés par un auvent á l”™arriá¨re. A la différentiation des lieux répond celle des publics : aux plus pauvres, majoritairement africains, sont assignées les places á l”™avant. L”™ambiance des séances et l”™expérience des spectateurs varient donc fortement selon l”™espace fréquenté. Les séances en plein air, oá¹ sont projetés surtout des westerns et des films d”™action, contrastent avec celles du centre-ville á l”™atmosphá¨re plus policée.Mots-clés: Cinéma. Colonialisme. Afrique.

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Baranova, Ekaterina Andreevna, and Galina Germanovna Novoselova. "Transition Features of the Russian Regional Press to Digital Technology." Litera, no. 1 (January 2024): 166–81. http://dx.doi.org/10.25136/2409-8698.2024.1.69280.

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The regional press plays an important role in the formation of the urban media space. The article examines the adaptation features of the Russian regional press to the changing the digital environment conditions. Despite the slight increase in circulation and audience of print media, the Russian regional press continues to experience a number of difficulties associated with a lack of funding, influence from government agencies, the implementation of government tasks, an aging audience, and publication of news in printed editions with a long delay. Publications are trying to adapt to changing conditions, looking for new ways not only to earn money, but also to attract an audience. Some sites are either a copy of the printed edition or are updated quite rarely. Nevertheless, digitalization does not mean the death of the Russian regional press. The study was based on interviews conducted by the authors in 2021-2023 with the heads of Russian regional newspapers. The authors also conducted a content analysis of materials posted on newspaper websites. The article is the first to examine successful cases of regional press. To attract the widest possible number of subscribers and, in general, active consumers of information products, the content of regional media must be exclusive, prompt, reliable, dialogic (providing different points of view), and multimedia. Unfortunately, Internet resources of Russian regional print media do not always meet these criteria. Digitalization does not mean death for traditional media; it is rather a new opportunity to conquer new “territories”, attract audiences, and implement new tasks. However, the development of local publications is hampered by the policies of government agencies that put pressure on editorial offices. Officials do not understand the specifics of journalistic work. Only a few regional publications manage to cope with existing problems, find sources of funding and attract new audiences.

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Getz, Christine. "Simon Boyleau and the Church of the ‘Madonna of Miracles’: Educating and Cultivating the Aristocratic Audience in Post-Tridentine Milan." Journal of the Royal Musical Association 126, no. 2 (2001): 145–68. http://dx.doi.org/10.1093/jrma/126.2.145.

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The cappella musicale at Santa Maria presso San Celso in Milan, also known as the church of the ‘Madonna of Miracles’, was originally charged with the performance of individual plainchant Masses on specified feasts, Vespers as a choir daily in the summer and on those specified feasts, and Compline as a choir during Lent. In 1535, however, its duties were expanded to include a High Mass and a Vespers service on the first Sunday of each month. With Carlo Borromeo's ascension to the seat of archbishop of Milan in 1560, the cappella's Vespers service became central to public worship, and attracted foreign visitors as well as the Milanese aristocracy. As a result, public worship services featuring the cappella were expanded to include a Compline service on Saturday evenings. Simon Boyleau, the first documented maestro di cappella at Santa Maria presso San Celso, was a madrigalist familiar to the Milanese aristocracy. His compositions for Santa Maria presso San Celso reflect not only Borromeo's attempts to shape the Milanese liturgical style according to Tridentine aims, but also Borromeo's desire to spiritualize and theologically educate the Milanese aristocracy. Boyleau's tenure at Santa Maria presso San Celso, which featured the cultivation of sacred and secular audiences alike, defined the activities of the church's composers for the next 50 years.

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Moore, Martin, and Colm Murphy. "Press officers find a new audience." British Journalism Review 34, no. 2 (June 2023): 41–45. http://dx.doi.org/10.1177/09564748231179355.

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Crantor, Jean-Marc, Françoise Laugée, and Jean-Pierre Bacot. "Les audiences de la presse écrite." Réseaux 9, no. 48 (1991): 97–102. http://dx.doi.org/10.3406/reso.1991.1856.

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Bennett, W. Lance. "Television, Power, and the Public in Russia. By Ellen Mickiewicz. New York: Cambridge University Press, 2008. 220p. $81.00 cloth, $29.99 paper." Perspectives on Politics 7, no. 4 (December 2009): 931–33. http://dx.doi.org/10.1017/s1537592709991708.

