How do speakers design what they say in order to communicate effectively with groups of addressees who vary in their background knowledge of the topic at hand? Prior findings indicate that when a speaker addresses a pair of listeners with discrepant knowledge, that speakers Aim Low, designing their utterances for the least knowledgeable of the two addressees. Here, we test the hypothesis that speakers will depart from an Aim Low approach in order to efficiently communicate with larger groups of interacting (...) partners. Further, we ask whether the cognitive demands of tracking multiple conversational partners' perspectives places limitations on successful audience design. We find that speakers can successfully track information about what up to four of their partners do and do not know in conversation. When addressing groups of 3–4 addressees at once, speakers design language based on the combined knowledge of the group. These findings point to an audience design process that simultaneously represents the perspectives of multiple other individuals and combines these representations in order to design utterances that strike a balance between the different needs of the individuals within the group. (shrink)

In public communication contexts, such as when a company announces the proposal for an important organizational change, argumentation typically involves multiple audiences, rather than a single and homogenous group, let alone an individual interlocutor. In such cases, an exhaustive and precise characterization of the audience structure is crucial both for the arguer, who needs to design an effective argumentative strategy, and for the external analyst, who aims at reconstructing such a strategic discourse. While the peculiar relevance of multiple (...) class='Hi'>audience is often emphasized in the argumentation literature and in rhetorical studies, proposals for modelling multi-audience argumentative situations remain scarce and unsystematic. To address this gap, we propose an analytical framework which integrates three conceptual constructs: Rigotti and Rocci’s notion of communicative activity type, understood as the implementation of an interaction scheme into a piece of institutional reality, named interaction field; the stakeholder concept, originally developed in strategic management and public relations studies to refer to any actor who affects and/or is affected by the organizational actions and who, accordingly, carries an interest in them; the concept of participant role as it emerges from Goffman’s theory of conversation analysis and related linguistic and media studies. From this integration, we derive the notion of text stakeholder for referring to any organizational actor whose interest becomes an argumentative issue which the organizational text must account for in order to effectively achieve its communicative aim. The text stakeholder notion enables a more comprehensive reconstruction and characterization of multiple audience by eliciting the relevant participants staged in a text and identifying, for each of them, the interactional role they have, the peculiar interest they bear and the related argumentative issue they create. Considering as an illustrative case the defense document issued by a corporation against a hostile takeover attempt made by another corporation, we show how this framework can support the analysis of strategic maneuvering by better defining the audience demand and, so, better explaining how real arguers design and adapt their topical and presentational choices. (shrink)

Many experiences of shame centrally involve exposure. This has suggested to a number of writers that shame is essentially a social emotion that involves being exposed to the view or appraisal of an audience—call this the Audience Thesis. Others reject the Audience Thesis on the basis of private experiences of shame that seem to involve no exposure. This disagreement marks a basic fault line in theorizing about shame. I develop and explore a simple but effective way to (...) shield the Audience Thesis from the private shame objection, by understanding the notion of an audience in a very minimal way. Rather than conceiving of the audience in terms of an other whose appraisal is an element in shame, we can conceive of shame generally as a response to appraisals of the subject—either by others or by the subject herself. On this view, shame requires an audience in the sense that it is not a first-order self-appraisal—like disappointment in or disapproval of oneself—but rather an appraisal of appraisals. This approach yields substantial benefits: it renders the private shame objection harmless; it explains why exposure cases strike us as particularly paradigmatic instances of shame; it clarifies what is happening when we feel shame before appraisals with which we do not agree; it helps to understand how it may be possible to feel shame in the face of neutral or even positive appraisals; and it captures a significant but neglected sense in which shame might be considered a social emotion. (shrink)

This paper discusses the fundamental sense in which the components of an argument should be relevant to the intended audience. In particular, the evidence advanced should be relevant to the facts and assumptions that are manifest in the cognitive environment of the audience. A version of Sperber and Wilson's concept of the cognitive environment is applied to argumentative concerns, and from this certain features of audience-relevance are explored: that the relevance of a premise can vary with the (...) audience; that irrelevant premises can be made relevant; that evidence can be relevant by degrees; and that this notion of relevance will assist the argumentation analyst in the identification and assessment of hidden premises. (shrink)

