Search results for: audience reception

Authors: Rizky Kertanegara

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Reception studies is one of the cultural studies lately evolved in the realm of communication science. This qualitative study was pioneered by Stuart Hall who initiated the dominant, negotiation, and opposition of audience reading to the text of the media. In its development, this reception studies is developed by Kim Christian Schroder become multidimensional reception studies. In this update, Schroder aware that there has been a bias between readings made by the informant with readings conducted by researchers over the informant. Therefore, he classifies the reception into two dimensions, namely the dimension of reading by informants and implications dimensions conducted by researcher. Using Schroder approach, these studies seek to describe the reception of adolescent girls, as research subjects, to the elements contained sexual openness in the music video Cinta Laura as the object of research. Researcher wanted to see how they interpret the values of Western culture based on the values of their culture as a teenager. Researchers used a descriptive qualitative research method by conducting in-depth interviews to the informants who comes from a religious school. The selection of informants was done by using purposeful sampling. Collaboration with the school, the researchers were able to select informants who could provide rich data related to the topic. The analysis showed that there is permissiveness informants in addressing sexual openness in the music video. In addition, informants from Catholic schools were more open than the informant derived from Islamic schools in accepting the values of sexual openness. This permisiveness is regarded as a form of self-actualization and gender equality.

Keywords: cultural studies, multidimensional reception model, sexual openness, youth audience

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Authors: Mina Darabi Amin

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In 1972, Hans Robert Jauss introduced the Reception Theory a version of Reader-response criticism, that suggests the literary critics to re-examine the relationship between the author, the work and the reader. The revealing of these relationships has shown that, besides the creation, the reception and the reading of the text have different levels which exempt it from a continuous reference to the meaning intended by the artist and could lead to multiplicity of possible interpretations according to the ‘Horizon of Expectations’. This theory could be associated with another intellectual process called ‘translation’, a process that is always confronted by different levels of readers in the target language and different levels of reception by these readers. By adopting the perspective of Reception theory in translation, we could ignore a particular kind of translation and consider the initiation to a literary text, its translation and its reception as a continuous process. Just like the creation of the text, the translation and its reception, are not made once and for all; they are confronted with different levels of reception and interpretation which are made and remade endlessly. After having known and crossing the first levels, the Horizons of Expectation could be extended and the reader could be initiated to the higher levels. On the other hand, we could say that the faithful and free translation are not opposed to each other, but depending on the type of reception by the readers and in a particular moment, the existence of both is necessary. In fact, it is the level of reception in readers and their Horizon of Expectations that determine the degree of fidelity and freedom of translation.

Keywords: reception theory, reading, literary translation, horizons of expectation, reader

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Authors: Hamide Farshad, Mohammadreza Javidi Abdollah Zadeh Aval

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As a result of the growing penetration of the media into human life, a new role under the title of "audience" is defined in the social life .A kind of role which is dramatically changed since its formation. This article aims to define the audience position in the new media equations which is concluded to the transformation of the media role. By using the Library and Attributive method to study the history, the evolutionary outlook to the audience and the recognition of the audience and the media relation in the new media context is studied. It was perceived in past that public communication would result in receiving the audience. But after the emergence of the interactional media and transformation in the audience social life, a new kind of public communication is formed, and also the imaginary picture of the audience is replaced by the audience impact on the communication process. Part of this impact can be seen in the form of feedback which is one of the public communication elements. In public communication, the audience feedback is completely accepted. But in many cases, and along with the audience feedback, the media changes its direction; this direction shift is known as media feedback. At this state, the media and the audience are both doers and consistently change their positions in an interaction. With the greater number of the audience and the media, this process has taken a new role, and the role of this doer is sometimes taken by an audience while influencing another audience, or a media while influencing another media. In this article, this multiple public communication process is shown through representing a model under the title of ”The bilateral influence of the audience and the media.” Based on this model, the audience and the media power are not the two sides of a coin, and as a result, by accepting these two as the doers, the bilateral power of the audience and the media will be complementary to each other. Also more, the compatibility between the media and the audience is analyzed in the bilateral and interactional relation hypothesis, and by analyzing the action law hypothesis, the dos and don’ts of this role are defined, and media is obliged to know and accept them in order to be able to survive. They also have a determining role in the strategic studies of a media.

Keywords: audience, effect, media, interaction, action laws

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Authors: Dagmara Wrzecionkowska

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Mass media campaigns against obesity are often designed to impact large audiences. This usually means that their audience is defined based on general demographic characteristics like age, gender, occupation etc., not taking into account psychographics like behavior, motivations, wants, etc. Using psychographics, as the base for the audience segmentation, is a common practice in case of successful campaigns, as it allows developing more relevant messages. It also serves a purpose of identifying key segments, those that generate the best return on investment. For a health campaign, that would be segments that have the best chance of being converted into healthy lifestyle at the lowest cost. This paper presents the limitations of the demographic targeting, based on the findings from the reception study of IMSS anti-obesity TV commercials and proposes mothers as the first level of segmentation, in the process of identifying the key segment for these campaigns.