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This book opens and closes with the puzzle of how Russian rulers can control, distort, and bend the news to their own ends without worrying about how the audience receives it. On its first page, Ellen Mickiewicz asks: “[W]ouldn't these political leaders want anxiously to know what viewers make of the news?” And on its last page (p. 206) we are told that “political leaders and broadcasters persist in imagining an undifferentiated, unsophisticated mass on the other side of the screen.” While there is no direct evidence in the rest of the book to indicate that leaders do not know what to make of their audience, or that they assume it to be an undifferentiated, unsophisticated mass, these assumptions set up an interesting look at what audiences actually make of television news in Russia.

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Ibragimova, Karina R. "The Voice of the March Hare. A Review. (Stayer, Jayme. Becoming T.S. Eliot: The Rhetoric of Voice and Audience in “Inventions of the March Hare”. Baltimore: Johns Hopkins University Press, 2021. 343 p.)." Literature of the Americas, no. 13 (2022): 400–408. http://dx.doi.org/10.22455/2541-7894-2022-13-400-408.

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The review focuses on the book Becoming T.S. Eliot: The Rhetoric of Voice and Audience in “Inventions of the March Hare”, 2021, written by Jayme Stayer, the American researcher of modernist poetry and T.S. Eliot’s work. Stayer uses rhetorical approach for studying poems from Eliot's notebook, refers to the concepts of ethos, logos and pathos, and analyzes the forms of existence of Eliot's lyrical voice, the development of his own poetic language, his interaction with real and imaginary audiences. The review briefly outlines the milestones of Eliot’s way as a poet from 1899 to 1915. Special attention is paid to the poem “The Love Song of J. Alfred Prufrock”. The author of the review examines the composition of the publication, consisting of eight chapters, notes the main theses of Stayer’s book.

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Guiot, Denis. "Comment la presse magazine peut-elle cibler les 15-24 ans qui se perçoivent plus jeunes ou plus âgés ?" Décisions Marketing N° 45, no. 1 (January 1, 2007): 21–33. http://dx.doi.org/10.3917/dm.045.0021.

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Jusqu’à présent, l’âge subjectif demeure un critère peu utilisé pour segmenter les marchés en raison de la difficulté apparente à atteindre des cibles définies par ce critère . Cet article montre que l’âge subjectif a une vocation opérationnelle par sa capacité à caractériser les audiences des supports de presse magazine destinés aux jeunes filles de 15 à 24 ans .

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Atkin, Tamara. "Shakespeare’s Reading Audiences: Early Modern Books and Audience Interpretation. By Cyndia Susan Clegg. Cambridge: Cambridge University Press, 2017. Pp. vi + 222." Shakespeare Quarterly 70, no. 2 (2019): 166–68. http://dx.doi.org/10.1093/sq/quz012.

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Kaethler, Mark. "Shakespeare’s Reading Audiences: Early Modern Books and Audience Interpretation. Cyndia Susan Clegg. Cambridge: Cambridge University Press, 2017. vi + 222 pp. $99.99." Renaissance Quarterly 71, no. 4 (2018): 1602–3. http://dx.doi.org/10.1086/702151.

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Chari, Sharad, and Katherine Verdery. "Thinking between the Posts: Postcolonialism, Postsocialism, and Ethnography after the Cold War." Comparative Studies in Society and History 51, no. 1 (December 16, 2008): 6–34. http://dx.doi.org/10.1017/s0010417509000024.

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Lenin spoke at the Second Congress of 1920 to multiple audiences. In continuity with the First International, he spoke in the utopian language of Bolshevism, of the successful revolutionary proletariat that had taken the state and was making its place in history without the intercession of bourgeois class rule. Recognizing the limits of socialism in one country surrounded by the military and economic might of “World imperialism,” however, Lenin also pressed for a broader, ongoing world-historic anti-imperialism in alliance with the oppressed of the East, who, it seemed, were neither sufficiently proletarianized, nor, as yet, subjects of history. There are many ways to situate this particular moment in Lenin's thought. One can see the budding conceits of Marxist social history, or “history from below,” in which millions in the East could become historical subjects under the sign of “anti-imperialism.” One can also see this gesture to those outside the pale as a flourish of the emergent Soviet empire, and as a projection of anxieties about Bolshevik control over a vast and varied Russian countryside with its own internal enemies. But Lenin also spoke to audiences who would make up the next, Third International, like the Indian Marxist M. N. Roy, who saw imperialism dividing the world into oppressed and oppressor nations. For this Third Worldist audience, looking increasingly to the new Soviet Union for material and military support for “national self-determination,” Lenin extends the historic mission of a future world socialism.