The role of audiences in mathematical proof has largely been neglected, in part due to misconceptions like those in Perelman and Olbrechts-Tyteca which bar mathematical proofs from bearing reflections of audience consideration. In this paper, I argue that mathematical proof is typically argumentation and that a mathematician develops a proof with his universal audience in mind. In so doing, he creates a proof which reflects the standards of reasonableness embodied in his universal audience. Given this framework, we (...) can better understand the introduction of proof methods based on the mathematician’s likely universal audience. I examine a case study from Alexander and Briggs’s work on knot invariants to show that we can fruitfully reconstruct mathematical methods in terms of audiences. (shrink)

In recent discussions on contextualism and relativism, some have suggested that audience-sensitivity motivates a content relativist version of radical relativism, according to which a sentence as said at a context can have different contents with respect to the different perspectives from where it is assessed. The first aim of this note is to illustrate how this is not so. According to Egan himself, the phenomenon motivates at least refinement of the characteristic moderate contention that features of a single context (...) determine the appropriate truth-value of the sentence. The second aim of this note is to explore how this may not be so. (shrink)

Some of the literature about teaching issues of race and racism in classrooms has addressed matters of audience. Zeus Leonardo, for example, has argued that teachers should use the language of white domination, rather than white privilege, when teaching about race and racism because the former language presupposes a minority audience, while the latter addresses an imaginary or presupposed white one. However, there seems to be little discussion in the literature about teaching these issues to an audience (...) that is in fact predominantly minority. Leonardo assumes that minority students need little convincing about the reality of white domination, but students of color are not a monolithic group. The paper addresses some specific challenges the author has faced teaching theories of white domination to a predominantly minority student audience in New York City. Leonardo is right that audience matters, but audience turns out to matter in ways that defy common assumptions. (shrink)

I do not want to be misunderstood as saying that the cultural situation I describe here caused Reagan, or that it typifies Reaganism, or that everything about it can be ascribed or referred back to the personality of Ronald Reagan. What I argue is that a particular situation within the field we call "criticism" is not merely related to but is an integral part of the currents of thought and practice that play a role within the Reagan era. Moreover, I (...) think, "criticism" and the traditional academic humanities have gone through a series of developments over time whose beneficiary and culmination is Reaganism. Those are the gross claims that I make for my argument.A number of miscellaneous points need to be made here. I am fully aware that any effort to characterize the present cultural moment is very likely to seem quixotic at best, unprofessional at worst. But that, I submit, is an aspect of the present cultural moment, in which the social and historical setting of critical activity is a totality felt to be benign , uncharacterizable as a whole and somehow outside history. Thus it seems to me that one thing to be tried–out of sheer critical obstinacy–is precisely that kind of generalization, that kind of political portrayal, that kind of overview condemned by the present dominant culture to appear inappropriate and doomed from the start.It is my conviction that culture works very effectively to make invisible and even "impossible" the actual affiliations that exist between the world of ideas and scholarship on the one hand, and the world of brute politics, corporate and state power, and military force, on the other. The cult of expertise and professionalism, for example, has so restricted our scope of vision that a positive doctrine of noninterference among fields has set in. This doctrine has it that the general public is best left ignorant, and the most crucial policy questions affecting human existence are best left to "experts," specialists who talk about their specialty only, and–to use the word first given wide social approbation by Walter Lippman in Public Opinion and The Phantom Public–"insiders," people who are endowed with the special privilege of knowing how things really work and, more important, of being close to power1.1. See Ronald Steel, Walter Lippmann and the American Century , pp. 180-85 and 212-6. (shrink)