Keywords: anti-obesity campaigns, mothers, segmentation, targeting

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Authors: Sanjay Ranade

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Traditional film theory assumes the cinema audience in a darkened room where cinema is projected on to a white screen, and the audience suspends their sense of reality. Shifts in audiences due to changes in cultural tastes or trends have been studied for decades. In the past two decades, however, the audience, especially the youth, has shifted to digital media for the consumption of cinema. As a result, not only are audiences watching cinema on different devices, they are also consuming cinema in places and ways never imagined before. Public transport often crowded to the brim with a lot of ambient content, and a variety of workplaces have become sites for cinema viewing. Cinema is watched piecemeal and at different times of the day. Audiences use devices such as mobile phones and tablets to watch cinema. The cinema viewing experience is getting redesigned by the user. The emerging design allows the spectator to not only consume images and narratives but also produce, reproduce, and manipulate existing images and narratives, thereby participating in the process and influencing it. Spectatorship studies stress on the importance of subjectivity when dealing with the structure of the film text and the cultural and psychological implications in the engagement between the spectator and the film text. Indian cinema has been booming and contributing to global movie production significantly. In 2005 film production was 1000 films a year and doubled to 2000 by 2016. Digital technology helped push this growth in 2012. Film studies in India have had a decided Euro-American bias. The studies have chiefly analysed the content for ideological leanings or myth or as reflections of society, societal changes, or articulation of identity or presented retrospectives of directors, actors, music directors, etc. The one factor relegated to the background has been the spectator. If they have been addressed, they are treated as a collective of class or gender. India has a performative tradition going back several centuries. How Indians receive cinema is an important aspect to study with respect to film studies. This exploratory and descriptive study looked at 162 young media students studying cinema at the undergraduate and postgraduate levels. The students, speaking as many as 20 languages amongst them, were drawn from across the country’s media schools. The study looked at nine film societies registered with the Federation of Film Societies of India. A structured questionnaire was made and distributed online through media teachers for the students. The film societies were approached through the regional office of the FFSI in Mumbai. Lastly, group discussions were held in Mumbai with students and teachers of media. A group consisted of between five and twelve student participants, along with one or two teachers. All the respondents looked at themselves as spectators and shared their experiences of spectators of cinema, providing a very rich insight into Indian conditions of viewing cinema and challenges for cinema ahead.

Keywords: audience, digital, film studies, reception, reception spectatorship

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Authors: Igbozuruike Chigozie Jude, Agwu Agwu Ejem

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This study investigated that advertisement has an impact on audience retention on YouTube Comedy skits, which is the most watched content on YouTube in Lagos, Nigeria. The main objective was to determine if the advertisements affect the average number of times they spend watching YouTube comedy skits. The study was anchored on Festinger's (1952) cognitive dissonance theory. The research method for this exercise was a survey to get responses from people in Lagos state on how they react to the advertisements they face when watching YouTube comedy skits in Lagos state. The sample size derived from the Krejcie and Morgan (1970) Table was 384 YouTube users. The instrument that was used to gather data was a questionnaire. The findings showed that the adverts have far-reaching exposure by the target audience, but most of the audience perceived them to be intrusive. It was also found that there is not enough evidence to infer that advertisement is indeed impacting audience retention on YouTube comedy skits in Lagos, Nigeria. The reason is that, for a majority of the audience, adverts do not essentially affect their retention on those skits, but for a considerable percentage (34%), these adverts do break their concentration and affect how much time they end up spending on the YouTube comedy skits. It was recommended that, among others, there should be regular monitoring and adaptation of YouTube advertisements to the audience preferences and behaviors of the audience. Insights on changes or trends in audience preferences can be gained through surveys.

Keywords: advertisement, audience, YouTube, comedy skits, Lagos Nigeria

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Authors: Gilang Maulana, Dhika Rahma Qomariah, Yasin Fadil

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Purpose: This research meant to measure the magnitude of the influence of the quality of the presentation to the targeted audience perception in catching information presentation. Design/Methodology/Approach: This research uses a quantitative research method. The kind of data that uses in this research is the primary data. The population in this research are students the economics faculty of Semarang State University. The sampling techniques uses in this research is purposive sampling. The retrieving data uses questionnaire on 30 respondents. The data analysis uses descriptive analysis. Result: The quality of presentation influential positive against perception of the audience. This proved that the more qualified presentation will increase the perception of the audience. Limitation: Respondents were limited to only 30 people.

Keywords: quality of presentation, presentation, audience, perception, semarang state university

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Authors: Alessandra Tosi, Teia M. Rogers

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The Common European Asylum System (CEAS) is the framework that standardises the treatment of applicants for international protection and harmonises asylum systems throughout the European Union. This paper interrogates the rules applied within the CEAS, specifically Directive 2013/33/EU of the European Parliament and of the Council of 26 June 2013, which puts forth the standards for the reception of vulnerable people applying for asylum. Absent from the definition of ‘vulnerable people’ are sexual minorities who routinely experience discrimination in reception centres and emergency accommodations. This paper undertakes an analysis of policies and legalisation of reception centres within the European Union. In confronting the flaws inherent to the system of processing asylum applications, this paper argues for the reform of the CEAS with emphasis on the inclusion of LBGTQ+ asylum seekers as vulnerable people following standards set by international human rights law.

