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Audience theory offers explanations of how people encounter media, how they use it, and how it affects them. Although the concept of an audience predates modern media, [1] most audience theory is concerned with people’s relationship to various forms of media. There is no single theory of audience, but a range of explanatory frameworks.
Audience can be active (constantly filtering or resisting content) or passive (complying and vulnerable). Audience analysis emphasizes the diversity of responses to a given popular culture artifact by examining as directly as possible how given audiences actually understand and use popular culture texts.
Reader-response criticism argues that literature should be viewed as a performing art in which each reader creates their own, possibly unique, text-related performance. The approach avoids subjectivity or essentialism in descriptions produced through its recognition that reading is determined by textual and also cultural constraints. [ 3 ]
Name Definition Example Setting as a form of symbolism or allegory: The setting is both the time and geographic location within a narrative or within a work of fiction; sometimes, storytellers use the setting as a way to represent deeper ideas, reflect characters' emotions, or encourage the audience to make certain connections that add complexity to how the story may be interpreted.
A rhetorical situation is an event that consists of an issue, an audience, and a set of constraints. A rhetorical situation arises from a given context or exigence. An article by Lloyd Bitzer introduced the model of the rhetorical situation in 1968, which was later challenged and modified by Richard E. Vatz (1973) and Scott Consigny (1974).
While now used to discuss literature, the term tone was originally applied solely to music. This appropriated word has come to represent attitudes and feelings a speaker (in poetry), a narrator (in fiction), or an author (in non-literary prose) has towards the subject, situation, and/or the intended audience.
A value judgment definition of literature considers it as consisting solely of high quality writing that forms part of the belles-lettres ("fine writing") tradition. [14] An example of this is in the 1910–1911 Encyclopædia Britannica, which classified literature as "the best expression of the best thought reduced to writing". [15]
An unseen character in theatre, comics, film, or television, or silent character in radio or literature, is a character that is mentioned but not directly known to the audience, but who advances the action of the plot in a significant way, and whose absence enhances their effect on the plot. [1]