A common theme conspicuously emerges from the few translated and published narratives of Vietnamese who participated in resistance against French colonialism in the 1950s. These narratives tend to identify moments of being an audience member to theater as having significant roles in these individuals’ political awakening and desire to sacrifice themselves for anticolonial struggle. Drawing on these narratives, this essay shows how some audience members engage in an empowering kind of political theorizing that elicits cross-cultural revelation, is progressive, (...) generates feelings of solidarity, and inspires them to engage in political action. In showing how being an audience member can lead to revolutionary action, these cases exceed the expectations of theorists of revolutionary theater such as Bertolt Brecht and Augusto Boal. They also offer a direct refutation of Jean-Jacques Rousseau’s famous claim that being an audience member at a theatrical performance is politically and morally enervating. (shrink)

This paper aims to explore the changes that representative democracy is experiencing as a result of the transformation of communication channels. In particular, it focuses on non-electoral representation in the form of movements that emerged throughout the 2010s and that were defined by a strong social media presence (e.g. Occupy Wall Street, Black Lives Matter, #MeToo, Yellow Vests). Despite not attempting to gain political power via elections, these movements, through online and offline activities, nonetheless managed to shape the realm of (...) politics. The paper thus analyzes the movements’ inner representative dynamics and the ways they reshape representative democracy. It engages with a critical reading of Hanna Pitkin’s concept of symbolic representation and draws on Michael Saward’s framework of the representative claim to reevaluate Bernard Manin’s notion of “audience” democracy as today’s form of representative government. The argument is that, as digital development provides citizens with less demanding modes of political participation and platforms of representative claim-making, it enhances the sphere of opinion formation and the role of non-electoral representation. This sphere entails a tendency towards a re-depersonalization of politics, thus leading towards the transformation of “audience” democracy. (shrink)

How does intentional communication evolve? Comparative studies can shed light on the evolutionary history of this relevant feature of human language and its distribution before modern humans. The current animal literature on intentional signaling consists mostly of ape gestural studies with evidence of subjects persisting and elaborating with sometimes arbitrary signals toward a desired outcome. Although vocalizations can also have such imperative qualities, they are typically produced in a functionally fixed manner, as if evolved for a specific purpose. Yet, intentionality (...) can sometimes transpire even in functionally fixed calls, for example, if production is adapted to audience composition. In this study, we carried out field experiments to test whether free-ranging sooty mangabeys adjusted snake alarm call production to their audiences. We found a positive relation between alarm call production and naïve individuals arriving, suggesting that callers attempted to influence their behaviors relative to the snake. Subjects called more with smaller audiences, if they had not heard other calls before, and if socially important individuals were in the area. We concluded that sooty mangabeys alarm call production can be explained as an active attempt to refer to an external event, rather than a mere readout of an internal state. (shrink)

Scientists, their allies, and opponents engage in struggles not just over what is true, but who may validate, access, and engage contentious knowledge. Viewed through the metaphor of theater, science is always performed for an audience, and that audience is constructed strategically and with consequence. Insights from theater studies, the public understanding of science, and literature on boundary work and framing contribute to a proposal for a framework to explore the construction of audiences during scientific controversy, consisting of (...) three parameters: history, composition, and role. Applying this framework to the controversy over the presence of genetically modified maize in Mexico demonstrates how multiple and contested audiences form during a scientific controversy. Different scientific ?productions? construct distinct or overlapping audiences; audiences constructed at one time become ?easy recruits? for later stages of the controversy; and the various roles cast for different audiences showcase strategies for building scientific power and reflect assumptions about the capacity for publics to participate in the governance and production of science. (shrink)

The right of audience, in common law, is the right of a lawyer to represent a client in a court. Royalty, the Pope and some Presidents grant audiences. What does the power to grant an audience consist in? And what does it mean to demand an audience? Through a reading of the way in which the vocabulary of theatre, acting and audience is involved in the generation of a theory of state by Hobbes and Rousseau, this (...) paper looks to reopen these questions as a political resource for us to re-imagine and refigure our ways of being together. Through readings of Hobbes and Rousseau, it looks at the ways in which the performance of politics creates the public, the representative and the sovereign and the ways these figures interact. It proposes an alternative role for theatre as places of affective learning and a civic ethics of playfulness, in which the auto-institution of the state as an imagined collectivity is fully assumed. nema. (shrink)

