Shopping With Friends: Audience Perspectives on Television Shopping

Despite both the economic success and shear spectacle of television shopping, very little research has looked at what keeps millions of viewers tuned in to what could be considered nothing more than networks devoted to a constant stream of advertisements. Building on the theoretical framework of parasocial interactions, this article devises a typology of television shopping viewers based on in-depth interviews conducted with audience members that range from heavy to light in terms of their viewing patterns. Audience members fall into 3 different categories of viewer-shoppers: skeptical-ironic, practical-hesitant, and expert-compulsive. Each of these categories of viewer-shoppers negotiated different meanings of television shopping programming that challenge ideas about isolated individuals who turn to television shopping networks primarily for companionship.     

20世纪前半期中国文化形态学派的文化再建理论

中国化形态学派的化再建理论,过去一直重视不够。建设有中国特色的社会主义理论是一项系统的工程,化建设是其中一项重要的内容。重新审视化形态学派的化再建理论,不论从总结学术成果,还是从现代化建设的角度来说,都是有益的和必要的。     

良家婦女之不成家數的哀歌

經過前面兩節的討論,我們已可清楚地見到,在傳統文化中,婦女之寫作原是處在一個極為弱勢的地位.首先,作為一個女子,從一開始就失去了與男子一樣受同等教育之機會,即使幸而接受了教育,具有了寫作的能力,但是在以士人文化為中心的言志之詩的寫作中,婦女既根本不可能具有任何修、齊、冶、平的高遠志意,則其所寫的詩篇,自然就處在了弱勢的地位.     

Voices of Refugee Women: Adaptation and Identification

ABSTRACT

Refugees and other displaced people have been the object of much research related to how people are adapting. Few have focused specifically on women even though women and children are by far the majority of refugees in general and especially in Utah. One of the few focused on narratives of newly arrived women refugees. Narratives are an important method for hearing authentic lived experiences versus assuming researchers can know the answers. However, questions arose about how those narratives might change after being in the U.S. for a longer period of time. Eleven refugee women who had been in the U.S. longer than 10 years were interviewed for this study.

Narratives allowed us to present this scholarship in a way that is accessible to anyone. Five themes were found: language, education, family, assistance, and transition. These themes demonstrate both the resilience of the women and the difficulty and complexity of long-term adaptation.     

Resistance Re-Examined: Gender,Fan Practices,and Science Fiction Television

Studies of gender, science fiction television, and fan culture have often asserted that female fans resist patriarchy by negotiating cultural texts through such practices as fan fiction and interactive deliberation. This analysis holds that specific motivation and context must be considered to advance such a claim, especially in light of undercurrents of misogyny contributing to such phenomena as "slash" fan fiction authored by women and dealing with romances between male heroes. This study assesses the practices of fans, relevant text, and production factors in the context of particular, gender-related issues surrounding the series Farscape and Stargate SG-1, and finds that activities often thought to be emancipatory can, in fact, reproduce hegemony, and that fans sometimes appropriate resistive rhetoric in defense of hegemonic proclivities.     

一位近代西方来华女性的中国观——萨拉·康格和她的《北京信札》

萨拉·康格（Sarah Pike Conger）（《北京信札》（沈春蕾等译,南京出版社,2006年版）是一本值得玩味的书。该书与绝大多数西方来华人士的视角不同,因而看到了一个与众不同的中国,也表达了与众不同的中国观。     

Public and Popular: British and Swedish Audience Trends in Factual and Reality Television

The research in this article examines audience responses to a range of factual and reality genres. It takes as a starting point that television audiences do not experience news or documentary or reality TV in isolation but as part of a range of factual and reality programmes. Factual and reality programming includes a broad understanding of non-fictional programming on broadcast television, satellite, cable and digital television. The breakdown of factual and reality programming into specific genres includes news, current affairs, documentary, and reality programmes, with further sub genres applied within each of these categories. This article critically examines genre evaluation. The quantitative research in this article is based on two national representative surveys conducted in Britain and Sweden. In both Britain and Sweden, programme makers have moved towards a reliance on popular factual genres. In Britain this is across all channels, and in Sweden this is mainly concentrated on commercial channels. Whilst there is still a commitment to news, there is an increasing use of hybrid genres in an attempt to popularise factual output. The impact of this changing generic environment on audiences is that in both countries viewers have reacted by drawing a line between traditional and contemporary factual genres. It is precisely because of the redrawing of the factual map that viewers rely on traditional ways of evaluating genres as public and informative, or popular and entertaining. The data provides evidence that contributes to existing debate on television genre, public service broadcasting, and media literacy skills. The central argument in this article is that genre evaluation is connected with wider socio-cultural discourses on public service broadcasting and popular culture, and that these are common social and cultural values that are shared by national audiences in two Northern European countries.