Broadcast Talks

Two talks, one dealing with Right and Wrong, and the other with what Christians believe.

DigiCat Publishing presents to you this special edition of "Broadcast Talks" by C. S. Lewis. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

This book brings together the surviving texts of the 113 talks on art and architecture that we know of, given by the art historian Sir Nikolaus Pevsner on radio and television between 1945--1977. It includes the seven texts of the 1955 Reith Lectures in their original broadcast form, as well as lectures that Pevsner gave in German (for the BBC in London and RIAS in Berlin) and on the radio in New Zealand. These talks are important as an example of the attempt by the BBC in particular to provide intellectual programming for the mass population. The talks are important for what they reveal about changing tastes in the treatment of the arts as a broadcast topic, as well as offering a case study of the development of one particular historian's approach to a subject that was gaining ground in universities as a direct result of his popularisation of it. They show what topics were thought to be central to the artistic agenda in the mid-years of the last century, whether from an academic or journalistic perspective, and reveal the mode and manner of academic engagement with the public over the period. Forty-six of these talks were published in 2002, on the centenary of Pevsner's birth, in a trade edition. At the time, his reputation as an active force in architectural thinking had long been eclipsed and interest in him had waned. Since then, there has been a turn-around in tastes and Pevsner's role within his chosen field is now being actively studied and discussed by a new generation for whom he is central to an understanding of the 20th century. There is therefore a real need for this book. In addition to containing twice the number of talks as the previous volume, it is supplemented with explanatory introductions, footnotes and citations. It also reveals, as far as this is possible, alternative versions of Pevsner’s texts, as they appeared at different stages in the original production process. As such, this edition can be relied on by academics as scholarly and

Media Talk provides an accessible introduction to the analysis of the spoken word by examining linguistic and discursive aspects of broadcast media. Beginning with the observation that talk is central to all genres of radio and television, Ian Hutchby examines the forms of speech used by broadcasters as their primary means of communicating with audiences. He looks at a range of media forms and genres, including televised audience debates, confrontational TV talk shows such as Oprah Winfrey and Ricki Lake, open-line talk radio shows, advice-giving broadcasts, news interviews and political panel discussions. Hutchby argues that the study of talk provides insights into the very nature of mass communication, and invites the reader into further consideration of a range of important issues, such as the relationship between broadcasters and audiences, and the public role of media output. The book not only describes the role of media talk but also provides detailed examples of analytical tools. It is key reading for students on courses in language and the media, media discourse, communication and cultural studies.

A major study on the discourses of broadcasting, Broadcast Talk demonstrates the relevance of talk and its relationship to the understanding of the communicative process in radio and television. This volume addresses central questions of who decides what programs are produced, how these programs influence audiences, and how those audiences make sense of the programs. The focus here is on radio and television because both media are fundamentally similar. The term "talk," rather than "speech" or "spoken language," is preferred because it indicates more exactly the character of communication transmitted in these media. Talk may be more or less formal, determined by the context and intended audience--a political speech or the news versus a talk show. The approach taken by Scannell and the contributors is largely influenced by discourse and conversational analysis, pragmatics and critical linguistics, the sociology of Goffman and Garfinkel, and Habermas' concept of the public sphere. Certain to stimulate interest in a new way of analyzing the institutions of broadcasting as systems of communication, Broadcast Talk has appeal for students and scholars in communication studies, cultural studies, discourse studies, and linguistics.

On the evening of October 30, 1938, radio listeners across the United States heard a startling report of a meteor strike in the New Jersey countryside. With sirens blaring in the background, announcers in the field described mysterious creatures, terrifying war machines, and thick clouds of poison gas moving toward New York City. As the invading force approached Manhattan, some listeners sat transfixed, while others ran to alert neighbors or to call the police. Some even fled their homes. But the hair-raising broadcast was not a real news bulletin-it was Orson Welles's adaptation of the H. G. Wells classic The War of the Worlds. In Broadcast Hysteria, A. Brad Schwartz boldly retells the story of Welles's famed radio play and its impact. Did it really spawn a "wave of mass hysteria," as The New York Times reported? Schwartz is the first to examine the hundreds of letters sent to Orson Welles himself in the days after the broadcast, and his findings challenge the conventional wisdom. Few listeners believed an actual attack was under way. But even so, Schwartz shows that Welles's broadcast became a major scandal, prompting a different kind of mass panic as Americans debated the bewitching power of the radio and the country's vulnerability in a time of crisis. When the debate was over, American broadcasting had changed for good, but not for the better. As Schwartz tells this story, we observe how an atmosphere of natural disaster and impending war permitted broadcasters to create shared live national experiences for the first time. We follow Orson Welles's rise to fame and watch his manic energy and artistic genius at work in the play's hurried yet innovative production. And we trace the present-day popularity of "fake news" back to its source in Welles's show and its many imitators. Schwartz's original research, gifted storytelling, and thoughtful analysis make Broadcast Hysteria a groundbreaking new look at a crucial but little-understood episode in American history.

In The Oxbridge Evangelist: Motivations, Practices, and Legacy of C.S. Lewis, Michael Gehring examines the evangelistic practices of one of the most significant lay evangelists of the twentieth century. In the 1930s, his contemporaries would never have predicted the scope of the legacy that Lewis was to leave behind him. Although millions across the world have been influenced by Lewis's evangelical thought, Lewis scholarship has not paid sufficient attention to this crucial side of this multi-faceted author. The Oxbridge Evangelist examines Lewis's loss and recovery of faith, and it shows how his experience heightened his own awareness of the loss of the Christian faith in England. Because of his ability to identify with others, Lewis engaged in the work of evangelism with uncanny skill. This work required singular courage on his part; it cost him dearly professionally and in his relationships. Gehring critically explores Lewis's motivations, practices, and legacy of evangelism. In doing so he provides penetrating insight for those interested in the theory and practice of evangelism in a culture that too readily leaves it to the crazies of the Christian tradition or relegates it to the margins of church life.