This paper argues against the conception of sport as theatre. Theatre and sport share the characteristic that play is set in a conventionally-defined hypothetical reality, but they differ fundamentally in the relative importance of audience and the narrative point of view. Both present potential for participants for development of selfhood through play and its personal possibilities. But sport is not essentially tied to audience as is theatre. Moreover, conceptualising sport as a form of theatre valorises the spectator’s narrative (...) as normative for sport experience over that of the participant athlete or player, eliding player experience. Imposition of external narratives over experience risks fossilising interpretation and inhibits the beneficial effects of play for self-realisation, especially as a form of self-examination and creation through internal self-narrative. (shrink)

Existing evidence suggests that children from around the age of 8 years strategically alter their public image in accordance with known values and preferences of peers, through the self-descriptive information they convey. However, an important but neglected aspect of this 'self-presentation' is the medium through which such information is communicated: the voice itself. The present study explored peer audience effects on children's vocal productions. Fifty-six children were presented with vignettes where a fictional child, matched to the participant's age and (...) sex, is trying to make friends with a group of same-sex peers with stereotypically masculine or feminine interests. Participants were asked to impersonate the child in that situation and, as the child, to read out loud masculine, feminine and gender-neutral self-descriptive statements to these hypothetical audiences. They also had to decide which of those self-descriptive statements would be most helpful for making friends. In line with previous research, boys and girls preferentially selected masculine or feminine self-descriptive statements depending on the audience interests. Crucially, acoustic analyses of fundamental frequency and formant frequency spacing revealed that children also spontaneously altered their vocal productions: they feminized their voices when speaking to members of the ballet club, while they masculinized their voices when speaking to members of the rugby club. Both sexes also feminized their voices when uttering feminine sentences, compared to when uttering masculine and gender-neutral sentences. Implications for the hitherto neglected role of acoustic qualities of children's vocal behaviour in peer interactions are discussed. This article is part of the theme issue 'Voice modulation: from origin and mechanism to social impact '. (shrink)

Communicating with multiple addressees poses a problem for speakers: Each addressee necessarily comes to the conversation with a different perspective—different knowledge, different beliefs, and a distinct physical context. Despite the ubiquity of multiparty conversation in everyday life, little is known about the processes by which speakers design language in multiparty conversation. While prior evidence demonstrates that speakers design utterances to accommodate addressee knowledge in multiparty conversation, it is unknown if and how speakers encode and combine different types of perspective information. (...) Here we test whether speakers encode the perspective of multiple addressees, and then simultaneously consider their knowledge and physical context during referential design in a three‐party conversation. Analyses of referential form—expression length, disfluency, and elaboration rate—in an interactive multiparty conversation demonstrate that speakers do take into consideration both addressee knowledge and physical context when designing utterances, consistent with a knowledge‐scene integration view. These findings point to an audience design process that takes as input multiple types of representations about the perspectives of multiple addressees, and that bases the informational content of the to‐be‐designed utterance on a combination of the perspectives of the intended addressees. (shrink)

Since the late nineteenth century, studies of Ammianus’ audience have reached widely divergent conclusions. Research has focused on two opposed theses: while some scholars have seen the pagan senatorial aristocracy as the audience of the Res Gestae, others have assigned that role to the imperial bureaucracy. However, in thinking that a work could reach—or target—exclusively the members of a specific social group, the prevalent views on Ammianus’ audience contradict what we know about the circulation of books in (...) the late Roman world. In contrast to previous research, this study proposes a new approach based on an analysis of the information available on book circulation in Ammianus’ time. This analysis shows that the audience of the Res Gestae was most likely socially diverse. (shrink)