Keywords: accommodation, asylum seekers, CEAS, Common European Asylum System, European Union, LGBTQ+, reception conditions, vulnerable people

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Authors: Harry Mccallum

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In the last decade, there has been an upsurge in documentary theatre projects that seek to address issues arising from ‘the Troubles’ by theatre and community organisations such as The Playhouse, Kabosh, and The Verbal Arts Centre. This movement has been supported by a variety of funding agencies who have identified the importance of the instrumental use of theatre for generating societal development. However, with this upsurge in interest comes complications surrounding the subjectivity of evaluations and an understanding of their empirical impact on society. This largely theoretical led-discussion promotes the engagement of Jill Dolan’s ‘utopian performatives’ (2005) within the remit of documentary theatre for peacebuilding practices in Northern Ireland.‘Utopian Performatives’ are described as being profound moments in a theatre production that transforms audience members into a state of ‘hopeful feeling’.As a concept, they are situated within the discourse surrounding audience reception and the ‘affective turn’ (Brennan, 2004; Clough and Halley, 2007; Ahmed, 2014), which indicates its persistence on a short-term ephemeral outlook. It is therefore important to understand how this short-term ‘affect’ can expand into a longer-term ‘effect.’ Through this interdisciplinary study between ‘peace’ and ‘theatre’ studies, I am proposinga theoretical framework that examines how these individual ‘utopian performatives’ at the personal level can lead to a change at the societal level. The framework understands that ‘utopian performatives’ have the capacity to generate discussion and empower audience members to actively strive for a ‘positive peace’; something which is evidently absent in a contemporary Northern Ireland.

Keywords: theatre, peacebuilding, conflict transformation, northern Ireland

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Authors: Nursel Bektas

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The purpose of this study is to investigate the roles of teaching assistants (TAs) working in reception classes through practitioners’ perspectives. The study has two major purposes; firstly to explore the general roles of TAs, and secondly to identify their roles in supporting children for mathematics. A small-scale case study approach was adopted for this study. The research was carried out in two reception classes within a primary school in London. The qualitative data were gathered through observations and semi-structured interviews with four reception class practitioners, comprising two teachers and two TAs. The results show that TAs consider their role to be more like a teacher, whereas classroom teachers do not corroborate this and they generally believe that the role of TAs depends on their personal characteristics and skills. In regard to the general role of TAs, the study suggests that reception class TAs are deployed both at the classroom level to provide academic support for children’s learning and development, and at the school level they are deployed as support staff such as Midday Meal Supervisor or assistants. In terms of the pedagogical roles of TAs, it was found that TAs have a strong teaching role in literacy development, with notable autonomy if conducting their own phonics sessions without teacher direction, but a negligible influence in numeracy/ math’s. In addition, the results show that the TA role is perceived to be quite limited in planning and assessment processes. Linked to their limited roles in such processes, all participants agree that all the responsibility regarding the children’s learning and development, planning and assessment lies with the teacher. Therefore, data suggest that TAs’ roles in these areas depend on TAs’ their own initiatives.

Keywords: early years education, reception classes, roles, teaching assistants

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Authors: Anupama A. P.

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The Malayalam film industry, known as Mollywood, has a rich tradition of storytelling and cultural significance within Indian cinema. Middlebrow films have emerged as a distinct influential category, particularly in the 1980s, with directors like K.G. George, who engaged with female subjectivity and drew inspiration from the ‘women’s cinema’ of the 1950s and 1960s. In recent decades, particularly post-2010, the industry has transformed significantly with a new generation of filmmakers diverging from melodrama and new wave of the past, incorporating advanced technology and modern content. This study examines the evolution and impact of Malayalam middlebrow cinema in the 21st century, focusing on post-2000 films and their influence on contemporary spectator experiences. These films appeal to a wide range of audiences without compromising on their artistic integrity, tackling social issues and personal dramas with thematic and narrative complexity. Historically, middlebrow films in Malayalam cinema have portrayed realism and addressed the socio-political climate of Kerala, blending realism with reflexivity and moving away from traditional sentimentality. This shift is evident in the new generation of Malayalam films, which present a global representation of characters and a modern treatment of individuals. To provide a comprehensive understanding of this evolution, the study analyzes a diverse selection of films such as Kerala Varma Pazhassi Raja (2009), Drishyam (2013), Maheshinte Prathikaaram (2016), Take Off (2017), and Thondimuthalum Driksakshiyum (2017) and Virus (2019) illustrating the broad thematic range and innovative narrative techniques characteristic of this genre. These films exemplify how middlebrow cinema continues to evolve, adapting to changing societal contexts and audience expectations. This research employs a theoretical methodology, drawing on cultural studies and audience reception theory, utilizing frameworks such as Bordwell’s narrative theory, Deleuze’s concept of deterritorialization, and Hall’s encoding/decoding model to analyze the changes in Malayalam middlebrow cinema and interpret the storytelling methods, spectator experience, and audience reception of these films. The findings indicate that Malayalam middlebrow cinema post-2010 offers a spectator experience that is both intellectually stimulating and broadly appealing. This study highlights the critical role of middlebrow cinema in reflecting and shaping societal values, making it a significant cultural artefact within the broader context of Indian and global cinema. By bridging entertainment with thought-provoking narratives, these films engage audiences and contribute to wider cultural discourse, making them pivotal in contemporary cinematic landscapes. To conclude, this study highlights the importance of Malayalam middle-brow cinema in influencing contemporary cinematic tastes. The nuanced and approachable narratives of post-2010 films are posited to assume an increasingly pivotal role in the future of Malayalam cinema. By providing a deeper understanding of Malayalam middlebrow cinema and its societal implications, this study enriches theoretical discourse, promotes regional cinema, and offers valuable insights into contemporary spectator experiences and the future trajectory of Malayalam cinema.

