Friday, October 31, 2008
Summary of Chapter 28
Ian Watt goes into how the book, Robinson Crusoe, is full of myths that reflect values in our culture, it does it with each of the stories, Faust, Don Juan and Don Quixote. Watt explains that Faust is the myth of the single-minded pursuit of knowledge, Don Juan is the myth of the single-minded pursuit of women and Don Quixote is the myth of the single-minded pursuit of "chivalric ideal". The myths in Crusoe's writings was done by the public and relating what they read to their own thinking anf ideals.
Summary of Chapter 27
Roland Barthes looks at the mythology in the French daily life. Barthes says that there myths in language, and in our pop culture as well. They all have signs and have meanings to them.
Wednesday, October 29, 2008
Chapters 25 & 26
Ch. 25 Summary:
This chapter looks at womens role in advertising and how unrealistic that role is. In ads women are protrayed by the standard of the perfect woman that society has deemed as. This "perfect" woman is young, no imperfections, attractive, has sex appeal and is slender. This woman, as Cortese says, is not human and is just a hollow form of one. This plays into how women feel about themselves, they look at these ads and feel that this is how they need to look, even though the people in the ad are airbrushed and not reality.
Key words:
Provocateur: an ideal image that provokes a reaction
"packaged woman": the ideal woman who is an unreal protrayal of a person
Ch. 26 Summary:
Wolfgang Haug, in chapter 26, looks at the power of advertising. Advertisers see the public as commodities, finding ways to suduce us into their product. They try to pressure us into believing that we need their product in order to solve out problems, they are our solution. Haug also suggests that advertising claims to help the public out in their work like and sexuality. The public is an object to these advertisers.
Key Words:
Commodity- an article of trade or commerce or something of use, advantage, or value
This chapter looks at womens role in advertising and how unrealistic that role is. In ads women are protrayed by the standard of the perfect woman that society has deemed as. This "perfect" woman is young, no imperfections, attractive, has sex appeal and is slender. This woman, as Cortese says, is not human and is just a hollow form of one. This plays into how women feel about themselves, they look at these ads and feel that this is how they need to look, even though the people in the ad are airbrushed and not reality.
Key words:
Provocateur: an ideal image that provokes a reaction
"packaged woman": the ideal woman who is an unreal protrayal of a person
Ch. 26 Summary:
Wolfgang Haug, in chapter 26, looks at the power of advertising. Advertisers see the public as commodities, finding ways to suduce us into their product. They try to pressure us into believing that we need their product in order to solve out problems, they are our solution. Haug also suggests that advertising claims to help the public out in their work like and sexuality. The public is an object to these advertisers.
Key Words:
Commodity- an article of trade or commerce or something of use, advantage, or value
Monday, October 27, 2008
Summary of Chapters 21, 23 & 24
Chapter 21
Symbolism and Religion, by Johan Huizinga, looks at the different forms of symbolism in religion and why they are used during the fourteenth and fifteenth centuries. Many symbols or objects hold a deeper meaning then what the literal object is. Many people believe that they can be connected to the higher power through these objects. Huizinga argues that objects, such as religious ones, reveal the “character” of an age better then philosophy. In the end, there are hidden messages and symbolic meaning in almost every object.
Chapter 23
The House As A Symbol of Feminity, by Milton R. Sapirstein, claims that houses are symbolic to women. Women, like a house, have larger bodies and hold many mysteries and secrets like the saying "if walls could talk". Women are insecure and fear impluses that would expose themselves, their inner self. This, Sapirstein says, relates to how a woman decorates her house. How they decorate matches their inner self and as a result many women are afraid or hire someone to do it for them.
Chapter 24
Miss America's Mythic Significance, by Harvey Cox, looks at the hidden symbols behind the Miss America and other pagents like it. According to Cox, the girls symbolize a sexual figure who appears virgin-like and personifies the material aspects of society. She also represents the celebration of "the girl" in society and is an icon in the consumer culture in America because they use her to sell products
Symbolism and Religion, by Johan Huizinga, looks at the different forms of symbolism in religion and why they are used during the fourteenth and fifteenth centuries. Many symbols or objects hold a deeper meaning then what the literal object is. Many people believe that they can be connected to the higher power through these objects. Huizinga argues that objects, such as religious ones, reveal the “character” of an age better then philosophy. In the end, there are hidden messages and symbolic meaning in almost every object.