Sovereigns, students and common people have been suggested as the intended audiences of Leviathan. No one of these groups can be singled out. Rather, Hobbes sought an audience beyond even that of his printed words. This reflects Hobbes's growing concern with the ‘corruption’ of the people, a concern which was spurred on by the events of the Civil War. While his attempt to undo or forestall corruption does not undermine his claims to having developed the ‘science of just and (...) unjust’, it does suggest that Hobbes's science is more than ‘infallible rules and the true science of equity and justice’. (shrink)

This paper theorises and exemplifies the place of audience labour in the propagation of Discourse and discourses. Audience labour is simply the work of people engaged in mediation processes as they gather themselves into groups defined by specific media events (sport, music, news, movies and so on). It compares the environments and practices of the mass media era and those of the current era to show that the most economically valuable work in media is done by audiences, and (...) that that work is becoming more direct in its orientation and effects, even as it gets cheaper for advertisers and more immersive for audience members. A social media view of audience labour shows up the intensely intimate nature of personal commodification: feelings, attitudes, opinions, outrages, general states of mind and being are all grist for the digital economy mill. Outrage systems are especially profitable. They provide grounds for what I call ‘discourse industrial sectors’, or, those groups of people making a living and sometimes a fortune fighting on one side or another of the so-called culture wars. I argue for a conception of rhetorical purpose as a guide for analysing current media environments that depend on social media. (shrink)

Consider how your consumption would change if you were stranded on a deserted island. Isolation would eliminate all social influences on your consumption decisions, even for the same choice set. You might decide not to consume cosmetics, curtains, or neckties, and pay less attention to the style or color of your clothes, car, or furniture. These choices might not matter as much to you anymore, for you would not have to consider the reactions of other individuals to your consumption. Similarly, (...) isolation would also eliminate social influences on your speech. Absent an audience, your choice of words would not be subject to the judgments of others. (shrink)

Metaphors abound in descriptions of the COVID-19 pandemic: it is described, among other things, as a war, a flood, and a marathon. However, not all metaphors may resonate equally well with members...

In this paper I introduce, elaborate, and defend a new form of ethical reasoning instruction. The pedagogy, which I have titled mass-audience interactive narrative ethical reasoning instruction, is an initiative designed to teach ethical reasoning effectively on a broad scale over an extended period of time. The hope is that such a program, if duly supported, will help to ensure the widest possible engagement, and high levels of retention, in an institution-level program of ethical reasoning.

Flow describes a state of intense experiential involvement in an activity that is defined in terms of nine dimensions. Despite increased interest in understanding the flow experience of musicians in recent years, knowledge of how characteristics of the musician and of the music performance context affect the flow experience at the dimension level is lacking. In this study, we aimed to investigate how musicians’ general music performance anxiety level and the presence of an audience influence the nine flow dimensions. (...) The participants were 121 university music students who performed solo a music piece once by themselves and once in front of an audience. Their general MPA level was measured with an adapted version of the STAI and ranged from 27 to 76. The level of the nine flow dimensions was assessed with the Flow State Scale-2 after each performance. The levels of “concentration on task at hand,” “sense of control,” and “autotelic experience” decreased significantly with increasing general MPA level. The levels of “unambiguous feedback” and “loss of self-consciousness” decreased significantly with increasing general MPA level during the public performance only. The level of “sense of control” was significantly lower during the public performance than the private performance across participants. The level of “unambiguous feedback” was significantly lower during the public performance than the private performance for participants with a general MPA level higher than 47. The level of “loss of self-consciousness” was significantly lower during the public performance than the private performance for participants with a general MPA level higher than 32. In contrast, the general MPA level and the audience did not significantly affect the levels of “challenge-skill balance,” “clear goals,” and “action-awareness merging.” These results show that the effects of general MPA level and audience vary greatly across flow state dimensions. We conclude that musicians’ flow state should be analyzed at the dimension level rather than as a global score. We discuss how our findings could inform the development and implementation of interventions. (shrink)