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Dikizeko, Élisabeth. "Lumumba et le Congo dans les journaux ghanéens, 1958-1961." Revue d'histoire contemporaine de l'Afrique, no. 5 (December 15, 2023): 55–75. http://dx.doi.org/10.51185/journals/rhca.2023.0504.

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Cet article met la lumière sur les femmes (journalistes, militantes, poétesse) dans la presse ghanéenne qui se sont intéressées au Congo et à Patrice Lumumba, participant ainsi à la panafricanisation du débat sur la décolonisation du Congo. Ces actrices, insuffisamment reconnues, ont pourtant marqué l’histoire des médias des années 1950-1960, dévoilant les connexions intellectuelles et les solidarités interafricaines qui ont jalonné l’histoire des indépendances. Accra fut un lieu important de l’indignation généralisée après l'assassinat de Maurice M’Polo, Joseph Okito et Patrice Lumumba, le 17 janvier 1961, impactant l’imaginaire politique, populaire et culturel ghanéen. L’analyse de la relation ghanéo-congolaise, par les articles de presse, montre les ambitions du gouvernement de Kwame Nkrumah et de ces intermédiaires médiatiques de fabriquer les opinions, d’éduquer ou de panafricaniser les audiences afin de les sensibiliser à la crise qui se jouait dans la jeune République du Congo.

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Ozieblo, Barbara. "Composing Ourselves: The Little Theatre Movement and the American Audience. By Dorothy Chansky. Carbondale: Southern Illinois University Press, 2004; pp. 256; 15 illus. $55 cloth; Summer Stock! An American Phenomenon. By Martha Schmoyer LoMonaco. New York: Palgrave Macmillan. 2004; pp. 320; 25 illus. $27.95 cloth." Theatre Survey 46, no. 2 (October 25, 2005): 343–46. http://dx.doi.org/10.1017/s0040557405370207.

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The theatre has long been recognized as a site from which national and social values can be promoted, and this was particularly the case with the Little Theatre and summer stock phenomena. Even when performing non-American plays, these movements addressed the education of the audience, as Dorothy Chansky and Martha Schmoyer LoMonaco make apparent in two rigorously researched studies. Both have chosen to focus on the audience as an integral component of the theatrical event and, eschewing postmodern theories of the spectator's gaze, they bring a sociohistorical perspective to their findings, which are based on in-depth research of theatre documents, memoirs, and reviews. Chansky examines how the Little Theatres constructed and educated their audiences, whereas LoMonaco, in tracing the history of a number of summer-stock theatres, uncovers the hold that the audience has on artistic and financial policies. The two books cover areas and aspects of theatre history not frequently studied; they examine the complex artistic and economic issues involved in founding and running a theatre, while also certifying that American theatre has never been contained by a few streets in the vicinity of Times Square.

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Al-Emadi, Talal, Hassan Rashid Al-Derham, and Abdelwahab El Afandi. "QU Press Dialogue with 2021 Literature Nobel Laureate Prof. Abdulrazak Gurnah." Research in African Literatures 54, no. 1 (March 2023): 179–91. http://dx.doi.org/10.2979/ral.2023.a915646.

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ABSTRACT: Nobel laureate Prof. Abdulrazak Gourna was invited by Qatar University Press and warmly welcomed by the audience of the Doha International Book Fair. The long interview focused on the relationship between the author and publisher and responsibilities of the author to represent the concerns of his local culture on a world stage. Here, the significance of translation was apparent as well as direct communication between author and audiences worldwide. His African, Arabic, and Islamic roots contributed to the rich heritage of Prof. Gurnah, whose novels unravel this complexity of identities. The dialogue was enriched by a discussion on how the author as a novelist and academic dealt with postcolonialism and the evil of colonialism. More importantly, how in his original home Zanzibar, different societies, the coastal cultures, the Arab traders, the Indian traders, the Swahili traders, and the people in the interior, negotiated their coexistence peacefully, which ended with the arrival of European colonialism. This led to fragmentation of African societies and in many ways was responsible for the oppression and dictatorship that ravaged the contents.