Chapter 23
The House As A Symbol of Feminity, by Milton R. Sapirstein, claims that houses are symbolic to women. Women, like a house, have larger bodies and hold many mysteries and secrets like the saying "if walls could talk". Women are insecure and fear impluses that would expose themselves, their inner self. This, Sapirstein says, relates to how a woman decorates her house. How they decorate matches their inner self and as a result many women are afraid or hire someone to do it for them.
Chapter 24
Miss America's Mythic Significance, by Harvey Cox, looks at the hidden symbols behind the Miss America and other pagents like it. According to Cox, the girls symbolize a sexual figure who appears virgin-like and personifies the material aspects of society. She also represents the celebration of "the girl" in society and is an icon in the consumer culture in America because they use her to sell products
Monday, October 20, 2008
Chapter 22 Summary and Key Terms
Summary
Chapter 22, by Carl G Jung, is an overview about symbols, why we use them and what symbols mean. A symbol, as defined in this chapter, is a term, name or picture that could be familiar to us and there is a specific meaning to it. The literal term means a token and is from the Greek language. It is also implies something that is unknown to us. For example, religious symbols are used to explain and visualize ideas that are hard to comprehend but are of great importance. People also form dreams subconsciously in the form of dreams.
In the after-reading of this chapter, Charles Sanders Peirce argues that there are three different ways that signs communicate. There is an Icon, and uses the resemblance method of communication that we know through seeing it, and example of this would be a picture. The second is an Index which uses a casual way of communicating and we process this sign by figuring it out ourselves, an example of this would be if we see smoke we know that it means that there is a fire. The third and final one is a Symbol, this uses the convention way of communicating and we process this through learning it, an example of this would be the flag.
Overall, symbols do not just have meaning on their own, society gives the meaning for each symbol and how we learn this is unconscious and we "absorb them in a subliminal manner".
Key Terms:
Symbol- name, picture, a term that is familiar and has a specific meaning to it and is also used in explanation (ex:Religious symbols)
3 kinds of signs:
ICON
Resemblance
ex: Picture
Can See
INDEX
Casual Connection
ex: Smoke=Fire
Figure Out
SYMBOL
Convention
ex: Flag
Learn
Chapter 22, by Carl G Jung, is an overview about symbols, why we use them and what symbols mean. A symbol, as defined in this chapter, is a term, name or picture that could be familiar to us and there is a specific meaning to it. The literal term means a token and is from the Greek language. It is also implies something that is unknown to us. For example, religious symbols are used to explain and visualize ideas that are hard to comprehend but are of great importance. People also form dreams subconsciously in the form of dreams.
In the after-reading of this chapter, Charles Sanders Peirce argues that there are three different ways that signs communicate. There is an Icon, and uses the resemblance method of communication that we know through seeing it, and example of this would be a picture. The second is an Index which uses a casual way of communicating and we process this sign by figuring it out ourselves, an example of this would be if we see smoke we know that it means that there is a fire. The third and final one is a Symbol, this uses the convention way of communicating and we process this through learning it, an example of this would be the flag.
Overall, symbols do not just have meaning on their own, society gives the meaning for each symbol and how we learn this is unconscious and we "absorb them in a subliminal manner".
Key Terms:
Symbol- name, picture, a term that is familiar and has a specific meaning to it and is also used in explanation (ex:Religious symbols)
3 kinds of signs:
ICON
Resemblance
ex: Picture
Can See
INDEX
Casual Connection
ex: Smoke=Fire
Figure Out
SYMBOL
Convention
ex: Flag
Learn
Wednesday, October 15, 2008
Chapter 17
Summary:
This chapter, by bell hooks, is about the media and how they now show more people of different races and ethnicities. People are drawn to this because of people's facination with people of a different race and as a result we find out more about ourselves, by looking at the opposite.
Questions:
1. Why does bell hooks assert that blondes don't have more fun anymore? do you agree?
She relates this to the media in that it is broading their horizons as to what is out there and no longer just the "white view" and no longer based on the assumption of "blondes have more fun". I agree with hooks, throught the past 30 years, television and the media have become more diversified and accepting of different people of different races.
2. What does she mean by "otherness"? What role does it play in contemporary society?
The "otherness" is people of different races that the media once would not use. There will always be "others" in society but people are more accepting
3. What does she mean by "commodifying the otherness"?
By acknowledging and finding ecjoyment out of different ethnicities
4.What does she mean by ethnicity is now a "spice"?