Keywords: Malayalam cinema, middlebrow cinema, spectator experience, audience reception, deterritorialization

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Authors: Ebtesam Dessouki, Yasaman Mousavi

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Christopher Nolan’s Dunkirk (2017) is not a conventional war film. He invites the audience to see the war from within, from the characters’ experiences, through suspense and fear, with the help of talented sound designers and musicians such as Hans Zimmer for an extra dimension creating those feelings. This experience of being among the surviving soldiers makes room for an interpretation of this film using the concept of the Self and the Other. The Self is the soldiers and the audience who try to make sense of their reality given limited information about the enemy and their situation, and the Other is the faceless enemy. However, this film can be taken under an even more detailed analysis theorizing that the Other also exists on different occasions in the film. Overall, Nolan leaves a lot of cues for the audience to track the Other and sometimes breaks the rules for the Other.

Keywords: film, Dunkirk, other, self

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Authors: Long Kun

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The educated youth(also known as sent-down youth or rusticated youth)novels came into being with China’s movement of the educated youth “going up to the mountains and down to the countryside”(上山下乡运动, also known as the Rustication Movement)during the cultural revolution.1 Since the 1980s, educated youth novels have been gradually translated into the English-speaking world and attracted great attention. As an important part of contemporary Chinese literature, the English translation of educated youth novels provides a platform for English-speaking readers to understand China in the Cultural Revolution, which reflects the social changes of more than 70 years since the founding of New China. At present, there is a lack of systematic research on the translation of educated youth novels in the English-speaking world. This article sorts out and analyzes the dissemination and reception of educated youth novels in the English-speaking world in different periods, providing a further reference for Chinese literature ‘going out’.

Keywords: educated youth novels, english translation, english-speaking world, dissemination, reception

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Authors: Oluwatayo Isijola

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The destructive influence of Europe on Africa has also taken a tow on the aesthetic essence of the African Art, which centres on morality and value for human life. In a parallel vein, the adverse turn of this influence on the dramaturgy of some contemporary African plays, poses impedance to audience consciousness in performance engagements. Through the spectrum of African Aesthetics, this study attempts a performance appraisal of A Husband’s wife; an unpublished play written by Tyrone Terence for the African audience. The researcher proffers two variant textual interpretations of the play to evaluate performance engagement in its default realistic mode, which holds an unresolved 'Medean-impulse', and another wherein the resolution is treated to a paradigm shift for aesthetic preference. The investigation employs the mixed method, which combines the quantitative and qualitative methodologies. Keen observation on the reactions and responses of audience members that were engaged in both performances, and on-the-spot interview with selected audience members, were the primary sources for the qualitative data. However, quantitative data was captured in an on-the-spot survey with the instrument of the questionnaire served to a sample population of the audience. The study observes that the preference for African aesthetics as exemplified in the second performance which deployed a paradigm shift did enhance audience consciousness. Hinging on performance aesthetic theory, the paper recommends that all such African plays bestowed with the shortcoming of African aesthetics, should be appropriately treated to paradigm shifts for performance engagement, in the interest of enhancing audience consciousness in the Nigerian Theatre.

Keywords: African aesthetics, audience consciousness, paradigm shift, median-impulse

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Authors: Raja Arslan Ahmad Khan

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Audience feedback and data play an increasingly crucial role, particularly in the digital age. The advent of digital media and the digitalization of news have given rise to novel forms of audience feedback, markedly different from traditional channels. The engagement of online audiences challenges the conventional role of journalists, introducing a dynamic where audiences can wield both direct and indirect influence. This struggle between the audience and journalists is evident in their contributions and interactions. Media professionals are grappling with challenges such as derogatory remarks, hate speech, online harassment, audience hostility, and attacks from online audiences. The influence of online audiences extends to shaping journalists' daily routines and work practices. Consequently, this study seeks to analyze the impact of online audience feedback on journalists at a routine level within the Malaysian context. Employing a Hierarchy of Influence model as a theoretical framework, the study will utilize a quantitative approach with a snowball survey method. The study's findings aim to enhance our understanding of how online audiences influence journalists and their work practices, encompassing aspects like journalists' autonomy and integrity, editorial decision-making, performance and accountability, daily routines, work practices, as well as the psychological and emotional costs they bear. It's important to note that the study has limitations due to the use of the snowball survey method and its focus within the specific context of Malaysia, making it relatively small in scale.