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Seeger, Christof, Thomas Horky, Jörg-Uwe Nieland, and Peter English. "Social Media Publishing Strategies of German Newspapers: Content Analysis of Sports Reporting on Social Networks by German Newspapers—Results of the 2021 Social Media International Sports Press Survey." Journalism and Media 4, no. 2 (May 16, 2023): 599–611. http://dx.doi.org/10.3390/journalmedia4020038.

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Newspaper sports departments in Germany are reacting to changes in social media by expanding their offerings and employing a variety of publishing and engagement strategies. In this constantly evolving media environment, it is important to understand how newsrooms utilize social media to inform their audiences. This study examines the approaches German newspapers apply to publishing sports content on social media, and outlines how users interact with these posts. In analyzing these aspects, this paper applies theoretical elements of agenda setting and audience engagement, gender in media, and quality and diversity of published content. Social media posts were examined across eight German publications, totaling 3633 posts from Twitter and Facebook. Results in the study, which is part of the global 2021 Social Media International Sports Press Survey, highlighted how most of the content published by German newspapers on social media aimed to redirect users to the publications’ websites. The findings also reflect how social media is used less as an editorial space and more as part of a campaign to increase the audience. These results demonstrate challenges for the quality of sports coverage distributed via social networks in Germany.

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Empey, Mark. "Select documents: Sir James Ware's bibliographic lists." Irish Historical Studies 39, no. 153 (May 2014): 112–25. http://dx.doi.org/10.1017/s0021121400003655.

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At first glance the low yield of books produced by the Dublin printing presses for circulation in early Stuart Ireland could lead to two hasty conclusions: first, that Irish society was unreceptive towards reading; and second, that the printing presses had to contend with a very small (literate) target audience. Yet nothing could be further from the truth. In recent years Raymond Gillespie has done much to dispel these suppositions. His appraisal of English port books, printing press accounts from the continent and library borrowing lists plainly demonstrates the appetite of an interested reading public in Ireland. The value of analysing book loaning lists was further underlined by William O'Sullivan when he partially revealed the borrowing records belonging to the historian and antiquarian, Sir James Ware. In so doing, he drew attention to the potential of a deeper exploration of Irish cultural and intellectual life.

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Philipsen, Lotte. "Who’s Afraid of the Audience? Digital and Post-Digital Perspectives on Aesthetics." A Peer-Reviewed Journal About 3, no. 1 (June 1, 2014): 120–30. http://dx.doi.org/10.7146/aprja.v3i1.116092.

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This article analyses how works of art that make use of or refer to digital technology can be approached, analysed, and understood aesthetically from two different perspectives. One perspective, which I shall term a ‘digital’ perspective, mainly focuses on poetics (or production) and technology when approach- ing the works, whereas the other, which I shall term a ‘post-digital’ perspective, focuses on aesthetic experience (or reception) when approaching the works. What I tentatively and for the purpose of practical analysis term the ‘digital’ and the ‘post-digital’ perspectives do not designate two different sets of concrete works of art or artistic practice and neither do they describe different periods.[1] Instead, the two perspectives co-exit as different discursive positions that are concretely ex- pressed in the way we talk about aesthetics in relation to art that makes use of and/or refers to digital technology. In short: When I choose here to talk about a digital and a post-digital perspective, I talk about two fundamentally different ways of ascribing aes- thetic meaning to (the same) concrete works of art. By drawing on the ideas of especially Immanuel Kant and Dominic McIver Lopes, it is the overall purposes of this article to ana- lyse and compare how the two perspectives understand the concept of aesthetics and to discuss some of the implications following from these understandings. As it turns out, one of the most significant implications is the role of the audience.

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Varenyk, Valentyna M., and Olga V. Trishchuk. "Audience loyalty as the main prerequisite for trade press thriving." Linguistics and Culture Review 5, S4 (October 23, 2021): 128–38. http://dx.doi.org/10.21744/lingcure.v5ns4.1572.

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Modern publishing businesses need a complex roadmap for developing print and digital directions, and lack of the strategy for media means overload with unnecessary current activities for employees, lack of attention to readers and advertisers and dissatisfaction with the financial achievements by head office. The proposed paper attempts to understand the usage patterns and preferences of audience for print trade magazine. The questionnaire is based on the theory of the functions of the trade press to make sure that the magazine performs the established functions for its audience. The data also helped establish the demographics of the magazine's audience. The findings of the study enable to throw light on the present media usage habits and to examine the trade media consumption behavior. The study showed that the audience of the trade media is very homogeneous and characterized by similar socio-economic characteristics. Even though the study gives insights into current trade press preferences of audience, the results may not be generalized as every audience has own territorial, gender and financial differences and diversified socio-economic background. The study can be further extended by taking a sample from different types of trade media.

