message (its organization, selection of content, or thematic structure) render particular thoughts applicable, resulting in their activation and use in evaluations’. Research on how such
effects take place in experimental and real-life conditions is extensive
and will be discussed in a dedicated section later in this chapter. Indeed,
framing is seen by many as primarily a theory that accounts for media
effects (Cacciatore et al., 2016).
However, the stage of the framing process whereby frames are created, selected and included in media narratives –what Scheufele (1999
The ‘penny godlinesses’ of John Andrewes and the problem of ‘popular puritanism’ in early Stuart England
1530 to 1730, Green
argues that Watt’s verdict on the content of the ballads as
‘distinctively “post reformation” may be
optimistic. Was this,’ he asks, ‘a successful fusion
of new and traditional elements in popular piety’ or rather
‘the grafting onto an old stock of a few new cuttings, the
great majority of which did not take properly?’ Green
(1765–1815) and the naturalist Georges Cuvier (1769–1832).
Gordon is sarcastically blunt in his opinion that the two publications currently under review have signally failed to advance either the content or the credibility of Gall's initial theory:
Villers's letter to Cuvier had, we confess, left very little doubt in our minds as to the real merits and the real views of this formidable personage; and the present
IN THE TRIGGER WARNING
K atar iina K y r ö l ä
ince around 2012, the use of trigger warnings or content warnings has
spread all over the Internet and, to some extent, academic classrooms.
Warnings about content that may be upsetting, offensive or that could trigger
post-traumatic stress responses abound online, particularly in contexts
where the addressed include people or groups deemed marginalised,
disadvantaged or traumatised. Trigger or content warnings have most commonly been linked to online images and texts
zombie 2 that has sprung to
life recently. It is a policy of Internet 3 non-discrimination based on
innovation, free speech, privacy and content provider commercial
self-interest, imposed on the technocratic economic regulation of
telecommunications (telco) local access networks. The regulators, telcos
and governments don’t like it one bit. The laws and regulations
are formally ‘Open Internet’ not
Cue and Cut is about producing video content with a multi-camera set-up. The principles apply whatever the form of distribution: digital network, Internet, mobile phone or ‘other’. It is intended to be used alongside practical courses or modules, both in teaching institutions and in professional training environments.
Part I centres on Health and Safety in TV studios, which are potentially dangerous places. This is a primary concern and that is why it is given so much space early in this handbook.
Part II gives a lot of key information about television
retweeted content (64 per cent in 2014; 55 per cent in 2015), followed by original tweets and @replies to other users (11 per cent in 2014; 6 per cent in 2015) (see Figure 6.2 ). One interpretation of this finding is that there was very little conversation between these tweeters in relation to the dispute. However, it should be acknowledged that responses to tweets that did not mention Ardoyne were not collected due to the keyword search used.
Figure 6.2 Classification of ‘Ardoyne’ tweets.
There was a dearth of geotagged tweets in both
kind of reading that concentrates on the content, the way it is expressed, how well it flows and so on. This also means rewriting as necessary.
Proof-reading is quite different. It derives from the practicalities of the production of a printed item. Proofs are preliminary printed versions of a book, journal or whatever. Only a few copies are produced in order that authors and editors may spot and correct any mistakes and generally check through everything to be sure it is all properly presented and laid out before it is put into production – hence the term
content it produced and disseminated online. For example, the group released a charity record – Last December by ‘Paramilitary Wives’ in December 2013. The parody of the Wham! Christmas hit ‘Last Christmas’ encouraged its supporters to donate to local charity SOS Bus NI. 6 T-shirts and other paraphernalia embossed with the LAD logo were also promoted via its social media profiles during this period.
Parody of esteem?
LAD’s claims that it was speaking truth to power were contested by a number of commenters. Much of this criticism emerged in the Northern Ireland
there is this capacity to find
something more of art.
We attempt to accumulate it in a site rendered as art, a resistance concerning content and form in what is lost. Straddling separations that Erased
de Kooning Drawing and The Unknown Masterpiece of Balzac attempt—in
which no painter nor poet nor sculptor may separate the effect from the cause,
which are inevitably contained the one in the other, the mystery of form
that would shatter external form. In this, destruction is revealed as a site
grinding, as Agamben notes in The Man without Content, where all meaning