What she means is that people of different ethnicities are living up the television and media when it was once dull.
5.
This chapter, by bell hooks, is about the media and how they now show more people of different races and ethnicities. People are drawn to this because of people's facination with people of a different race and as a result we find out more about ourselves, by looking at the opposite.
Questions:
1. Why does bell hooks assert that blondes don't have more fun anymore? do you agree?
She relates this to the media in that it is broading their horizons as to what is out there and no longer just the "white view" and no longer based on the assumption of "blondes have more fun". I agree with hooks, throught the past 30 years, television and the media have become more diversified and accepting of different people of different races.
2. What does she mean by "otherness"? What role does it play in contemporary society?
The "otherness" is people of different races that the media once would not use. There will always be "others" in society but people are more accepting
3. What does she mean by "commodifying the otherness"?
By acknowledging and finding ecjoyment out of different ethnicities
4.What does she mean by ethnicity is now a "spice"?
What she means is that people of different ethnicities are living up the television and media when it was once dull.
5.
Chapter 16
Summmary:
This chapter looked at the way that black people speak. Roger Abrahams writes how they speak in a verbal combat in the community, there is rhyme and also cliches. Abrahams writes that this is regression, which is a way of reverting back to your childhood.
Questions:
1. In what ways does Abraham's essay agree with Tannen's?
They are in common with the verbal combat in a way. Tannen writes that boys will communicate in a way that presents their dominance, like a verbal combat.
2. How do black people from Camingerly use rhymes for social situations and entertainment.
They use it to form rap music.
3. What does it mean to say that this rhyming behavior is regressive?
They are not speaking in a way , what society thinks is intellectual for an adult.
4.How might this rhyming behavior be manifested or utilized now in the mass media.
They can use this to draw people in, its gets their attention. If an ad uses rap music, more people can understand it and it shows that companies are "hip" with the new generation.
5. Can you find any other examples of verbal dueling behavior in American society?
The cattiness of girl teenagers.
This chapter looked at the way that black people speak. Roger Abrahams writes how they speak in a verbal combat in the community, there is rhyme and also cliches. Abrahams writes that this is regression, which is a way of reverting back to your childhood.
Questions:
1. In what ways does Abraham's essay agree with Tannen's?
They are in common with the verbal combat in a way. Tannen writes that boys will communicate in a way that presents their dominance, like a verbal combat.
2. How do black people from Camingerly use rhymes for social situations and entertainment.
They use it to form rap music.
3. What does it mean to say that this rhyming behavior is regressive?
They are not speaking in a way , what society thinks is intellectual for an adult.
4.How might this rhyming behavior be manifested or utilized now in the mass media.
They can use this to draw people in, its gets their attention. If an ad uses rap music, more people can understand it and it shows that companies are "hip" with the new generation.
5. Can you find any other examples of verbal dueling behavior in American society?
The cattiness of girl teenagers.
Wednesday, October 8, 2008
Chapter 15 Summary, Questions 1-4 and My Own Questions
Summary:
Chapter 15 looked at the different ways that men and women communicate. Specifically, Deborah Tannen posed the question why women who go to an all-girl school do better in life than girls who have attended a co-ed school. She first established that girls and boys use language differently. A girl will find a best friend (another girl) and sit and talk about everything with while boys are activity oriented and as a result stick together in large groups. There are different statuses in boys groups, and as a result boys learn to assert themselves by showing knowledge and strengh. In a class students compete with their fellow students to be the "smartest", boys are able to adapt to this easier and assert themselves in the classroom setting better than the girls. The girls however, thrive in small groups where they fell comfortable to assert their thoughts.
Questions:
1. Have the media changed the conversational styles of men and women? Justify your answer.
Yes it has, and Charles Winick's theory of "desexualization" supports this. The roles of men and women change in the media and shows women being assertive and in control. This influences the people who see this on tv, women learn that they can be assertive in a large group. Winick's theory discusses that women are becoming for masculine and men are becoming more feminine.
2. What did Tannen find when she studied the conversational styles of boys and girls?
Tannen found that girls conversational style based on a small group setting. A girl will find a best girlfriend whom she does everything with and will tell all her secrets to. While boys on the other hand thrive in an activity setting. As a result their groups will be larger in size. Boys learn to assert themselves and show their strengths and knowledge because in that group there is hierarchy.