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Mendelson, Eric F., Alexander Hurley, and Tegwyn Williams. "Trainees' attitudes to forensic psychiatry, the courts, and attending conferences." Psychiatric Bulletin 14, no. 2 (February 1990): 77–79. http://dx.doi.org/10.1192/pb.14.2.77.

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Having gone to the trouble of organising a day conference on ‘The Psychiatrist in Court’, primarily directed at trainees, we were disappointed to find that on the day the considerable audience was composed mostly of consultants. This seemed a pity, particularly as we knew that this was an area of concern to many young psychiatrists. Kindly colleagues assured us that it is always difficult to get juniors to attend conferences. Nonetheless we were curious to know why trainees seemed more reluctant to take time away from their normal duties than perhaps their ‘more pressed’ consultants.

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Guillen, Alberto, and Raquel Rodríguez-Diaz. "Frames y agendas durante el proceso soberanista catalán (2013-2015)." Sur le journalisme, About journalism, Sobre jornalismo 6, no. 2 (December 14, 2017): 140–57. http://dx.doi.org/10.25200/slj.v6.n2.2017.321.

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Les moyens de communication sociale et politique sont des acteurs déterminants dans les processus de construction de l’opinion des citoyens. Quand une thématique occupe une position importante, voire dominante, dans le débat parlementaire et que les médias la couvrent amplement, c’est parfois la presse elle-même qui alimente la permanence de ce sujet dans l’ordre du jour, parvenant même à offrir aux audiences une opinion articulée et encadrée. Bien que le processus d’indépendance catalane occupe clairement les débats dans les sphères politiques nationales, bénéficiant d’une large couverture médiatique, le sujet ne semble pas être considéré comme l’un des plus importants en contexte espagnol. En ce sens, il serait possible de considérer que les journalistes et les médias de différentes lignes éditoriales contribuent de façon permanente à positionner les actualités récentes de l’indépendantisme catalan dans la presse, reproduisant et amplifiant les décisions et les propositions des politiciens. Cette recherche analyse le traitement médiatique du processus souverainiste catalan dans la presse madrilène et barcelonaise afin d’observer la façon dont l’intensité et les modalités de traitement de ce sujet dans les médias influencent sa couverture et ses liens avec l’opinion publique espagnole et catalane. Pour ce faire, nous avons analysé les articles et les éditoriaux portant sur ce thème entre le 1er septembre 2013 et le 1er février 2015 dans les quotidiens El Mundo, El País et El Periódico de Catalunya. Par ailleurs, nous avons réalisé une analyse des sondages d’opi- nion du Centro de investigaciones sociológicas (CIS) et du Centre d’estudis d’opinió (CEO). Afin de mener l’étude des interactions entre le contenu médiatique et ses effets autant sur les citoyens que sur l’opinion publique, nous avons utilisé les théories du champ de la com- munication, comme le concept d’agenda-setting, et surtout, celui de framing.

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Yung, Bell. "A Humble Blind Singer's Autobiographical Song: Oral Creation Facing a Hong Kong Teahouse Audience." Ethnomusicology 67, no. 2 (July 1, 2023): 153–90. http://dx.doi.org/10.5406/21567417.67.2.04.

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Abstract In 1975, I arranged for the blind professional singer Dou Wun (1910–1979) to sing a traditional narrative genre called naamyam in an old Hong Kong teahouse, three times weekly for three and a half months, facing the teahouse diners. Of the forty-five hours he sang there, he sang an original song composed by himself on his own life for six hours, which he reluctantly did after I pressed him on the idea. It totaled about 1,800 lines of verse, interspersed with spoken prose. In this essay, I shall first report on my concept, construction, and implementation of the fieldwork. Second, I use selected passages from his song to outline his life story. Born to a poor peasant family and blind at three months of age, Dou Wun wandered alone on the streets of Canton from age nine, received training to sing naamyam from a master singer, and finally arrived in Hong Kong in 1926, where he sang in brothels and opium dens. He lived through the difficult periods of the Japanese occupation, changing tastes in entertainment, and the early days of mass media. When times changed and his songs were no longer in demand, he ended up singing on the street. In the last part of the article, I argue for the significance of this epic autobiographical song in world oral literature and assess Dou Wun's creativity and artistry.