Keywords: online audiences, feedback, influence, journalists, Malaysia

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Authors: Gohar Madoyan, Kristine Harutyunyan, Gevorg Barseghyan

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It is common knowledge that linguistic manipulation is and has always been a powerful instrument of political discourse. Politicians from different countries and through centuries have successfully used linguistic means to persuade the public. Yet, this persuasion should be linguistically unobtrusive. Small changes in wording may result in a huge difference in perception by the audience. Thus, manipulation is a strategy that is mostly used to convey a certain message to the manipulators, who should be aware of the vulnerabilities of their audience and who must use them to achieve control. Political manipulation, though commonly observed in the 21st century, can easily be traced back to ancient rhetoric, which warns us to choose words carefully while addressing the audience. On the other hand, modern manipulative techniques have become more sophisticated, making use of all scientific advances.

Keywords: manipulators, politics, persuasion, political discourse, linguo-stylistic analysis, rhetoric

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Authors: Poojitha Vemula

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Understanding how we use image manipulation to communicate through an audience’s perceptions and conceive visual intelligence. With the use of many software and high-end skills, designers have developed a third eye to combine two different visuals and create the desired image by using photoshop and other software skills. The purpose of visual intelligence is to convey a message to the targeted audience. For instance, the images of models are retouched on their skin to make it more convincing and draw attention from the audience. There are many ways of manipulating an image, such as double exposure, retouching photography inks or paint airbrushing and piecing photos together, or enhancing the brightness and contrast. To understand visual intelligence, a questionnaire survey as well as research was conducted on how image manipulation is used by both the audience and the designers. This depends on the message that needs to be conveyed by the brands. For instance, Fair & Lovely, a brightening cream for ladies use a lot of retouching and effects to show the dramatic change the cream takes effect on dark or dusky faces. Thus the designer’s role is to use their third eye to incorporate the message into visuals. The research and questionnaire survey concludes the perceptions and manipulations used in visual communication. However this is all to make an effortless communication between the designer and the audience by using the skills of the designer and the features provided by the software. The objective of visual intelligence is to covet the message of the brands that advertise their products or services by using visuals through softwares. Conveying a message through visual intelligence requires an audiences perceptions and understanding from the visuals created by the artists or designers. Visual intelligence determines how we use our technical skills to retouch and manipulate an image for a better understanding to convey the message to the targeted audience. This also bridges the communication between the brand and the audience.

Keywords: graphic design, visual communication, convey messages, photoshop, image manipulation

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Authors: Samar F. Elkasrawy

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Museums play a significant role in their communities with respect to culture, history, environment, and social development. They are considered as important sites for families, tourists, school groups, cultural visitors and individuals, looking to enjoy, learn and expand their horizons. Aim of audience development programs is to support individuals and organizations to work together to deliver messages that will raise museums' profile for both existing and potential visitors. They recognize the particular role that museums play for communities, the audiences they seek to reach, the experience they seek to offer and the extent and nature of their collections. This study aims at using both the qualitative and quantitative approach to explore the important role that audience development programs in museums can play in raising awareness in their communities concerning cultural heritage preservation and tourism. The Alexandria National Museum is considered as a valuable case study. In depth interviews with museum managers and staff was conducted as well as an online questionnaire. The study also includes suggestions and guidelines for applying audience development programs in Egyptian museums.

Keywords: Alexandria National Museum, audience development programs, cultural heritage, tourism and preservation awareness

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Authors: Maria Visitacion N. Gumabay, Byron Joseph A. Hallar, Annjeannette Alain D. Galang

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This study was intended to provide a more efficient and convenient way for mobile users to enhance their knowledge about ASEAN countries. The researchers evaluated the utility of the developed crossword puzzle application and assessed the general usability of its user interface for its intended purpose and audience of users. The descriptive qualitative research method for the research design and the Mobile-D methodology was employed for the development of the software application output. With a generally favorable reception from its users, the researchers concluded that the iSEA Mobile Based Learning Application can be considered ready for general deployment and use. It was also concluded that additional studies can also be done to make a more complete assessment of the knowledge gained by its users before and after using the application.

