A Close Textual Analysis To An Everyday Text And A Text That Would Be Considered Literary In The Canonical Sense Of The Word

This handbook covers perspectives from both the social sciences and the humanities. It provides guidelines for how to think about, plan, and carry out studies of media in different social and cultural contexts.

The International Encyclopedia of Communication Theory and Philosophy is the definitive single-source reference work on the subject, with state-of-the-art and in-depth scholarly reflection on key issues from leading international experts. It is available both online and in print. A state-of-the-art and in-depth scholarly reflection on the key issues raised by communication, covering the history, systematics, and practical potential of communication theory Articles by leading experts offer an unprecedented level of accuracy and balance Provides comprehensive, clear entries which are both cross-national and cross-disciplinary in nature The Encyclopedia presents a truly international perspective with authors and positions representing not just Europe and North America, but also Latin America and Asia Published both online and in print Part of The Wiley Blackwell-ICA International Encyclopedias of Communication series, published in conjunction with the International Communication Association. Online version available at Wiley Online Library

Humor may surface in numerous and diverse contexts, which at the same time determine how humor works, its form, and its functions and consequences for interlocutors. Adopting a sociolinguistic and discourse analytic perspective, this study is aligned with approaches to humor exploring the variety of humorous genres, the wide range of sociopragmatic functions of humor, and the more or less dissimilar perceptions speakers may have concerning what humor is, what it means, and how it works. The chapters of this book propose a new theoretical approach to the analysis of humor by bringing context into focus. Furthermore, the study explores how we can teach about humor within a critical literacy framework creating classroom space for everyday humorous texts that are part of students’ social realities, and simultaneously taking into account that humor may yield multiple, disparaging, and often conflicting interpretations. This book is intended to appeal to humor researchers from various disciplines (such as linguistics, media studies, cultural studies, literary studies, sociology, anthropology, folklore) as well as to professionals or researchers in education.

The 35 papers in this volume provide a comprehensive picture of crucial aspects of connectedness. The papers are divided into three main groups: the papers in the first group deal with particular questions of the text-constituting role of anaphora, deixis, coreference, modality, conjunctions and particles, theme, topic, ellipsis, etc., the second group of papers discusses the connectedness in texts/discourses of different types (narrative texts, stories, horoscopes, anecdotes, poems, comics, etc.), and, finally, the papers in the third group discuss general theoretical/methodological questions concerning connectedness.

Within the ephemera of the everyday--old photographs, circus posters, iron toys--lies a challenge to America's dominant cultural memory. What this memory has left behind, Bill Brown recovers in the "material unconscious" of Stephen Crane's work, the textual residues of daily sensations that add up to a new history of the American 1890s. As revealed in Crane's disavowing appropriation of an emerging mass culture--from football games and freak shows to roller coasters and early cinema--the decade reappears as an underexposed moment in the genealogy of modernism and modernity. Brown's story begins on the Jersey Shore, in Asbury Park, where Crane became a writer in the shadow of his father, a grimly serious Methodist minister who vilified the popular amusements his son adored. The coastal resorts became the stage for debates about technology, about the body's visibility, about a black service class and the new mass access to leisure. From this snapshot of a recreational scene that would continue to inspire Crane's sensational modernism, Brown takes us to New York's Bowery. There, in the visual culture established by dime museums, minstrel shows, and the Kodak craze, he exhibits Crane dramatically obscuring the typology of race. Along the way, Brown demonstrates how attitudes toward play transformed the image of war, the idea of childhood and nationhood, and the concept of culture itself. And by developing a new conceptual apparatus (with such notions as "recreational time," "abstract leisure," and the "amusement/knowledge system"), he provides the groundwork for a new politics of pleasure. A crucial theorization of how cultural studies can and should proceed, The Material Unconscious insists that in the very conjuncture of canonical literature and mass culture, we can best understand how proliferating and competing economies of play disrupt the so-called "logic" and "work" of culture.

The long and complex history of reception and interpretation of the Hebrew Bible / Old Testament through the ages, described in the HBOT Project, focuses in this concluding volume III, Part 2 on the multifarious research and the different methods used in the last century. Even this volume is written by Christian and Jewish scholars and takes its wider cultural and philosophical context into consideration. The perspective is worldwide and ecumenical. Its references to modern biblical scholarship, on which it is based, are extensive and updated.The indexes (names, topics, references to biblical sources and a broad body of literature beyond) are the key to the wealth of information provided.Contributors are J. Barton, H.L. Bosman, A.F. Campbell, SJ, D.M. Carr, D.J.A. Clines, W. Dietrich, St.E. Fassberg, D. Føllesdal, A.C. Hagedorn, K.M. Heim, J. Høgenhaven, B. Janowski, D.A. Knight, C. Körting, A. Laato, P. Machinist, M.A.O ́Brien, M. Oeming, D. Olson, E. Otto, M. Sæbø, J. Schaper, S. Sekine, J.L. Ska, SJ, M.A. Sweeney, and J. de Waard.

Recycling Virginia Woolf in Contemporary Art and Literature exam>ines Woolf’s life and oeuvre from the perspective of recycling and pro>vides answers to essential questions such as: Why do artists and writers recycle Woolf’s texts and introduce them into new circuits of meaning? Why do they perpetuate her iconic fgure in literature, art and popular culture? What does this practice of recycling tell us about the endurance of her oeuvre on the current literary, artistic and cultural scene and what does it tell us about our current modes of production and consumption of art and literature? This volume offers theoretical defnitions of the concept of recycling applied to a multitude of specifc case studies. The reasons why Woolf’s work and authorial fgure lend themselves so well to the notion of recy>cling are manifold: frst, Woolf was a recycler herself and had a personal theory and practice of recycling; second, her work continues to be a prolifc compost that is used in various ways by contemporary writers and artists; fnally, since Woolf has left the original literary sphere to permeate popular culture, the limits of what has been recycled have ex>panded in unexpected ways. These essays explore today’s trends of fab>ricating new, original artefacts with Woolf’s work, which thus remains completely relevant to our contemporary needs and beliefs