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Books on the topic 'Consciousness of the audience'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Owen, Heather. Audience. Film Education, 1990.

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2

Reichmann, Sebastien. Audience captive. EST-S. Tastet Editeur, 1988.

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3

Fahy, Thomas. Captive Audience. Taylor & Francis Group Plc, 2004.

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4

Freshwater, Helen. Theatre & audience. Palgrave Macmillan, 2009.

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5

Russell, Martin James. Unwelcome audience. Walker, 1986.

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6

Cavanna, Andrea Eugenio, and Andrea Nani. Consciousness. Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-44088-9.

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Heinämaa, Sara, Vili Lähteenmäki, and Pauliina Remes, eds. Consciousness. Springer Netherlands, 2007. http://dx.doi.org/10.1007/978-1-4020-6082-3.

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8

Hill, Christopher S. Consciousness. Cambridge University Press, 2009.

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9

Hill, Christopher S. Consciousness. Cambridge University Press, 2009.

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10

Oldfield, Paul. Interpretation and Audience. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198717737.003.0003.

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This chapter establishes the interpretative methodology underpinning how medieval urban panegyric can be utilized. It examines the hybrid nature of the sources and the blurred lines between fiction, fact, and hyperbole encountered within many of the sources. It also demonstrates how urban panegyric should not be viewed as detached from the urban world as a result of its authors (who were often ecclesiastics) and their often conservative and formulaic language. Instead it emphasizes how many authors of these texts were embedded within urban culture and how the intertextual borrowings in their t

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11

Haworth, Karen A., and Terry J. Prewitt. Evolution of Human Consciousness and Linguistic Behavior. The Rowman & Littlefield Publishing Group, 2020. https://doi.org/10.5040/9798881818319.

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Drawing from the disciplines of cognitive science, Paleolithic anthropology, art history, and semiotics, Karen A. Haworth and Terry J. Prewitt offer a novel discussion of the origins of language, based primarily in the distinction of holistic versus analytical cognitive processing. Also, by employing a refined view of human symboling capacities grounded in the writings of C. S. Peirce, they provide a short but comprehensive explanation of what the artifacts and art of the Paleolithic and Mesolithic periods suggest about language origins. Their interpretation supports a semiotic argument that “

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12

Jeffs, Kathleen. Metatheatrical Staging. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198819349.003.0006.

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Over the course of the RSC season of Spanish Golden Age plays, metatheatre emerged as a common element of all four productions, one that challenged and bolstered the company at all phases of the plays’ translation, rehearsal, and performance processes. Using the varieties of metatheatre established by Richard Hornby, this chapter shows how the RSC capitalized on the metatheatrical devices in the four plays, and in doing so made direct contact with their audiences, drawing them in by linking multiperspectivism endemic to Golden Age playwriting styles with an audience living in an age characteri

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13

Greene, Kevin D. The Invention and Reinvention of Big Bill Broonzy. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469646497.001.0001.

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Between the turn of the twentieth century to his death in 1958, William “Big Bill Broonzy” was one of the most successful and recorded bluesmen of the period. Widley regarded as the most important of all pre-WWII blues artists, Broonzy’s long and remarkable career offer a glimpse into the development of African American celebrity within modern American history. Big Bill, in conjunction with and sometimes in opposition against a host of promoters, producers, academicians, and audiences, invented and reinvented his identity across his career in a remarkably fluid way. Each audience and generatio

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14

Weinel, Jonathan. Synaesthetic Overdrive. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190671181.003.0007.

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This chapter discusses altered states of consciousness in audio-visual media, such as films, psychedelic light shows, and VJ performances. First, some background theory is introduced, explaining the main categories of film sound, and what research tells us regarding the way in which sound influences the perception of visual images and vice versa. Following this background section, a tour is provided through various films that represent altered states of consciousness, including surrealist movies, ‘trance films’, and Hollywood feature films. These demonstrate a progression, where more recent mo

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15

Stern, Tiffany. Early Modern Tragedy and Performance. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.30.

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When early modern plays were staged with black curtains, ‘tragedy’ began the moment the audience entered a playhouse. ‘Tragedy’, then, did not always need to be part of a play’s content: it could be a look, an atmosphere, a theatrical mood. This chapter explores ‘tragedy’ as a kind of performance as well as a kind of drama. Considering ‘tragic’ staging, ‘tragic’ ways of walking (‘strutting’, ‘jetting’, and ‘stalking’), ‘tragic’ ways of speaking (‘ranting’ and ‘canting’ in a tragic ‘tone’ or ‘key’), and the presentation of tragic passions, the chapter argues that Shakespeare’s consciousness of

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16

Morgan, Peter. Audience. Faber & Faber, Limited, 2013.

