The relation of the speaker to his audience

In The Taming of the Shrew, Shakespeare utilizes Elizabethan fashion not only as a staging device to furnish spectacle and add color, but also to provide meaning. Examined in relationship to Henri Bergson's theory of comedy, the play provides an example of Shakespeare's use of fashion and its function in society as a comedic device in the shaping of plot, character, and thought.     

The relation between sense of audience and specific learning disabilities: An exploration

The relationship between two college-able learning-disabled writers’ unique social and cognitive profiles and the sense of audience in their written texts is explored. The first student demonstrated significant visual and organizational cognitive processing deficits. The second student had deficits in oral language comprehension and production. While the writing of both students was affected by their disabilities, our findings suggest that the quality of their audience awareness is indeed related to the nature of their specific learning disability profile.     

Keeping your audience in mind: applying audience analysis to the design of interactive score reports

Score reports have one or more intended audiences: the people who use the reports to make decisions about test takers, including teachers, administrators, parents and test takers. Attention to audience when designing a score report supports assessment validity by increasing the likelihood that score users will interpret and use assessment results appropriately. Although most design guidelines focus on making score reports understandable to people who are not testing professionals, audiences should be defined by more than just their lack of statistical knowledge. This paper introduces an approach to identifying important audience characteristics for designing computer-based, interactive score reports. Through three examples, we demonstrate how an audience analysis suggests a design pattern, which guides the overall design of a report, as well as design details, such as data representations and scaffolding. We conclude with a research agenda for furthering the use of audience analysis in the design of interactive score reports.     

话剧《雷雨》的会话含义分析

话剧《雷雨》是中国现代著名剧作家曹禺的代表作,其语言艺术体现了一代剧作家的风格,也反映了时代语境的面貌。从语用学的角度,运用会话含义理论分析该剧作的语用特征和解析《雷雨》的语言艺术。     

The effects of audience pleasantness,audience familiarity,and speaking contexts on public speaking anxiety and willingness to speak

Two potential sources of anxiety about public speaking cited in previous research are audience pleasantness and audience familiarity. More familiar audiences, as well as more pleasant ones, usually evoke less anxiety, but research has shown some exceptions to this general rule. In addition, it is expected that as audiences become more pleasant and familiar, individuals would be more willing to speak. Ninety‐five university students each evaluated six situations, in which three levels of audience familiarity (strangers, acquaintances, and friends) were crossed with two levels of audience pleasantness (pleasant and unpleasant). Each student made their ratings with reference to one of three speaking contexts (academic, social, or professional). Using split‐plot ANOVA, a significant three way interaction was obtained for both willingness to speak and public speaking anxiety. In general, pleasantness exerted a stronger effect than familiarity. An audience composed of pleasant friends was the most preferred audience type in both the academic and social contexts. It is argued that previous research demonstrating conflicting effects of audience familiarity may have been generating different expectations for the anticipated pleasantness of the audience.     

Debating foe the audience

THE PRONUNCIATION OF ENGLISH IN NEW YORK CITY: CONSONANTS AND VOWELS. By Allan Forbes Hubbell. New York: King's Crown Press (a division of Columbia University Press), 1950; pp. 159. $2.75.

THE PHONEME. By Daniel Jones. Cambridge: W. Heffer and Sons, Ltd., 1950; pp. xvi+267. $3.50.

FIFTY FABULOUS YEARS. By H. V. Kaltenborn. New York: G. P. Putnam's Sons, 1950; pp. viii+312. $3.50.

GERRIT J. DIEKEMA, ORATOR. By William Schrier. Grand Rapids: Wm. B. Eerdmans Publishing Co., 1950; pp. xviii+269. $3.50.

THE LETTERS OF ROBERT G. INGERSOLL. By Eva Ingersoll Wakefield. New York: Philosophical Library, 1951; pp. xii+747. $7.50.

BRITISH PRIME MINISTERS OF THE NINETEENTH CENTURY: Policies and Speeches. By Joseph Hendershot Park. New York: New York University Press, 1950; pp. xii+377. $4.75.

THE HINGE OF FATE. By Winston S. Churchill. Boston: Houghton Mifflin Company, 1950; pp. xvi+1000. $6.00.