Keywords: mobile learning, eLearning, crossword, ASEAN, iSEA

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Authors: Caiwen Wang, Yuling Liu

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Scientific and technical discourse is non-literary, and so it is often regarded as merely informative, free of the cultural context of both the source and the target language. Thus it is supposed that translators of sci-tech texts do not need to consider cultural factors in the translation process as readers only care for the information conveyed. This paper takes a different standpoint and shows that cultural context plays an important part in scientific and technical texts and thereafter in bridging the gap between different cultural communities of readers. The paper argues that the common cultural context for members of the same cultural community, such as morals, customs, and values, also underpins the sci-tech discourse of various text types, and therefore may pose difficulties for readers of a different cultural community if this is re-presented or translated literally. The research hypothesises that depending on how it is re-presented or translated; cultural context can either encourage or discourage readers’ reading experience and subsequently their interest to read and use translation texts. Drawing upon the Reception Theory by Hans Robert Jauss, the research investigates the relationship between cultural context and scientific and technical translation from English to Chinese. Citing 55 examples of sci-tech translations from magazines, newspapers and the website of Shell, a major international oil and gas company, the research shows that the source texts for these 55 cases all have bearing on the source cultural context, and translators will need to address this in the translation process instead of doing literal translation to be merely correct. The research then interviews 15 research subjects for their views of the translations. By assessing readers’ reception and perception of translated Chinese sci-tech discourse, the research concludes that cultural context contributes to the quality of scientific and technical translation in an important way and then discusses the implications of the findings for training scientific and technical translators.

Keywords: Chinese translation, cultural context, reception theory, scientific and technical texts

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Authors: Iulia Elena Gîță

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According to the sociological theory of literature, constraints on the creation and share of cultural works can be placed between two extremes: one with a high level of politicization and the other with a high level of commercialization. The overall objective of the present research is to follow the principles of Sociology of Translation to closely map and analyse the publishing activity of Romania concerning China and Chinese literature during four stages of Romanian history between 1948-2018. This paper proposes, thus, an extended approach to literature, to its cultural, political and economic reception. In achieving the proposed objectives, the research expands far beyond the literary text itself, to its macro context, analysing, through quantitative research methods, a statistical database created based on two phases - the first part containing literary and non-fictional works that address and discuss issues related to China; the second part includes literary translations of Chinese literature into Romanian, either by direct translation or by an intermediate language. Throughout this paper we will map not only the number of works, but also the topics approached by writers along the two periods of the political life of Romania.

Keywords: bilateral relations, Chinese literature, intercultural understanding, international relations, socio-cultural reception, socio-political constraints, publishing

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Authors: Mohsine Khazrouni

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The present study is an attempt to highlight the importance of adaptation in translation. To convey the message, the translator needs to take into account not only the text but also extra-linguistic factors such as the target audience. The present paper claims that adaptation is an unavoidable translation strategy when dealing with texts that are heavy with religious and cultural themes. The translation task becomes even more challenging when dealing with children’s literature as the audience are children whose comprehension, experience and world knowledge are limited. The study uses the Arabic translation of the short story ‘Christmas Every Day’ as a case study. The short story will be translated, and the pragmatic problems involved will be discussed. The focus will be on the issue of adaptation. i.e., the source text should be adapted to the target language audience`s social and cultural environment.

Keywords: pragmatic adaptation, Arabic translation, children's literature, equivalence

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Authors: Shativel S., Chandana B. R., Kavya B. C., Obli B. Vikram, Suganthi J., Nagendra Rao G.

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Satellite communication plays a pivotal role in modern global communication networks, serving as a vital link between terrestrial infrastructure and remote regions. The demand for reliable satellite reception systems, especially in UHF (Ultra High Frequency) and VHF (Very High Frequency) bands, has grown significantly over the years. This research paper presents the design and optimization of a high-gain, dual-band crossed Yagi-Uda antenna in CST Studio Suite, specifically tailored for satellite reception. The proposed antenna system incorporates a circularly polarized (Right-Hand Circular Polarization - RHCP) design to reduce Faraday loss. Our aim was to use fewer elements and achieve gain, so the antenna is constructed using 6x2 elements arranged in cross dipole and supported with a boom. We have achieved 10.67dBi at 146MHz and 9.28dBi at 437.5MHz.The process includes parameter optimization and fine-tuning of the Yagi-Uda array’s elements, such as the length and spacing of directors and reflectors, to achieve high gain and desirable radiation patterns. Furthermore, the optimization process considers the requirements for UHF and VHF frequency bands, ensuring broad frequency coverage for satellite reception. The results of this research are anticipated to significantly contribute to the advancement of satellite reception systems, enhancing their capabilities to reliably connect remote and underserved areas to the global communication network. Through innovative antenna design and simulation techniques, this study seeks to provide a foundation for the development of next-generation satellite communication infrastructure.

Keywords: Yagi-Uda antenna, RHCP, gain, UHF antenna, VHF antenna, CST, radiation pattern.

