Teaching audience adaptation using connected presentations and teamwork

2017 ◽  
Vol 31 (2) ◽  
pp. 85-89 ◽  
Author(s):  
Susan K. Opt
Keyword(s):  
Audience Adaptation

A Male-Centric Modification of History; Efunsetan Aniwura Revisited

2004 ◽  
Vol 31 ◽  
pp. 303-318 ◽  
Author(s):  
Foluke Ogunleye
Keyword(s):  
Mother Tongue ◽  
Class Struggle ◽  
Original Form ◽  
Ordinary People ◽  
Historical Drama ◽  
The Past ◽  
Audience Adaptation ◽  
History Play ◽  
Yoruba Language

Historical drama can be described as a form of drama which purports to reflect or represent historical proceedings. Since time immemorial writers have combined fiction and history in creative works. Lawrence Langner has ascribed the popularity of historical drama to the desire of the theatergoer to spend an evening in the company of kings, queens, and other historical personages; the opportunity to become familiar with far greater events than those which take place in the lives of ordinary people; and that historical plays recreate great deeds done by great personages in the past. Historical facts are then creatively adapted and made available in play form to the audience. Adaptation has been defined as “the rewriting of a work from its original form to fit it for another medium … The term implies an attempt to retain the characters, actions, and as much as possible of the language and tone of the original…” The history play is also defined as “any drama whose time setting is in some period earlier than that in which it was written. We can also go further to describe the history play as one “that reconstructs a personage, a series of events, a movement, or the spirit of a past age and pays the debt of serious scholarship to the facts of the age being recreated.Judging from the foregoing, Akinwunmi Isola's play, Efunsetan Aniwura falls into the category of historical drama, treating as it does the story of the eponymous heroine who was the second Iyalode (queen of women) of Ibadan and who died on 30 June 1874. Prominent themes in Yoruba historical plays include war, conflict, and class struggle. Olu Obafemi has declared that the dramatization of the history, myth, and legends of the Yoruba community forms the bulk of the themes of Yoruba drama. These factors are vividly portrayed in Akinwunmi Isola's plays. Akinwunmi Isola is one of the most prolific playwrights who use their mother tongue to write plays in Nigeria. He is a Professor of Yoruba language and he uses the Yoruba language in writing his plays despite the fact that he is proficient in English and French languages.

Development of informational adequacy in speech and writing

1989 ◽  
Vol 10 (4) ◽  
pp. 387-399 ◽  
Author(s):  
Donald L. Rubin ◽  
Lee Galda ◽  
Anthony D. Pellegrini
Keyword(s):  
Cognitive Ability ◽  
Social Cognitive ◽  
Empirical Studies ◽  
Written Communication ◽  
Cognitive Demands ◽  
Face To Face ◽  
Grade Levels ◽  
Cognitive Operations ◽  
The Social ◽  
Audience Adaptation

ABSTRACTTheory and research pertaining to relationships between oral and written communication offer support to seemingly contrary hypotheses regarding the development of informational adequacy in speech and in writing. Because the social cognitive demands of face-to-face interaction are less complex than those of prototypical written communication, younger children might be expected to display greater audience adaptation in speech. On the other hand, the process of encoding in writing facilitates certain cognitive operations, and, therefore, children might be expected to communicate more effectively in writing. Empirical studies warranting conflicting conclusions, however, have administered tasks that tap different communication functions, either explanatory or referential. The present study replicates and extends this previous research by administering referential and explanatory communication tasks in both speech and writing to children at three grade levels. In addition, an independent measure of social cognitive ability was administered. Results confirmed increasing differentiation with age between speech and writing, with fifth graders displaying greater informational adequacy in writing. Children's performance in written communication, rather than speech, revealed a dependency on social cognitive ability. Differences between referential and explanatory communication suggested by previous research were confirmed.

“Completely impartial opinion, okay?”

2021 ◽  
Vol 10 (3) ◽  
pp. 368-396
Author(s):  
Maarten Bogaards
Keyword(s):  
Argumentation Theory ◽  
The Other ◽  
Research Interest ◽  
Third Party ◽  
Multidisciplinary Study ◽  
Considerable Research ◽  
Audience Adaptation ◽  
The One ◽  
The Relationship

Abstract Sponsorships on YouTube – i.e., video creators on YouTube promoting a third-party product or service to their audience – have attracted considerable research interest recently in various disciplines. This multidisciplinary study analyzes it from the perspective of argumentation theory, specifically pragma-dialectics, which offers valuable new insights into the discursive tensions inherent to this type of promotion. These tensions arise between the creator’s relationship with their audience on the one hand, which is built upon ‘parasocial’ evaluations of authenticity and community, and the commercial third party brand on the other. The insights provided by the pragma-dialectic analysis are demonstrated by means of a case study examining a sponsorship segment by YouTuber PewDiePie, which shows that creators can employ specific types of presentational choices and audience adaptation strategically to undercut commitment to the sponsor while furthering the relationship with their viewers.

