Social Movement Audiences1

Audiences are important to social movements, but the relationships between social movements and their audiences are not well understood. This article uses scholarship from performance studies, especially ideas of audiences as constructed, meaningful, and influenced/influential, to explore two issues. First, how do social movements define their audiences? Second, how are social movement actions toward their audiences shaped by these definitions? Analysis of longitudinal data on two social movement groups in Pittsburgh from 2003 to 2007 shows that social movements variously interpret the nature and role of their audiences and that these interpretations affect their strategies and goals, sometimes quite radically. The conclusion explores how attention to audiences can augment scholarship on the relational, iterative, interpretive, and reflexive aspects of social movements.     

林译《黑奴吁天录》的修辞解读

文章以西方修辞理论为参照,以个案研究的方法重新解读林译《黑奴吁天录》,重点分析译者在文本选择、话语建构及内容删改等方面,如何以受众为中心,诉诸各种修辞手段来处理原文本的内容,以圆满地实现自己的修辞意图。     

论学术期刊的受众意识培养

从学术期刊的现状入手,对学术期刊受众状况的分析表明,目前学术期刊的受众意识普遍较为薄弱,应进一步强化受众意识。而强化受众意识的步骤则是了解受众、培养受众、留住受众。     

Enhancing the entertainment experience of blind and low‐vision theatregoers through touch tours

In this paper we demonstrate how universal design theory and the research available on museum‐based touch tours can be used to develop a touch tour for blind and low‐vision theatregoers. We discuss these theoretical and practical approaches with reference to data collected and experience gained from the creation and execution of a touch tour for Hart House Theatre’s production of Hamlet at the University of Toronto. Finally, we offer up the possibility of using universal design theory to create a touch tour that would be attractive to all theatregoers.     

美国史学界对流行文化与其受众关系的研究

流行文化研究,是当今美国的热门学术领域;对流行文化与其受众关系的探讨,则是其中的一个重要课题。美国史学界关于这一课题的研究,不仅涉及到对某些历史事实的叙述,更是透视美国史学理论发展的一个重要窗口。综述“无权”与“有权”两种观点的主要著作,勾勒美国史学界流行文化受众研究的发展历程,或许有助于把握美国当代文化史研究的发展方向,有利于进一步深入理解流行文化研究在史学界的发展脉络。此外,西方马克思主义的一支———法兰克福学派对流行文化问题的探讨对美国史学界关于受众研究也产生了重大影响。     

以客户为中心的网络整合营销传播模式研究

网络整合营销传播(EIMC)是整合营销传播实践过程在网络技术环境下延伸和发展的必然产物,是对传统整合营销传播框架的补充和完善。依据AISAS客户行为模式探讨网络整合营销传播模型,展示从客户细分到客户接触到客户评估全过程中的交互式的信息流,重点描述在AI-SAS各阶段上企业通过网络上载信息、客户通过网络下载信息的信息流过程,同时强调企业与客户借网络渠道在营销节点的对应关系。     

李渔的戏曲理论与创作中的观众学初探

李渔是一位戏曲理论家,又是一位剧本创作的实践家。他对戏曲艺术的特征———群众性、综合性和演出艺术有较为深刻的理解。李渔的戏曲理论超越前人,取得多方面、系统化成果的重要前提是他对观众的熟悉,重视对观众的研究。李渔的娱乐观众的戏曲创作与他对观众心理的研究也是分不开的。李渔的戏曲理论在观众的作用、观众的组成、观众的心理等方面体现了明确的观众意识和对观众学方面的许多见解,形成了自成体系的观众学,从而打破了我国戏剧理论研究传统视野的束缚,开拓了一个新的领域,使我国戏剧理论研究取得了突破性的进展。     

“She invited other people to that space”: audience habitus,place, and social justice in Beyoncé’s Lemonade

We argue that place offers an effective framework for connecting popular culture with social justice narratives by exploring audience interpretations of Lemonade in 2016’s tumultuous racial climate. Working from interviews with 35 of Lemonade’s listeners/viewers regarding their understanding of the album, we argue that audience members used Lemonade to plot spaces of racial pride, community, and equality. Supporting previous audience studies’ findings, Beyoncé’s audiences engaged actively with the text and explored the complex symbolism through interpretive communities, but the audiences we spoke with also transcended these spaces. Using Lemonade as a tool to understand and reimagine historical social movements, audiences deployed the album to cultivate an anti-racist habitus in attempts to make their worlds more just.     

西方修辞学视阈下的受众分析与跨文化有效交际

本文试图借鉴西方修辞学理论结合PAC理论,探讨受众分析与跨文化有效交际的问题,以拓展跨文化交际研究的范围。     

从批判性思维之视角看司法论证的规则

司法论证乃是指诉讼主体在法律诉讼过程中从信以为真的证据集出发,为使目标听众相信某一主张为真而提供支持的过程。从批判性思维的视角看,司法论证通常应由主张者、论证目标、目标听众、理由等要素构成。因此,司法论证的规则就是有效规制这些构成要素的基本准则。遵守司法论证的规则是保证其合理性的必要条件。