3. Charles Winick, a sociologist, has suggested that there is a "desexualization" going on in America, that men are getting weaker and women stronger. Do you think he is right? If so, why?
I do believe that Winick is right. Women have learned to be strong independent people, going against what the norm of women is. Men, in turn, are becoming weaker because they do not know how to react to a strong women.
4. What implications does Tannen's research have for education in general, and teaching in particular.
Her research will benefit the education field, because the information can be used to help both boys and girls be productive in school. It will also help the teacher understand why girls tend to be more quiet then boys.
Question of My Own:
If a girl has more friends who are boys, will she take on the boys communication style?
Chapter 15 looked at the different ways that men and women communicate. Specifically, Deborah Tannen posed the question why women who go to an all-girl school do better in life than girls who have attended a co-ed school. She first established that girls and boys use language differently. A girl will find a best friend (another girl) and sit and talk about everything with while boys are activity oriented and as a result stick together in large groups. There are different statuses in boys groups, and as a result boys learn to assert themselves by showing knowledge and strengh. In a class students compete with their fellow students to be the "smartest", boys are able to adapt to this easier and assert themselves in the classroom setting better than the girls. The girls however, thrive in small groups where they fell comfortable to assert their thoughts.
Questions:
1. Have the media changed the conversational styles of men and women? Justify your answer.
Yes it has, and Charles Winick's theory of "desexualization" supports this. The roles of men and women change in the media and shows women being assertive and in control. This influences the people who see this on tv, women learn that they can be assertive in a large group. Winick's theory discusses that women are becoming for masculine and men are becoming more feminine.
2. What did Tannen find when she studied the conversational styles of boys and girls?
Tannen found that girls conversational style based on a small group setting. A girl will find a best girlfriend whom she does everything with and will tell all her secrets to. While boys on the other hand thrive in an activity setting. As a result their groups will be larger in size. Boys learn to assert themselves and show their strengths and knowledge because in that group there is hierarchy.
3. Charles Winick, a sociologist, has suggested that there is a "desexualization" going on in America, that men are getting weaker and women stronger. Do you think he is right? If so, why?
I do believe that Winick is right. Women have learned to be strong independent people, going against what the norm of women is. Men, in turn, are becoming weaker because they do not know how to react to a strong women.
4. What implications does Tannen's research have for education in general, and teaching in particular.
Her research will benefit the education field, because the information can be used to help both boys and girls be productive in school. It will also help the teacher understand why girls tend to be more quiet then boys.
Question of My Own:
If a girl has more friends who are boys, will she take on the boys communication style?
Sunday, October 5, 2008
Chapter 12-14, Words I Did Not Understand
Chapter 13
-Rejoinder: to annswer, to reply, respond
-Rhetoric: To use language effectively (there were many definitions for this word but I went with the one that made the most sense with the context that the "rhetoric" was used in.
-Rejoinder: to annswer, to reply, respond
-Rhetoric: To use language effectively (there were many definitions for this word but I went with the one that made the most sense with the context that the "rhetoric" was used in.
Questions of My Own
Would people ignore a certain message if they did not like the medium it was in? Even if it was a message they happen to agree with.
Could intertextuality ever be considered to be a form of plagiarism?
Could intertextuality ever be considered to be a form of plagiarism?
Chapter 14, Questions 1-6
1. Discuss Labov's six rules and give examples from a conversation you've had.
-Abstract: overview of story (example: writing a summary of the chapter that
I read.
-Orientation: telling "who" "what" "where" "when" "why" of the story (example:
When I was told a story that happened over the weekend, the person
explained who was there, where it was, when it happened, and what
had happened)
-Complicating action: the sequences of events (example: When telling a story
I always start from the beginning of it and tell it in
the order that happened)
-Evaluation: importance and meaning of events (example: the emphasis that people
put on different words let the listener know that it is important
and the listener should remember it)
-Resolution: how the story ended (example: when reading a book, how I feel about
it always depends on if the ending is good and satisfying)
-Coda: returning the story to present time. (example: I was told a story about
a drunken night and at the end the person brought it back to how the
drunk person was feeling at the present time)
2. Can the order of events in a conversation be changed without affecting the meaning? explain.
If the order of events is changed it may complicate how the listener is understanding it. If the outcome remains the same then the message will stay the same but if the story's order is told out of sequence then the listener may not fully get the message.