Adapting syntax in writing to varying audiences as a function of age and social cognitive ability

1982 ◽  
Vol 9 (2) ◽  
pp. 497-510 ◽  
Author(s):  
Donald L. Rubin
Keyword(s):  
Language Development ◽  
Cognitive Ability ◽  
Social Cognitive ◽  
Persuasive Messages ◽  
Twelfth Graders ◽  
Developmental Trends ◽  
Adverbial Clauses ◽  
Audience Adaptation

ABSTRACTFourth-, eighth-, twelfth-graders and expert adults each wrote persuasive messages to three audiences arrayed along a dimension of intimacy to writer. Measures of social cognitive ability were also obtained. Scripts were analysed for (1) fluency, (2) subordination, (3) clause length, (4) logical adverbial clauses, and (5) conjunctions of conclusion. In addition to general developmental trends, results indicated effects of audience adaptation and of mediation of social cognitive ability. Findings support the view that evidence of later language development must be interpreted in light of communicative demands of tasks and subjects' rhetorical skills.

Scientific Jargon, Good and Bad

2003 ◽  
Vol 33 (3) ◽  
pp. 201-229 ◽  
Author(s):  
Russel Hirst
Keyword(s):  
Technical Communication ◽  
Vital Role ◽  
Specialized Language ◽  
Audience Adaptation

Scientific and technical jargon—specialized vocabulary, usually Latinate—plays a vital role in scientific and technical communication. But its proper use continues to be a point of discussion because of our concern with audience adaptation, rhetorical exigence, rhetorical purpose, and ethics. We've focused on teaching students—and on convincing scientists, engineers, and other writers/speakers—to gear their specialized language to the recipients of their communication, to the occasion calling for their communication, to what they wish to accomplish through their communication, and to the ethical goals of safety, helpfulness, empowerment, and truth. These are exactly the sorts of things we should be doing. My contribution to this conversation is a reinforce ment and, I hope, an extension of the argument that we should also be teaching and convincing students and professionals: 1) to fully appreciate what makes jargon either good or bad; 2) to carefully distinguish jargon usage from other aspects of scientific and technical style; and 3) to recognize that in every context, even in communication among experts, jargon should be used judiciously—that is, in the most helpful, least taxing way.

scholarly journals Text, Image, Audience: Adaptation and Reception of Andrea Newman'sBouquet of Barbed Wire

2016 ◽  
Vol 13 (1) ◽  
pp. 80-98 ◽  
Author(s):  
Fran Pheasant-Kelly
Keyword(s):  
Child Abuse ◽  
Child Welfare ◽  
The Novel ◽  
International Media ◽  
Cultural Contexts ◽  
Television Version ◽  
Raymond Williams ◽  
Audience Adaptation ◽  
The Way ◽  
Cultural Structures

Andrea Newman's 1969 novel, A Bouquet of Barbed Wire, has been adapted twice for television: first in 1976, and later in 2010. Controversially, the novel and its adaptations inferred father – daughter incest, a subject that was considered taboo during the 1970s. Arguably, though partly arising as a result of available technologies at that time, the repressed nature of incest is reflected in the claustrophobic aesthetics of the 1976 television version. In contrast, the more diverse cinematography, panoramic settings and less populated frames of Ashley Pearce's 2010 version correspond with an increasingly transparent approach to incest and child abuse, consistent with the contemporary zeitgeist, which fosters openness across all social and cultural structures. In particular, the changed climate involves a mounting preoccupation with, and sensitivity to, child welfare and legislation, arising as a result of national and international media revelations of child abuse in both domestic and institutional scenarios. Engaging theoretically with Raymond Williams’ concept of a ‘structure of feeling’, as well as referring to Freud's seduction theory, and television theorists including Karen Lury and John Ellis, this article locates parallels between the way that incest is represented and the socio-political and cultural contexts of the respective television adaptations of Newman's novel.

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