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Willig, Ida. "Constructing the audience: a study of segmentation in the Danish press." Northern Lights: Film and Media Studies Yearbook 8, no. 1 (October 1, 2010): 93–114. http://dx.doi.org/10.1386/nl.8.93_1.

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Vidor, Gian Marco. "The Press, the Audience, and Emotions in Italian Courtrooms (1860s–1910s)." Journal of Social History 51, no. 2 (2017): 231–54. http://dx.doi.org/10.1093/jsh/shx018.

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Palmer, Glenn. "The Political Economy of NATO: Past, Present, and into the 21st Century. By Todd Sandler and Keith Hartley. Cambridge: Cambridge University Press, 1999. 240p. $29.95, cloth." American Political Science Review 95, no. 2 (June 2001): 521–22. http://dx.doi.org/10.1017/s0003055401832020.

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This book has an admirable goal: to present policy-relevant results of past academic research to "a wide audience of students, practitioners, policy makers and researchers who want a modern treatment of NATO" (p. xii). To direct fruitfully the results of scholarly work to less academic audiences is a difficult task, because many theoretical as- sumptions and methodological issues must be skimmed over and criticisms of the work summarized or ignored. Nonethe- less, the goal is a good one, and the authors are well positioned to accomplish their purpose, which they do to a large extent. For more than two decades Todd Sandler has been the primary proponent of the "joint product" model of alliances. This model is possibly the most prominent chal- lenge to (or modification of) the public-goods approach to the study of alliances that was pioneered by Mancur Olson and Richard Zeckhauser. Keith Hartley, director of the Centre for Defence Economics at the University of York, has written extensively on defense procurement, disarmament, and conversion.

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Macleod, Allison. "Embodying Counter-Public Space and Performing Queer Culture: The Inaugural Scottish Queer International Film Festival 2015." Screen Bodies 1, no. 2 (December 1, 2016): 92–98. http://dx.doi.org/10.3167/screen.2016.010207.

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As I enter the Centre for Contemporary Arts (CCA) in Glasgow for the opening night of the Scottish Queer International Film Festival (SQIFF), two giant pink poodles (actually festival volunteers dressed as characters from the festival’s opening film, Dyke Hard [Bitte Andersson, 2014]), greet me enthusiastically. They gesture me toward the CCA Theatre where a sold-out crowd has assembled for the festival’s opening screening of the Swedish lesbian fiction film Dyke Hard. The plastic chairs we sit on are closely packed together to maximize audience space, and yet even as I bang elbows with those on either side of me and feel my knees pressed up against the seat in front of me, the excited and jovial mood of the surrounding crowd overcomes immediate feelings of physical discomfort.

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Easley, Alexis. "Frederick Douglass, Copyright, and the British Press, 1845-47." Victorian Popular Fictions Journal 3, no. 2 (December 17, 2021): 45–62. http://dx.doi.org/10.46911/vrzz5968.

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In 1845, Frederick Douglass established his copyright to the Narrative of the Life in the United States in order to receive just remuneration for his work. Yet Douglass also relied on a lack of international copyright law to disseminate his abolitionist message to a transatlantic audience. While Douglass made use of both copyright-protected and free-circulating forms of publication to reach a broad audience, he could not always control how his work and image would be reprinted and adapted in the transatlantic press. During his 1845-7 lecture tour, British periodicals and newspapers creatively recontextualised, abridged, and plagiarised his Narrative in articles and reviews. These forms of reuse were conventional in the publishing world of the 1840s, yet when viewed from a modern perspective, they seem to echo the exploitative practices associated with the American slave system.

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Ward, Ian. "A genuinely free press?" Pacific Journalism Review : Te Koakoa 6, no. 1 (January 1, 2000): 112–20. http://dx.doi.org/10.24135/pjr.v6i1.679.

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Journalists need look again at the conventions and practices which conceal their reliance on information subsides from their audiences. A genuinely free and open press can only exist where readers can recognise where the hand of the government has helped in writing the news they read and watch.

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Ganje, Lucy A. "Living Pictures: Design and the Native Press." Newspaper Research Journal 19, no. 2 (March 1998): 31–46. http://dx.doi.org/10.1177/073953299801900203.

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Bagnoli, Carla. "Feeling Wronged: The Value and Deontic Power of Moral Distress." Ethical Theory and Moral Practice 25, no. 1 (November 24, 2021): 89–106. http://dx.doi.org/10.1007/s10677-021-10241-0.