EUROPE UNITE: SPEECHES 1947 and 1948. By Winston S. Churchill. Boston: Houghton Mifflin Company, 1950; pp. ix+506. $5.00.

THE LINCOLN TREASURY. Compiled by Caroline Thomas Harnsberger. Chicago, New York, and Toronto: Wilcox and Follett Co. 1950; pp. ix+372. $5.00.

INTERACTION PROCESS ANALYSIS: A METHOD FOR THE STUDY OF SMALL GROUPS. By Robert F. Bales. Cambridge, Massachusetts: Addison‐Wesley Press; pp. 203. $6.00.

SMALL TOWN RENAISSANCE: A STORY OF THE MONTANA STUDY. By Richard Waverly Poston. New York: Harper &; Brothers, 1950; pp. x+231. $3.00.

PUBLIC OPINION AND POLITICAL DYNAMICS. By Marbury Bladen Ogle, Jr. New York: Houghton Mifflin Company, 1950; pp. iv+363. $3.50.

CONSTRUCTING A PLAY. By Marian Gallaway. New York: Prentice‐Hall, Inc., 1950; pp. xix+380. $3.00.

THEATRE ARTS ANTHOLOGY. Edited by Rosamond Gilder, Hermine Rich Isaacs, Robert M. MacGregor, and Edward Reed. New York: Theatre Arts Books, 1950; pp. xvi+687. $5.00.

THE ROYAL PLAY OF MACBETH. When, Why, and How It Was Written by Shakespeare. By Henry N. Paul. New York: The Macmillan Company, 1950; pp. x+438. $6.00.

G.B.S. A POSTSCRIPT. By Hesketh Pearson. New York: Harper &; Brothers, 1950; pp. x+137. $2.75.

MUSICAL COMEDY IN AMERICA. By Cecil Smith. New York: Theatre Arts Books, 1950; pp. 374. $5.00.

STILL SEEING THINGS. By John Mason Brown. New York: McGraw‐Hill Book Company, Inc., 1950; pp. ix+335. $3.75.

PLAY PRODUCTION. By Henning Nelms. New York: Barnes and Noble, 1950; pp. 301. $3.25 (paper, $1.50).

THE LONDON THEATRE IN THE EIGHTEEN‐THIRTIES. By Charles Rice. Edited by Arthur Colby Sprague and Bertram Shuttleworth. London: Printed for the Society for Theatre Research, 1950; pp. vii+86.

DRESSING THE PART. A History of Costume for the Theatre. By Fairfax Proudfit Walk‐up. (Revised Edition). New York: Appleton‐Century‐Crofts, Inc., 1950; pp. 423. $5.00.

STAGE MAKE‐UP. By Yoti Lane. Minneapolis: Northwestern Press, 1950; pp. 188. $2.50.

HANDBOOK OF BROADCASTING: THE FUNDAMENTALS OF AM, FM, FAX, AND TV. By Waldo Abbot. New York: McGraw‐Hill, 1950; pp. 494. $5.00.

BEGINNING RADIO PRODUCTION. By Melvin R. White. Minneapolis: The Northwestern Press, 1950; pp. 208. $3.00.

MICROPHONE TECHNIQUE FOR RADIO ACTORS. By Melvin R. White. Minneapolis: The Northwestern Press, 1950; pp. 54. $.60.

RADIO SCRIPTS FOR PRACTICE AND BROADCAST. By Melvin R. White. Minneapolis: 1950; pp. 208. $1.00.

ESSAYS IN TEACHING. Edited by Harold Taylor. New York: Harper &; Brothers; pp. ix+239. $3.00.

THIS IS TEACHING. By Marie I. Rasey. New York: Harper &; Brothers; pp. xi+217. $3.00.

HOW IT FEELS TO BE A TEACHER. By Mary V. Holman. New York: Bureau of Publications, Teachers College, Columbia University, 1950; pp. 207. $3.25.

PREACHING IN THE GREAT TRADITION. Neglected Chapters in the History of Preaching. The Samuel A. Crozer Lectures for 1949. By Ray C. Petry. Philadelphia: The Westminster Press, 1950; pp. 122. $2.00.