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17

Calo, Marco. Audience. Cal Co, 2003.

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18

Morgan, Peter. Audience. Faber & Faber, Limited, 2015.

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19

Audience. Faber & Faber, Limited, 2013.

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20

Dawson, Clara. Victorian Poetry and the Culture of Evaluation. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856108.001.0001.

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Victorian Poetry and the Culture of Evaluation argues that the dialectic and dynamic relationship between the periodical review and poetry creates a culture of evaluation which shapes Victorian poetic form. The mediation of poetry by the periodical review orients poets towards public readership and reception, heightening their self-consciousness about their audience and generating a poetics of publicness. Using methodologies associated with historical poetics and new formalism, the book examines the dialogues between poets and periodical reviews from the 1830s to the 1860s. It juxtaposes male

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21

Stevenson, Jane. The Ghost of a Rose. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198808770.003.0018.

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The ballet brings together many of the threads pursued in this book: patronage, queerness, the Sitwells, interactions between fine art, design, and popular culture. Because Diaghilev made ballet a fashion, his public found themselves exposed to avant-garde music and art which would otherwise have struggled to find an audience, but ballet’s relationship with modernism is uneasy. Apart from being unnatural, ballet is collective and collaborative rather than individualistic, which sets it at an angle to any idea of art as the product of a purely individual consciousness. The radical modernist app

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22

Garg, Ananta. Consciousness Speaking with Consciousness. Independently Published, 2017.

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23

Besant, Annie Wood. Consciousness And Self-Consciousness. Kessinger Publishing, LLC, 2005.

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24

P, Blavatsky H. Consciousness And Self-Consciousness. Kessinger Publishing, LLC, 2006.

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25

Faye, Shanna. Expanding Consciousness: Expanding Consciousness. Lettra Press LLC, 2019.

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26

Lipscombe, Keith. Captive Audience. Independently Published, 2018.

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27

McQuail, Denis. Audience Analysis. SAGE Publications, Incorporated, 1997.

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28

Pollard, Tanya. Audience Reception. Oxford University Press, 2011. http://dx.doi.org/10.1093/oxfordhb/9780199566105.013.0026.

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29

Carpentier, Nico. Audience Transformations. Routledge, 2013. http://dx.doi.org/10.4324/9780203523162.

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30

Takahashi, Toshie. Audience Studies. Routledge, 2009. http://dx.doi.org/10.4324/9780203871980.

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31

Jewkes, Yvonne. Captive Audience. Willan, 2013. http://dx.doi.org/10.4324/9781843924258.

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32

Fahy, Thomas. Captive Audience. Routledge, 2004. http://dx.doi.org/10.4324/9780203494851.

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33

Radford, Jerry. Captured Audience. PublishAmerica, 2007.

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34

Mann, Jessica. Captive Audience. Chivers North America, 1997.

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35

Jin, Huimin. Active Audience. transcript Verlag, 2012. http://dx.doi.org/10.1515/transcript.9783839418963.

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36

Crawford, Susan. Captive Audience. Yale University Press, 2017. http://dx.doi.org/10.12987/9780300167375.

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37

Hatfield, William. Captive Audience. PublishAmerica, 2004.

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38

Captive audience. Seren, 1996.

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39

The audience. Johns Hopkins University Press, 1990.

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40

Captive Audience. Ig Publishing, Incorporated, 2009.

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41

Michalec, Mychaelyn. Imaginary Audience. Blurb, 2019.

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42

Seldes, Gilbert 1893-1970. Great Audience. Creative Media Partners, LLC, 2021.

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43

Captive Audience. 1st Books Library, 2000.

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44

Jewkes, Yvonne. Captive Audience. Willan Publishing, 2013.

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45

Olson, Lynn. Audience Pleasers. Alfred Publishing, 2006.

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46

Grieder, Terence. Artist & Audience. 2nd ed. William C Brown Communications, 1996.

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47

Young, Robert F. Audience Reaction. Start Publishing LLC, 2020.

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48

Jewkes, Yvonne. Captive Audience. Willan Publishing, 2013.

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49

McQuail, Denis. Audience Analysis. SAGE Publications, Incorporated, 2012.

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50

Crawford, Susan P. Captive Audience. Yale University Press, 2013.

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