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AbstractThis paper argues that moral distress is a distinctive category of reactive attitudes that are taken to be part and parcel of the social dynamics for recognition. While moral distress does not demonstrate evidence of wrongdoing, it does emotionally articulate a demand for normative attention that is addressed to others as moral providers. The argument for this characterization of the deontic power of moral distress builds upon two examples in which the cognitive value of the victim’s emotional experience is controversial: the case of micro-aggression, and the case of misplaced distress. In contrast to appraisal and perceptual models of distress, it is argued that its epistemic and normative value is dialogical rather than evidential, in that it presses claims that engage the audience in a normative discussion about the normative standing of the claimant, the proper grounds of the attitude, and the normative standards used to assess them.

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Stangos, Nikos. "Art book publishing: minority interest, popular entertainment, or kudos?" Art Libraries Journal 17, no. 3 (1992): 31–33. http://dx.doi.org/10.1017/s0307472200007938.

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Due to a number of factors, including lower educational standards and the pressures on publishers and booksellers to maximise profits by exploiting the mass market, the climate for publishing serious art books has become less favourable in recent years especially so far as commercial publishers are concerned. Art books are being published in greater numbers than ever before; many are of a popular and/or general nature; many too are produced specifically for the remainder market; yet these include some worthwhile books which are reaching a wide audience. The revolution in printing technology since the 1960s has facilitated large-scale mass production, but at the same time offers benefits to publishing of all kinds. While university presses are able to perform a crucial role in publishing scholarly works, there remains a need for commercial publishers to continue to publish quality art books which are accessible to the public.

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LAI, JOHN T. P. "Doctrinal Dispute within Interdenominational Missions: The Shanghai Tract Committee in the 1840s." Journal of the Royal Asiatic Society 20, no. 3 (June 4, 2010): 307–17. http://dx.doi.org/10.1017/s1356186310000052.

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AbstractBoth interdenominational co-operation and denominational competition featured in the Protestant missionary literary enterprise in nineteenth-century China. The interdenominational Religious Tract Society in London became the most vital link between the missionary translators, printing presses and target audiences in the production, publication and distribution of Christian tracts. Ideally, interdenominational missions would pool resources and promote cooperation among missionaries with different denominational affiliations. Doctrinal disputes, however, seem to have been inevitable among them in the everyday operation of missions. The first tract committee established in China, the Shanghai Tract Committee in the 1840s is a case in point. Unequal denominational representation resulted in heated doctrinal controversies and the resignation of a Committee member over the publication of a problematic tract in Chinese.

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Watt, Stephen. "Paige Reynolds, Modernism, Drama, and the Audience for Irish SpectacleModernism, Drama, and the Audience for Irish Spectacle. PaigeReynolds. Cambridge: Cambridge University Press, 2007. Pp. ix+257." Modern Philology 109, no. 1 (August 2011): E59—E63. http://dx.doi.org/10.1086/660868.

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Mazer, Cary M. "Shakespeare's Theater of Presence: Language, Spectacle, and the Audience. By Sidney Roman. Lewisburg: Bucknell University Press (Cranbury, NJ: Associated University Presses), 1986. Pp. 253. $32.50." Theatre Research International 14, no. 2 (1989): 194–95. http://dx.doi.org/10.1017/s0307883300006209.

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Peng, Wu. "Strategic maneuvering by personal attacks in spokespersons’ argumentative replies at diplomatic press conferences." Argumentative Discourse in Contemporary China 6, no. 3 (December 4, 2017): 285–314. http://dx.doi.org/10.1075/jaic.17022.wu.

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Abstract Within the framework of Pragma-Dialectics, this article analyzes personal attacks in the spokespersons’ replies at the press conferences held by the Chinese Ministry of Foreign Affairs between 2012 and 2015. The research results show that, to cut down the credibility of their opponents in attempting to dismiss them, spokespersons adopt three subtypes of personal attack: the direct, the indirect, and the You too subtypes. Each of them can be further divided into several variants. Taking account of the institutional preconditions for making argumentative replies at governmental press conferences, this article analyzes how spokespersons maneuver strategically in attacking a secondary audience by means of the various subtypes and variants of personal attack. It then explains how these strategic maneuvers assist the spokespersons in convincing their primary audience.

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Wolfenden, Helen, Howard Sercombe, and Adrian Renzo. "Banging tunes in the basement: Finding online community in COVID-19 lockdown." Radio Journal: International Studies in Broadcast & Audio Media 20, no. 1 (April 1, 2022): 65–84. http://dx.doi.org/10.1386/rjao_00056_1.