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Authors: Ali Mana, Okba Lahmar

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It is natural that sports media seeks to reach the audience of viewers wherever they are and at any time. Perhaps YouTube is one of the most important platforms in which the Algerian audience resides, as Alexa, which is one of the most important tools for providing usage statistics, indicated that the number of Algerian audience views of this site has exceeded 11 million views per month, and many Algerian content makers have initiated the creation of Sports channels in order to achieve profit goals. They also seek through it to market professional footballers abroad, in addition to influencing the opinions of fans towards them. This scene directs us to study the extent to which these channels contribute to discovering professional players, marketing to them, and protecting them from negative criticism. We also aim to know the extent of the influence of the content makers of these channels on the Algerian audience and to raise their awareness of the positive support of the players, regardless of their level of performance. To collect the necessary data, a descriptive study was conducted in which interview and observation were adopted as two basic tools. The sample included 04 sports content makers out of the total community that organizes more than 50 channels. It was chosen intentionally and included channels with more than 300,000 subscribers.

Keywords: sports content creators, YouTube, professional player, Algerian public, sports marketing

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Authors: Tony Chapman-Wilson

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Applied theatre is not an ultimate vehicle to create social change; but is more an opportunity of hope that the production material might affect this. Theatre-makers are able to deconstruct socially and politically challenging themes to encourage their audience to witness lived experiences as they consider themes of concern and injustice. This allows writers to (re) present the lived experiences of trans people, and for social injustice, continued transphobia, and lack of equity to be presented to an audience for debate. There needs to be a stronger position and presence of trans voices and active participation presented of these rather than just that of the cisgender-lens and standpoint. This research examines the relationship between human rights and theatre and considers global examples of this practice, as well as exploring the negatives formed from this relationship, and how this may be developed in the future. This focusses on the ability of theatre to denounce the violations of human rights and considers the power of theatre to support the importance of the awareness of violations to human rights for the raised awareness and potential for action of the audience – who may themselves be part of the oppressed, or indeed an oppressor. The fundamental assertion here is not one of evidenced social change, but of awareness raising of the audience and the potential for social activism and action. The practice of applied theatre is one that is experienced by the audience and the project participants alike, with the intention that theatre may consider how people interact with one another. This paper examines the opportunity of verbatim theatre techniques to allow for a cis-led trans-collaborative research project to (re) present intergenerational trans identities.

Keywords: applied theatre, verbatim, transgender, social justice

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Authors: Martina Depentor

Abstract:

While the cinematic medium contributes to bringing images of a culture to foreign audiences, Audiovisual Translation contributes to deciphering those cultural representations to those same audiences. Through Audiovisual Translation, in fact, elements permeate the reception system and contribute to forging a cultural image of the original/source system in the target/reception system. By analyzing a number of Italian critical reviews, blogs and forum posts, this paper examines the impact and reception in Italy of five of the most successful and influential New Zealand films of the last two decades - An Angel at my Table (1990), The Piano (1993), Heavenly Creatures (1994), Once Were Warriors (1994), Whale Rider (2002) - with the aim of exploring how the adaptation of New Zealand films might condition the representation of New Zealand in the Italian imaginary. The analysis seeks to identify whether a certain degree of cultural loss results from the 'translation' of these films. The films selected share common ground in that they all reveal cultural, social and historical characteristics of New Zealand, from aspects that are unique to this country and that on the surface may render it difficult to penetrate (unfamiliar landscapes, aspects of indigenous culture) to more universal themes (intimate family stories, dysfunctional relationship). They contributed to situating New Zealand on an international stage and to bringing images of the country to many audiences, the Italian one included, with little previous cultural knowledge of the social and political history of New Zealand. Differences in film types pose clearly different levels of interpretative challenges to non-New Zealander audiences, and examples from the films will show how these challenges are or are not overcome if the adaptations display misinterpretations or rendition gaps, and how the process of intercultural transfer further 'domesticates' or 'exoticises' the source culture.

Keywords: audiovisual translation, cultural representation, intercultural transfer, New Zealand Films

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Authors: Kar Yue Chan

Abstract:

Cantonese opera is a valuable heritage originated from South China, and started to span its influence across the area to Hong Kong, and became extremely popular back in the 1950s to the 1970s. It has also been honoured and recognized as one treasurable item on the Intangible Cultural Heritage of Humanity on the Representative List of UNESCO since 2009. A certain level of difficulty is encountered when one identifies the gender roles and representations from a usual performance of Cantonese opera, as conventional practices of Cantonese opera display to the audience that many of the male hero roles are played by female upon the prior knowledge of all audience, and it is understandable for them as well because in the past there were insufficient male actors and performers on the market. Female actresses, in some senses, are more capable to sing near-male voices, and their appearances in heroic operatic attires are more appreciated by general audience. Therefore, perspectives of 'feminine representation' and the 'Reception Theory' in literature are conducive to analyzing such phenomenon. In spite of some 'normal' performances with romantic love stories or historical accounts involving often a talented intellectual and a beautiful wise lady (in Chinese caizi jiaren 才子佳人), in which the male role is actually male and the female role is actually female, there have still been some opera titles specifically manifesting these extreme gender associations by putting together displacement of gender roles in the same performance in view of such chaotic complication. On top of all other factors, translators dealing with any operatic texts face plenty of challenges upon transferring Cantonese operatic performances into English. It is found that translators need to deal with cultural elements embedded in the lyrics; the form (which is as delicate as those deriving from classical Chinese poetry); the gender misplacements that affect the mood and tone of the lyrics that much when they are in the process of translating. Some lyrics and tunes are specifically designed for a particular gender role to perform, while some others are more generic; both of which require different and specific translation strategies. After scrutinizing the various sources of reference, readers of this paper should be well informed of a significance which lies in the refined nature of the poetic form and content that signifies in the way the distinguished gender voice segregation of the discourse from which the lyrics are derived, and definitely also through the on-stage performability aspect of the task. In order to produce a relatively short and concise translated version which fits performance needs, all of the above factors will be looked at in this paper with relevant examples and analysis.