3. How can a film or television story be considered a "glorified" conversation?
Because these are conversations that others create specifially for us to hear.
4. Does dialogue in films and other media narratives follow Labov's rules? Justify your answer.
I think they follow most of the rules. For example, it would be hard to fulfill the "coda" rule because if a film is being viewed 10 or 20 years after it is made, returning the film to that present time would be impossible. It would relate it back to the present time in which it was made. Other then that I believe that they follow the rules. The abstract would be the previews that air before it is released. Or on the case of the film it gives a brief overview.
5. Narratives are one way we make sense of the world. How does this work?
Narratives gives us a window into others' world and lives. Today we are able to see what is happening half way around the world because of TV or books. This makes it easier for us to understand the world as a whole and not just our part of the world.
6. What implications does the importance of narratives have for the mass media?
It is important because it tells how to reach out to mass amounts of people, how to get your message across in the easiest fashion.
-Abstract: overview of story (example: writing a summary of the chapter that
I read.
-Orientation: telling "who" "what" "where" "when" "why" of the story (example:
When I was told a story that happened over the weekend, the person
explained who was there, where it was, when it happened, and what
had happened)
-Complicating action: the sequences of events (example: When telling a story
I always start from the beginning of it and tell it in
the order that happened)
-Evaluation: importance and meaning of events (example: the emphasis that people
put on different words let the listener know that it is important
and the listener should remember it)
-Resolution: how the story ended (example: when reading a book, how I feel about
it always depends on if the ending is good and satisfying)
-Coda: returning the story to present time. (example: I was told a story about
a drunken night and at the end the person brought it back to how the
drunk person was feeling at the present time)
2. Can the order of events in a conversation be changed without affecting the meaning? explain.
If the order of events is changed it may complicate how the listener is understanding it. If the outcome remains the same then the message will stay the same but if the story's order is told out of sequence then the listener may not fully get the message.
3. How can a film or television story be considered a "glorified" conversation?
Because these are conversations that others create specifially for us to hear.
4. Does dialogue in films and other media narratives follow Labov's rules? Justify your answer.
I think they follow most of the rules. For example, it would be hard to fulfill the "coda" rule because if a film is being viewed 10 or 20 years after it is made, returning the film to that present time would be impossible. It would relate it back to the present time in which it was made. Other then that I believe that they follow the rules. The abstract would be the previews that air before it is released. Or on the case of the film it gives a brief overview.
5. Narratives are one way we make sense of the world. How does this work?
Narratives gives us a window into others' world and lives. Today we are able to see what is happening half way around the world because of TV or books. This makes it easier for us to understand the world as a whole and not just our part of the world.
6. What implications does the importance of narratives have for the mass media?
It is important because it tells how to reach out to mass amounts of people, how to get your message across in the easiest fashion.
Chapter 13, Questions 1-7
1. Why does Bakhtin assert that "the word is born in a dialogue"
Dialogue is where we use words, we respond to different messages using words. If a new word is "born" this would be where that happens.
2. How does he define "dialogic"? Define "dialogism".
Dialogic is the way a word forms a concept of its own. Dialogism is that when we are talking to people, we must anticipate what the other is saying and our response, and our communication takes into account the cultural beliefs and norms of that time.
3. How does he explain the way we understand linguistic utterance?
The way we understand utterances is through the background of language and other utterances that have the same theme.
4. Define "intertextuality". Give some examples of it from films, TV and music.
Intertextuality is present time texts are influenced from previous text, and it can be a conscious decision or unconscious one.
Film: "Rumor Has It" is influenced from "The Graduate"
Alfred Hitchcock has influenced the ways that suspense movies are
made and different camera movements and angles
TV: Comedy principles of early comedies ( I Love Lucy, MASH etc) influence
today's comedies on TV
Music: The parts of music (refrain, bridge etc) were influenced from the music
made hundreds of years ago.
Elements of the Hip Hop music influence many artists today
5. Can a work ever not be intertextual? Defend your answer.
No, a work is always intertextual. We are constantly influenced by what is around and what we learn. We are exposed to many different things, past and present. Unconsciously we are influenced by that.
6. Communication must take cultural norms into account. How does that affect media?
This affects the way the media puts out a message. They want to catch the attention of as many people as possible therefore they will go with what is current, not what was the norm ten years ago.