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The COVID-19 pandemic has led to unique restrictions on human sociability. In response, exceptional initiatives using a range of existing technologies and platforms have emerged to mitigate lockdown isolation. Basement Traxx, a kind of hybrid DJ set streamed from a Glasgow basement, was one of these initiatives. As the lockdown was extended, it became a virtual gathering space, with unexpectedly powerful impacts on its audience. This research seeks to define and describe this phenomenon. In this study, we find new permutations of engagement in space, in time and in presence. We find expressions of joy in the show’s particular sociability. In the isolation of lockdown, here is an experience in which participants felt affirmed, validated and re-constituted as subjects and actors. In their response, we find an enthusiastic push-back in favour of communal musical spaces and against a political economy of music that has pressed relentlessly towards isolation, individuation and commodification.

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Coletti, Theresa. "Elizabeth Robertson, Early English Devotional Prose and the Female Audience. University of Tennessee Press, 1990." Medieval Feminist Newsletter 12 (September 1991): 21–22. http://dx.doi.org/10.17077/1054-1004.1594.

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Barclay, Donald A. "The End of the Printed Scholarly Monograph: Collapsing Markets and New Models." International Higher Education, no. 85 (March 14, 2016): 5–7. http://dx.doi.org/10.6017/ihe.2016.85.9233.

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The printed scholarly monograph has been the bulwark of long-form scholarship for decades. Especially in the humanities and interpretive social sciences, the print-format scholarly monograph serves not only as the most highly regarded form of scholarly communication, but also as the ultimate measure of a scholar’s worth. However, the economic model supporting the publication of printed scholarly monographs is on the verge of collapse as financially hard-pressed academic libraries cannot afford to purchase printed volumes at anywhere near historical rates. While this could be seen as a disaster for long-form scholarship, a transition to open-access publication models will not only create larger audiences for book-length scholarly publications, it will also enhance long-form scholarship by accommodating the use of digital technologies that cannot be accommodated by the printed page.

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Linares, Laura. "Institutional desires, individual endeavours: Contemporary Galician narrative in English translation." International Journal of Iberian Studies 35, no. 3 (September 1, 2022): 313–22. http://dx.doi.org/10.1386/ijis_00084_7.

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Literary translation is an essential component of international exchanges and cultural diplomacy. For minority and minoritized languages, in particular, it is not only a window to other audiences but also a source of legitimacy among their own readerships. In this sense, governments and institutions often provide funding for translations to counter the difficulties that smaller literatures have to access the competitive global market and avail of its opportunities. This article explores the current state of the internationalization of contemporary Galician narrative to the anglophone world at a moment in which the latter is experiencing a period of increasing openness to translation driven mostly by independent presses. Why is it that, despite the institutional supports in place, most Galician narrative is struggling to find readerships in the English-speaking world?

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Sadoff, Dianne F. "Claire Monk . Heritage Film Audiences: Period Films and Contemporary Audiences in the UK . Edinburgh: Edinburgh University Press, 2011. Pp. 240. £65.00 (cloth)." Journal of British Studies 51, no. 4 (October 2012): 1064–65. http://dx.doi.org/10.1086/666715.

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Loy-Wilson, Sophie. "‘Reading in Brown Paper’: Beckett's Budget and the Sensationalist Press in Interwar Sydney." Media International Australia 131, no. 1 (May 2009): 70–82. http://dx.doi.org/10.1177/1329878x0913100109.

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This article addresses the audience reception of sensationalist newspapers in interwar Australia through a case study of Sydney weekly Beckett's Budget. During a libel trial brought against Beckett's in 1928, readers came to its defence and their testimony reveals overlaps between reading and political allegiances: reading Beckett's equated with voting Labor. While histories of sensationalist media in Australia have rightly emphasised illicit sexuality and public outcry, connections between sensationalism and working-class political movements remain on the margins of academic interest. Responding to the question ‘Do you read Beckett's?’ readers' evidence at the trial constitutes an audience response and invites debate over the ways gender and class could inform political engagement in the 1920s. Viewing Beckett's Budget outside of ‘brown paper’ and beyond the sensationalist genre reveals a shift in Australian political culture as party strategists embraced a broader electorate, using Beckett's Budget to tap into the culture and concerns of interwar society.

Journal articles on the topic 'Presse – Audience'

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