Keywords: Cantonese opera, translation, chaotic gender, performance

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Authors: Rahul Bishnoi

Abstract:

Theatre, as Ann Ubersfld calls it, is a paradox. At once, it is both a literary work and a physical representation. Theatre as a text is eternal, reproducible, and identical while as a performance, theatre is momentary and never identical to the previous performances. In this dual existence of theatre, who is the author? Is the author the playwright who writes the dramatic text, or the director who orchestrates the performance, or the actor who embodies the text? From the poststructuralist lens of Barthes, the author is dead. Barthes’ argument of discrete temporality, i.e. the author is the before, and the text is the after, does not hold true for theatre. A published literary work is written, edited, printed, distributed and then gets consumed by the reader. On the other hand, theatrical production is immediate; an actor performs and the audience witnesses it instantaneously. Time, so to speak, does not separate the author, the text, and the reader anymore. The question of authorship gets further complicated in Augusto Boal’s “Theatre of the Oppressed” movement where the audience is a direct participant like the actors in the performance. In this research, through an experimental performance, the duality of theatre is explored with the authorship discourse. And the conventional definition of authorship is subjected to additional complexity by erasing the distinction between an actor and the audience. The design/methodology of the experimental performance is as follows: The audience will be asked to produce a text under an anonymous virtual alias. The text, as it is being produced, will be read and performed by the actor. The audience who are also collectively “authoring” the text, will watch this performance and write further until everyone has contributed with one input each. The cycle of writing, reading, performing, witnessing, and writing will continue until the end. The intention is to create a dynamic system of writing/reading with the embodiment of the text through the actor. The actor is giving up the power to the audience to write the spoken word, stage instruction and direction while still keeping the agency of interpreting that input and performing in the chosen manner. This rapid conversation between the actor and the audience also creates a conversion of authorship. The main conclusion of this study is a perspective on the nature of dynamic authorship of theatre containing a critical enquiry of the collaboratively produced text, an individually performed act, and a collectively witnessed event. Using practice as a methodology, this paper contests the poststructuralist notion of the author as merely a ‘scriptor’ and breaks it further by involving the audience in the authorship as well.

Keywords: practice based research, performance studies, post-humanism, Avant-garde art, theatre

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Authors: Oluwayemisi Onyenankeya

Abstract:

The popularity and viewership of Nollywood films have expanded across African countries as well as European and American cities especially those with considerable Diaspora population. This appears to underscore the assumption that Nollywood films not only project or transmit the embedded Nigerian cultural values to audience members but also actually make appreciable impression on those audience members. This study sought to ascertain the role of Nollywood film in the transference of Nigerian cultural heritage across other cultures using students at the University of Fort Hare as a case study. This study sought to determine if audience members learn, imbibe or manifest any behavioural tendencies that can be ascribed to the influence of watching Nollywood films. Specifically, the study sought to establish the aspect of Nigerian culture that Nollywood films transmit to audience members. The survey research method was used while data was analysed using descriptive statistics. In all, 400 questionnaires were distributed while 370 were returned. Results show that students who were exposed to Nollywood film could mimic some common Nigerian expressions and exclamations. A small percentage of viewers could actually speak a smattering of some Nigerian language while a few have bought or made dresses in the pattern of what they saw in the films. It could be concluded that Nollywood films do exert significant influence on the viewers in the University of Fort Hare.

Keywords: culture, film, Nollywood, transmission

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Authors: Wilaiwan Jongwilaikasaem, Phatteera Sarakornborrirak

Abstract:

While Thai television producers feel anxious about digital disruption, Love Destiny, Thai television period drama became smash hit in Thailand in 2018. Audience throughout the country not only watched the drama both offline and online but also spread the content of the drama on social media and followed cultural trends from the protagonist. Thus, the main purpose of this article is to examine the secret behind the success of Love Destiny. Data were collected from content analysis and in-depth interview. The result shows that the key success of the drama is from earned media phenomenon from the audience and marketers’ engagement. As Love Destiny has full-flavored content with traditional challenged plot, delicate production, and presentation of Thainess in a positive and tangible way; audience and marketers are enthusiastic about building up the popular trend of Love Destiny on social media and also coming back home to watch televisions when the drama was on the air.

Keywords: Thai drama, earned media, Love Destiny, television

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