ABSTRACT This article advances a novel way of understanding humor and stand-up comedy. I propose that the relationship between the comedian and her audience is understood by way of trust, where the comedian requires the trust of her audience for her humor to succeed. The comedian may hold the trust of the audience in two domains. She may be trusted as to the form of the humor, such as whether she is joking. She may also be trusted (...) as to the content of the joke. This approach has two distinct virtues. The first is that it makes sense of partial successes. These are cases where the humor neither completely succeeds nor fails because the audience does not fully trust the comedian. The second is that it explains intuitions about ethically dubious humor and why certain classes of humor, especially those dealing in racialized and gendered identities, are more readily accepted from humorists of those identities. (shrink)

People may exhibit two kinds of modifications when demonstrating action for others: modifications to facilitate bottom‐up, or sensory‐based processing; and modifications to facilitate top‐down, or knowledge‐based processing. The current study examined actors' production of such modifications in action demonstrations for audiences that differed in their capacity for intentional reasoning. Actors' demonstrations of complex actions for a non‐anthropomorphic computer system and for people (adult and toddler) were compared. Evidence was found for greater highlighting of top‐down modifications in the demonstrations for the (...) human audiences versus the computer audience. Conversely, participants highlighted simple perceptual modifications for the computer audience, producing more punctuated and wider ranging motions. This study suggests that people consider differences in their audiences when demonstrating action. (shrink)

All drama is meant to be heard by an audience, so that there is a sense in which any utterance in a play may be called audience address. It is possible, however, to draw a distinction between on the one hand the kind of drama in which the presence of an audience is acknowledged by the actors—either explicitly by direct address or reference to the audience, or implicitly by reference to the theatrical nature of the action (...) the actors are undertaking, or by a combination of some or all of these elements—and on the other hand the kind of drama in which such a presence is not acknowledged, where the actors maintain the pretence that they are enacting a real as distinct from a theatrical event. (shrink)

This lecture explores the boundaries between audiences and actors, and what happens when audiences interact with actors and their characters. Its illustrative case is Desdemona's response to Othello. When Desdemona marries Othello she crosses the boundary from audience world to the world of fiction. In so doing, she initiates a structure in which things that should be kept separate merge: genre, language, characters, plots. The mergings are consistently coded as theatrical: this is a tragedy of theatre boundaries gone wrong. (...) Psychologist Edward Bullough's argument from 1912 about distance in the theatre provides the theoretical framework for this lecture to explore the problems when audiences do not keep stage. (shrink)

The problem of internal audience is thus that no such audience exists, that the X or abstract boundary of intentionality to which we want to give the name audience cannot be described in the terms of a world in which audiences listen to utterance. For that is the world that is annihilated in our objective comprehension of the work, and the X becomes the sole reality. Yet the only terms available to us to describe the reality that (...) is the work must be taken from the only world we know, and the only escape from theoretical confusion is to see that such terms have, in their new use, a purely analogous function, that they draw on the world only as an unreal analogy of the X that is real. I'm not certain that Rabinowitz's discussion of Pale Fire is in any way central to his "four audience" theory, but I'd like to end by saying that it misses an essential point. William C. Dowling is an associate professor of English at the University of New Mexico and the author of The Boswellian Hero. (shrink)

La mesure d'audience est au coeur de l'activité des médias dits de masse: elle sert de référence pour quantifier les auditoires et s'impose comme mode de consultation du public. Le présent numéro d'Hermès présente tout d'abord les systèmes de mesure d'audience des différents médias , mettant en évidence que l'audience est le résultat d'un ensemble de contraintes et d'un consensus toujours fragile entre les partenaires concernés. La deuxième partie, plus particulièrement centrée sur la télévision généraliste, analyse les (...) effets de la concurrence sur les programmes et les programmations. La partie suivante s'interroge sur la validité de l'audience comme moyen de connaissance des publics, et sur la possibilité de créer d'autres types de liens avec le téléspectateur. Enfin, la spécificité d'Internet par rapport aux médias traditionnels permet d'affirmer que la mesure d'audience n'y jouera sans doute jamais le rôle central, un nouveau mode de relation s'instaurant avec l'usager.Audience research is at the centre of mass media activity: it serves as a reference to quantify viewers and are considered to be THE way to survey audiences. This issue of Hermes first presents different audience rating systems used by the media , emphasizing the fact that the audience is the result of many constraints and of an invariably weak consensus between the partners concerned. The second part focuses more particularly on traditional TV channels, analyses the effects of competition on schedules and programming. The section that follows questions the validity of the audience as a means of getting to know viewers and also questions the possibility of creating other types of links with the viewer. Finally, the specificity of the Internet as opposed to more "traditional" media leads us to observe that audience rating might never play a central role in this media since a new type of relations is being created with users. (shrink)