THE RISE OF WORDS AND THEIR MEANINGS. By Samuel Reiss. New York: Philosophical Library, 1950; pp. 301. $3.75.

THE MAKING AND MEANING OF WORDS: A COMPANION TO THE DICTIONARY. By G. H. Vallins. London: Adam and Charles Black (Macmillan import), 1949; pp. 216. $1.75.

DICTIONARY OF FOREIGN WORDS AND PHRASES. Edited by Maxim Newmark. New York: Philosophical Library, 1950; pp. iii+245. $6.00.     

Adjusting the amount and level of information to one's audience

This paper reports an attempt to identify the amount and level of information that can be usefully imparted in thirty-minute broadcasts. The study is reported in three stages. The first introduces a new methodology to overcome the usual problem of results being too situation-specific. This involves the use of concepts derived from the psychology of skills, information theory and studies of human learning. The second stage illustrates the possibility of predicting subjective estimates of attainment by combining independently obtained measures of knowledge gap, aptitude and overall presentation difficulty. The third stage isolates the various factors which influence individuals' perceptions of overall presentation difficulty. Suggestions are made for the practical use of these findings in any single-exposure communication. Tables are also provided from which to read off the required level of presentation difficulty if a given level of attainment is to be achieved.     

观众学角度分析《幸福终点站》后期制胜的原因

《幸福终点站》出品于2004年,由斯蒂芬·斯皮尔伯格导演,汤姆·汉克斯、凯瑟琳·泽塔-琼斯主演,但这个拥有强大的明星阵容的电影在当年却反响平平,票房低迷。而十年后的今天,《幸福终点站》早已被观众所熟知,赫然列入各类推荐电影榜单,评分也居高不下,显然成了经典影片,本文则着力从观众学角度分析其后期制胜的原因。     

观众心理与戏曲审美建构

戏曲的文本传播与场上传播所派生的命题是案头之作与舞台之作。它们在差异和联系中互动，其联结点是观众心理学。观众心理是左右戏曲审美建构无形而巨大的抓手。研究戏曲美学必须加入观众心理这一维。中国观众的命运关怀心理、趣味性心理、观赏性心理、满足性心理等，规范和导引着戏曲的审美对象、方向、方式和形态。观众心理具有组合性、流变性、调控性等特征，它是一柄双刃剑，具有正负面价值；其反馈和制约、调节功能成为戏曲综合性审美机制及其诸种审美特征的重要基础，也形成了中国戏曲活力和情力的双重性质。     

动画向戏剧艺术汲取戏剧元素的可行性探讨

让作品富有戏剧性,无疑是动画孜孜以求的目标。许多动画片由于具有了某些戏剧性元素(如我国动画片《哪吒闹海》、美国动画片《花木兰》等具有的戏剧性叙事方式)而倍受观众亲睐。可动画怎样才能具有戏剧性元素?可不可以直接向戏剧艺术汲取?本文对这种可行性进行了深入探讨,认为从戏剧的矛盾冲突构置法、舞台动作演示法、独特语言体现法及虚拟动作表现法等方面着手,并注重四种关系的处理,是个较为可行和有效的办法。     

话语概念在戏剧文体分析中的应用

本文从跨学科的视角出发，在文体学，语用学和语篇分析相结合的基础上提出了基于话语概念的文体分析模式。并以文学批评和文体学研究涉及得最少的文学体裁——戏剧——为研究对象，指出应该重视戏剧文本的多重属性，把长期以来被传统的文学批评、戏剧批评和文学问题研究所忽视的戏剧语言——舞台指令一纳入戏剧文体研究的范围之内。最后，本文还指出，基于话语概念的戏剧文体研究表明了语言学领域的两个发展新趋势：文学与非文学的概念区别趋于模糊；文体学，话语分析以及修辞学的跨学科界限日趋模糊，并互为所用。     

试析元杂剧中的雅俗复合现象

元杂剧作为一代之文学值得我们去深刻探析,其作品的雅俗共赏性是值得我们探究的一大亮点。元代文人在雅俗文化交错融合的影响下创作了元杂剧,又因元杂剧中人物形象的雅俗叠加性推动了雅俗文学的进一步融合。特定时代的特定文学使得我们从作品和社会文化两方面来看其雅俗复合现象。