7. Is there a difference between conversation and dialogue? Explain your answer.
I think there is a difference in conversation and dialogue. When two people are having a dialogue, there is a story being told, someone is telling it and someone is listening to the message. A conversation is more casual, there may not be a story or a message involved, it may be a short passing of words.
Dialogue is where we use words, we respond to different messages using words. If a new word is "born" this would be where that happens.
2. How does he define "dialogic"? Define "dialogism".
Dialogic is the way a word forms a concept of its own. Dialogism is that when we are talking to people, we must anticipate what the other is saying and our response, and our communication takes into account the cultural beliefs and norms of that time.
3. How does he explain the way we understand linguistic utterance?
The way we understand utterances is through the background of language and other utterances that have the same theme.
4. Define "intertextuality". Give some examples of it from films, TV and music.
Intertextuality is present time texts are influenced from previous text, and it can be a conscious decision or unconscious one.
Film: "Rumor Has It" is influenced from "The Graduate"
Alfred Hitchcock has influenced the ways that suspense movies are
made and different camera movements and angles
TV: Comedy principles of early comedies ( I Love Lucy, MASH etc) influence
today's comedies on TV
Music: The parts of music (refrain, bridge etc) were influenced from the music
made hundreds of years ago.
Elements of the Hip Hop music influence many artists today
5. Can a work ever not be intertextual? Defend your answer.
No, a work is always intertextual. We are constantly influenced by what is around and what we learn. We are exposed to many different things, past and present. Unconsciously we are influenced by that.
6. Communication must take cultural norms into account. How does that affect media?
This affects the way the media puts out a message. They want to catch the attention of as many people as possible therefore they will go with what is current, not what was the norm ten years ago.
7. Is there a difference between conversation and dialogue? Explain your answer.
I think there is a difference in conversation and dialogue. When two people are having a dialogue, there is a story being told, someone is telling it and someone is listening to the message. A conversation is more casual, there may not be a story or a message involved, it may be a short passing of words.
Chapter 12, Questions 1-5
1. What are the four "coordinates" involving works of art for Abrams?
-Work
-Artist
-Universe
-Audience
2. How does Abram define these coordinates?
-Work: the piece itself
-Artist: the person who creates the work
-Universe: the surroundings of the artist that influence
-Audience: the people viewing the message of the work
3. Abrams says most theories concentrate on only one coordinate. Why is this so?
They only concentrate on one coordinate to create a specific theory otherwise if they incorporate everything the theory would be long and vague. Concentrating on one will create a specfic and detailed view.
4. What changes does the Berger model make to the Abrams model?
He uses the word "America" instead of "universe" because universe is a broad term to use and "America" specfies what society. He also added "Medium" which talks about what way the message is being put across.
5. What did McLuhan mean when he said "the medium is the message"
The way the message is being put across is more important then the message. The way it is put out will deteremine who sees it and who wants to see it. It does not matter what the message is, if people do not want to see it or not drawn to see it, the message will never get across
-Work
-Artist
-Universe
-Audience
2. How does Abram define these coordinates?
-Work: the piece itself
-Artist: the person who creates the work
-Universe: the surroundings of the artist that influence
-Audience: the people viewing the message of the work
3. Abrams says most theories concentrate on only one coordinate. Why is this so?
They only concentrate on one coordinate to create a specific theory otherwise if they incorporate everything the theory would be long and vague. Concentrating on one will create a specfic and detailed view.
4. What changes does the Berger model make to the Abrams model?
He uses the word "America" instead of "universe" because universe is a broad term to use and "America" specfies what society. He also added "Medium" which talks about what way the message is being put across.
5. What did McLuhan mean when he said "the medium is the message"
The way the message is being put across is more important then the message. The way it is put out will deteremine who sees it and who wants to see it. It does not matter what the message is, if people do not want to see it or not drawn to see it, the message will never get across
Summaries of Chapters 12, 13 &14
Chapter 12
This chapter, by M. H. Abrams, looked at a model of communication Abrams made and evaluated each part. There are 4 parts to this model, artist, work, audience and the universe. Abrams also says that even though there are 4 seperate parts, many only consentrate on one part. The artist creates the "work", which is what the piece itself is. The audience is what the work is geared to, the people who will be the viewers, the listeners or recieving the message. The universe is what surrounds the artist, emotions, ideas, events, material objects etc.