In this article Goffman's theories on participation framework and change in footing are applied to discursive material from the South African Truth and Reconciliation Commission. The main finding is that a discursive setting such as the public hearings of a truth and reconciliation commission can be highly intricate and layered when considering the role of the various discourse participants. The testifying victims, the TRC commissioners and the audience engaged in various forms of subordinate communication — byplay, crossplay and sideplay (...) — in addition to the standardized and expected interaction between victims and commissioners. This tells us that face-to-face talk should not be regarded as the prototypical participation framework, even not in a highly stage-managed discursive setting. Moreover, by paying attention to the co-presence of also a `virtual' audience, the Goffmanian framework is taken beyond its confines of only discussing interaction between discourse participants who are physically present in a speech situation. In the end, each of the discourse participants tried to exploit the possibilities offered by this complex framework, thus adding to the impact the TRC had on South African society at large. (shrink)

In Republic X, the “problem of the irrational part” is this: Greek tragedy interacts with non-reasoning elements of the soul, affecting audiences in ways that undermine their reasoned views about virtue and value. I suggest that the common construal of Socrates’s critique of Greek tragedy is inadequate, in that it belies key elements of Plato’s audience psychology; specifically, the crucial role of the spirited part and the audience’s cognitive contribution to spectatorship. I argue that Socrates’s emphasis on the (...) audience’s cognitive contribution to spectatorship allows him to anticipate a non-authoritarian solution to the problem of the irrational part. (shrink)

Some of the literature about teaching issues of race and racism in classrooms has addressed matters of audience. Zeus Leonardo, for example, has argued that teachers should use the language of white domination, rather than white privilege, when teaching about race and racism because the former language presupposes a minority audience, while the latter addresses an imaginary or presupposed white one. However, there seems to be little discussion in the literature about teaching these issues to an audience (...) that is in fact predominantly minority. Leonardo assumes that minority students need little convincing about the reality of white domination, but students of color are not a monolithic group. The paper addresses some specific challenges the author has faced teaching theories of white domination to a predominantly minority student audience in New York City. Leonardo is right that audience matters, but audience turns out to matter in ways that defy common assumptions. (shrink)

Existing studies have extensively explored audience engagement in TV news, but not enough attention has been paid to the discursive presentation of this phenomenon in the discourse of TV news kernels. Based on a pool of news items collected from BBC News at Ten, this article aims to investigate how the discourse of news kernels is constructed and presented to engage the audience. The analysis shows that news values and journalist–audience interaction are two main ways employed by (...) the journalists to achieve audience engagement in presenting TV news kernels. On one hand, a news kernel tends to cover the most newsworthy information of the news story, and the news text; on the other hand, it is often styled as newsworthy, too. In the meanwhile, the presentation of the news kernel tends to create a sense of interaction between the journalist and the audience by practices such as pre-opening remarks, introducing the reporter and alerting the audience, among others. The findings reflect quite different journalistic practice of TV news kernels from that of print news leads. (shrink)

