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Part I details The Mass Media and Society, considering what mass communication is, starting with (1) Human Communication and the Mass Media, which focuses on the basic characteristics of the mass media as well as critical perspectives taken on the mass media in academia. (2) Classical Sociological Theory and the Mass Media deals briefly with Marx, Durheim, and Weber, while emphasizing Mead as providing the transition to a modern social psychology of communication. (3) Mass Media Effects I: Individual Effects presents both the early attempts to search for mass media effects and the evidence that exists against those effects. (4) Mass Media Effects II: Societal Effects actually does not do the same thing as the previous chapter on a societal level, but instead looks at the new ways of communicating that exist in modern society, such as time use, globalization and shared identity, and agenda setting.
Part II covers The Production of Culture and the place of the mass media in social life, beginning with (5) Mass Media Technology, in which the seven general principles of media technology development are extended to the internet, desktop publishing, and the electronic cauldron of the new "datasphere." (6) Regulating the Media covers government regulation from Freedom of the Press and the Fairness Doctrine to Obscenity and Copyright Law. (7) Industry Structure deals with some theoretical concerns, such as resource dependency theory, but focuses primarily on industry structure and effects from newspapers to the internet. (8) Media Organizations and Occupations has interesting sections on the problem of creative production where the role of the artist collides with organizational forms and the organizational requirements of the media for stars and new material. There are a couple of case studies of Hollywood looking at "Heaven's Gate" and "Jaws." (9) "Show Me the Money": Advertising and the Mass Media goes from the rise of marketing to the role of advertising to the effects of target marketing and narrowcasting to fragmented audiences. (10) The Mass Media Audience deals with special problems of culture markets such as creating brands, to measuring the audience and the consequences of having inaccurate pictures of that audience.
The idea here is that Part I describes what the "machine" does and Part II describes how the machine works. From the perspective of the production-of-culture Ryan and Wentworth look at the influence of technology, law, industry structure, organizational structure/occupational careers, advertising, and ideas about audience, separating each to highlight the specific impacts of each, although obviously they all act in concert to influence media content. I am more interested in how the products produced by the mass media impact upon audiences in general, and my students in particular, but there are certainly many key aspects of the production process that I would like my students to understand. "Media and Society" covers a lot of concepts with enough references to contemporary examples that most students will make the connection.
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Conrad Ekstrom WB1GXM/KB1CCA(GEARS) ADVISOR GOSHEN-LEMPSTER EDUCATIONAL AMATEUR RADIO SOCIETY EST 1989
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Titleless, identified only by numbers, these poems have vivid metaphors and imagery ("let not winter's ragged hand deface," "gold candles fix'd in heaven's air"). The tone of the poetry varies from one sonnet to the next; sometimes it focuses on old age, to love that "looks upon tempests and is not shaken," and simple expressions that can't really be interpreted any other way. Some of it is pretty well-known ("Shall I compare thee to a summer's day?/Thou art more lovely and more temperate") but most of them you won't have seen before.
Even if you're not normally a fan of poetry, the delicate touch of Shakespeare's words is worth checking into. Fantastic.
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First, the selections included excerpts of almost everything I'd ever heard of: Shang Oracle Bones, the Analects of Confucius and the Confucian classics including the I Ching; Mozi; the Tao Te Ching; Zhuangzi (who famously dreamed that he was a butterfly); Mencius; Xunzi; the Zuozhuan; Sun Tzu's art of war; all kinds of stuff about Chinese schools of Buddhism including the Lotus Sutra and the Flower Garden Sutra and the history of Guanyin and Wutai Shan; Li Po (Li Bo) and Tu Fu (Du Fu); and neo-Confucianism (which was so influential in Korea). In short, this is really, practically the "Eatern Canon" and the selections are deserving of such a label. I was in turns morally and intellectually challenged, uplifted, informed and surprised; but rarely bored and never disappointed.
Second, the introductory essays were exactly what I wanted to know: who might have written it, and when, and who read, and what it meant to them. For all that information, they were still brief and the bibliography was sufficient to help me chase the points that left me curious. An important thing these essays did was to cover the political, historical and social backgrounds (and foregrounds) of the texts, so I learned about Chinese history as well as literature and religion. If that is what you want to do, this book will serve you well.
The binding is excellent, and while the price might look steep I have to say it's a bargain considering what you get.
I didn't read Volume Two, and so I don't know if it is as good. It is certainly a lot smaller!
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It appears, at first glance, that this book only contains the comedies written by Shakespeare, but that is because there are three Tables of Contents within the book. These lists are placed at the beginning of each section, and the following page numbers begin at one again. However, not in the case of the Poems and Sonnets, which are in the Historical Plays list.
There is an additional list for the exquisite plates, which add another dimension to the historical significance of this library. The artwork, such as the three witches who enter to thunder and lightning in Macbeth, is extraordinary. You will find the work of:
*Sir John Gilbert (1817-1897) who created almost 750 pictures just for Shakespeare's works.
*George Cruikshank, who was the son of Isaac Cruikshank, a Scottish painter, and the primary illustrator for Charles Dickens.
*Robert Dudley, Earl of Leicester (1532-1588). Dudley knew Shakespeare, and was once courtier in the court of Queen Elizabeth I.
For any student or lover of literature and art, or as a writer's reference, this is a requisite.
Victoria Tarrani