Arthur Asa Berger evaluated this passage and was influenced by Abrams to create his own model of communication. His model had five parts instead of four, art, artist, medium, audience and America. The meanings of each are similar to Abrams. Art is the work or text that contains the message. The artist creates the art. The audience recieves the message from the piece of art. America is the society where the message is created from and medium is how the art is made, books, television, film etc. Berger then went on in showing that his model and Abrams' model is very similar to Lasswell formula. All three can be broken down to the basic "who" "what" "how" "what effect" "why".
Chapter 13
This chapter, written by Michael Holquist, focuses on dialogue. He says that word is produced in a dialogue interaction where there are responses. We learn what words mean through conversations and responsive understanding.
In the response after Holquist's passage, Berger looks at Mikhail Bakhtin and breaks down what Bakhtin's theory of dialogism means and the two parts of it. When we are engageing with a dialogue with another person, we have to anticipate what will be said and how we will respond to it and also when we are communicating we must also use the cultural norms and beliefs.
Bakhtin also developed the theory of "intertextuality" meaning that the texts that are produced now are strongly influenced by the texts produced before them, but this is most likely an unconscious decision.
Chapter 14
Chapter 14, by Catherine Kohler Riessman, parts of narrative are looked at and specifically the theories of Labov and Waletzsky. They believed that stories have a chronicle sequence. If the sequence is changed, the story is changed. A narrative always has indicators of when the story begins and ends and also always answers a question. A story can also be changed by deciding where exactly to finish a story. In a narrative there are six basic elements that include, abstract, orientation, complicating action, evaluation, resolution and coda. Abstract is an overview of the story. Orientation is telling the "who" "what" "where" "when" "why" of the story. A complicating action is the sequences of events in the story. An evaluation is the meaning and importance of each event in the story. A resolution is the ending and a coda is returning the story to present time at the end.
These elements are essential when story telling but not all conversations are of a story, some are of current events. The six elements can even be found when we are not telling a narrative story, the elements (in any conversation) give the listener a way of following what you are saying.
This chapter, by M. H. Abrams, looked at a model of communication Abrams made and evaluated each part. There are 4 parts to this model, artist, work, audience and the universe. Abrams also says that even though there are 4 seperate parts, many only consentrate on one part. The artist creates the "work", which is what the piece itself is. The audience is what the work is geared to, the people who will be the viewers, the listeners or recieving the message. The universe is what surrounds the artist, emotions, ideas, events, material objects etc.
Arthur Asa Berger evaluated this passage and was influenced by Abrams to create his own model of communication. His model had five parts instead of four, art, artist, medium, audience and America. The meanings of each are similar to Abrams. Art is the work or text that contains the message. The artist creates the art. The audience recieves the message from the piece of art. America is the society where the message is created from and medium is how the art is made, books, television, film etc. Berger then went on in showing that his model and Abrams' model is very similar to Lasswell formula. All three can be broken down to the basic "who" "what" "how" "what effect" "why".
Chapter 13
This chapter, written by Michael Holquist, focuses on dialogue. He says that word is produced in a dialogue interaction where there are responses. We learn what words mean through conversations and responsive understanding.
In the response after Holquist's passage, Berger looks at Mikhail Bakhtin and breaks down what Bakhtin's theory of dialogism means and the two parts of it. When we are engageing with a dialogue with another person, we have to anticipate what will be said and how we will respond to it and also when we are communicating we must also use the cultural norms and beliefs.
Bakhtin also developed the theory of "intertextuality" meaning that the texts that are produced now are strongly influenced by the texts produced before them, but this is most likely an unconscious decision.
Chapter 14
Chapter 14, by Catherine Kohler Riessman, parts of narrative are looked at and specifically the theories of Labov and Waletzsky. They believed that stories have a chronicle sequence. If the sequence is changed, the story is changed. A narrative always has indicators of when the story begins and ends and also always answers a question. A story can also be changed by deciding where exactly to finish a story. In a narrative there are six basic elements that include, abstract, orientation, complicating action, evaluation, resolution and coda. Abstract is an overview of the story. Orientation is telling the "who" "what" "where" "when" "why" of the story. A complicating action is the sequences of events in the story. An evaluation is the meaning and importance of each event in the story. A resolution is the ending and a coda is returning the story to present time at the end.
These elements are essential when story telling but not all conversations are of a story, some are of current events. The six elements can even be found when we are not telling a narrative story, the elements (in any conversation) give the listener a way of following what you are saying.
Subscribe to:
Posts (Atom)