This paper approaches legal argumentation from a rhetorical perspective. It discusses the nature of the audiences that are targeted by judges in the legal process. Judicial opinions reach diverse groups of people with very different attitudes and expectations: other judges, lawyers, litigants, concerned citizens, etc. One important way in which these groups differ is that some of them are more likely to be persuaded by legalistic, precedent or statute-based arguments, while others expect judges to decide on grounds of justice or (...) equity. So, judges face the challenge of determining whether they should select particular groups for special attention, or whether they have alternative rhetorical means to approach the problem of audience diversity. One strategy that is likely to be recommended by rhetorical scholars is that judges should not try to accommodate the various preferences of their actual readership, but that they should rather invoke an idealized audience or some version of Chaïm Perelman’s universal audience. However, the paper tries to show that the universal audience is of limited value for a discussion about how judges ought to proceed in the face of audience diversity. In particular, the idea of a universal audience does not help judges to make the choice between a legalistic or an equity-based approach to legal decision-making. By showing that this is so, the paper also raises doubts about the common thought that to invoke the universal audience in law is to appeal to natural law. (shrink)

Kalle Pihlainen’s book reworks seven essays published over the last dozen years. Pihlainen’s Preface and Hayden White’s Foreword articulate a cri de cœur. Both fear that something important has been missed. White’s Foreword somewhat cryptically characterizes Pihlainen’s book as “metacritical,” and locates Pihlainen in the role of being a “serious reader” for the community of theorists of history. What does it mean to be a “serious” reader? White never says. But following White’s hint, Pihlainen can be read as updating Marx’s (...) conception of the task of unmasking sources of alienation by focusing on the reasons for the estrangement of histories from a wider audience. For him, “the core case is that the ‘historical’ nature of history itself needs to be acknowledged”. It remains unacknowledged so long as the source of meaning in history continues to be displaced. For even those who emphasize narrative form tend to talk as if meanings were imposed by some factor other than human intervention, as if form magically imbues content with significance. But this is one more symptom, if such is needed, of collective bad faith, a denial that only people make meaning. By taking disembodied literary forms as repositories of significance, responsibility for meaning is once again deflected or deferred. In this key regard, Pihlainen’s claim to place “decided emphasis on its [historical theory’s] ethical-political momentum” signals that the issues he intends to foreground are not epistemological or discursive. Pihlainen rightly suspects that all the talk of “narrativism” and “discourse” serves only to evade confronting the truly difficult moral and political challenges that writing represents. His various chapters identify these evasions and the challenges that remain. (shrink)

Reading the Fourth Gospel in search for its first audience can lead to a fresh awareness of the way in which the contemporary disciple is its audience.

Delivering news on social media platforms is an increasingly important consideration in journalism practice. However, little attention has been paid to audience engagement with news on social media, especially the discursive presentation of news on the Chinese social media platform WeChat. Based on 36 news reports collected from the People’s Daily official account, this study analyses how news discourse is constructed and presented to engage audiences. The results suggest that highlighting proximity, personalisation, positivity and human interest in news values (...) are the strategies adopted by journalists to engage audiences. The headline tends to use forward-referring terms and performs the speech acts of assertives and expressives to construct news values of proximity and positivity. The news story makes use of particular addressing terms, reported speeches and evaluative markers to construct news values of personalisation, positivity and human interest. The study enriches the analysis of journalistic practice of news on social media in the Chinese context. (shrink)

Open peer commentary on the article ““Black Box” Theatre: Second-Order Cybernetics and Naturalism in Rehearsal and Performance” by Tom Scholte. Upshot: Scholte’s approach to theater as a black box to be probed indicates that the vocabulary of second-order cybernetics provides an analytical repertoire adequate to the complexity of theatrical phenomena, from the construction of the play in rehearsal to the delivery of the play in performance. While it was hard to discern the precise details in some of Scholte’s experimental protocols, (...) we found his larger discussion to be provocative and effective in mapping the recursivities of theatrical processes. (shrink)

The public communication of science and technology has become increasingly important over the last several decades. However, understanding the audience that receives this information remains the weak link in the science communication process. This essay provides a brief review of some of the issues involved, discusses results from an audience-based study, and suggests some strategies that both scientists and journalists can use to modify media coverage in ways that can help audiences better understand major public issues that involve (...) science and technology. (shrink)