Audience analysis for the story of an hour

This page is about gwern. More than this - what only I knew. Deprived of this possibility, I decided to write about them. I believe that someone who has been well-educated will think of something worth writing at least once a week; to a surprising extent, this has been true.

Audience analysis for the story of an hour

Definition[ edit ] Although discussions of multimodality involve medium and mode, these two Audience analysis for the story of an hour are not synonymous.

Gunther Kress's scholarship on multimodality is canonical in writing studiesand he defines mode in two ways. Image, writing, layout, speech, moving images are examples of different modes.

Graphic resources can be broken down into font size, type, etc. These resources are not deterministic, however. Mode names the material resources shaped in often long histories of social endeavor. Modes may aggregate into multimodal ensembles, shaped over time into familiar cultural forms, a good example being film, which combines visual modes, modes of dramatic action and speech, music and other sounds.

Multimodal work in this field includes van Leeuwen; [8] Bateman and Schmidt; [9] and Burn and Parker's theory of the kineikonic mode. Mediums include video, image, text, audio, etc. Socially, medium includes semioticsociocultural, and technological practices such as film, newspaper, a billboard, radio, television, theater, a classroom, etc.

Multimodality makes use of the electronic medium by creating digital modes with the interlacing of image, writing, layout, speech, and video. Mediums have become modes of delivery that take the current and future contexts into consideration. Because multimodality is continually evolving from a solely print-based to a screen-based presentation, the speaker and audience relationship evolves as well.

Due to the growing presence of digital media over the last decade, the central mode of representation is no longer just text; recently, the use of imagery has become more prominent.

An important related term to multimodality is multiliteracy, which is the comprehension of different modes in communication — not only to read text, but also to read other modes such as sound and image.

Whether and how a message is understood is accredited to multiliteracy. History[ edit ] Multimodality has developed as a theory throughout the history of writing. The idea of multimodality has been studied since the 4th century BC, when classical rhetoricians alluded to it with their emphasis on voice, gesture, and expressions in public speaking.

During this time, an exponential rise in technology created many new modes of presentation. Since then, multimodality has become standard in the 21st century, applying to various network-based forms such as art, literature, social media and advertising.

The monomodality, or singular mode, which used to define the presentation of text on a page has been replaced with more complex and integrated layouts.

Expressionist ways of thinking encouraged writers to find their voice outside of language by placing it in a visual, oral, spatial, or temporal medium.

Audience analysis for the story of an hour

A writer is always making use of experience. Also, by making writing the result of a sensory experience, expressionists defined writing as a multisensory experience, and asked for it to have the freedom to be composed across all modes, tailored for all five senses.

Cognitive developments[ edit ] During the s and s, multimodality was further developed through cognitive research about learning. Jason Palmeri cites researchers such as James Berlin and Joseph Harris as being important to this development; Berlin and Harris studied alphabetic writing and how its composition compared to art, music, and other forms of creativity.

James Berlin declared that the process of composing writing could be directly compared to that of designing images and sound. Writers often conceptualize their work by non-alphabetic means, through visual imagery, music, and kinesthetic feelings.

Flemingmore commonly known as the neuro-linguistic learning styles. Fleming's three styles of auditory, kinesthetic, and visual learning helped to explain the modes in which people were best able to learn, create, and interpret meaning. Other researchers such as Linda Flower and John R.

Audience analysis for the story of an hour

Hayes theorized that alphabetic writing, though it is a principal modality, sometimes could not convey the non-alphabetic ideas a writer wished to express. The literacy of the emerging generation changed, becoming accustomed to text circulated in pieces, informally, and across multiple mediums of image, color, and sound.

The change represented a fundamental shift in how writing was presented: Educators had to change their teaching practices to include multimodal lessons in order to help students achieve success in writing for the new millennium.

Audience[ edit ] Every text has its own defined audience, and makes rhetorical decisions to improve the audience's reception of that same text. In this same manner, multimodality has evolved to become a sophisticated way to appeal to a text's audience.

Relying upon the canons of rhetoric in a different way than before, multimodal texts have the ability to address a larger, yet more focused, intended audience. Multimodality does more than solicit an audience; the effects of multimodality are imbedded in an audience's semiotic, generic and technological understanding.

Psychological effects[ edit ] The appearance of multimodality, at its most basic level, can change the way an audience perceives information. The most basic understanding of language comes via semiotics — the association between words and symbols.

A multimodal text changes its semiotic effect by placing words with preconceived meanings in a new context, whether that context is audio, visual, or digital.On 19 November, we commemorate the anniversary of Abraham Lincoln's Gettysburg Address in In one of the first posts on this blog, I compared Lincoln's two-minute address with the two-hour oration by Edward Everett on the same occasion.

Today the former is universally regarded as one of the most famous speeches in American history; the. "The Story of an Hour," is a short story written by Kate Chopin on April 19, It was originally published in Vogue on December 6, , as "The Dream of an Hour".It was later reprinted in St.

Louis Life on January 5, , as "The Story of an Hour".. The title of the short story refers to the time elapsed between the moments at which the protagonist, Louise Mallard, hears that her husband. It was a.m. on Friday, January 12, the middle of the morning rush hour.

In the next 43 minutes, as the violinist performed six classical pieces, 1, people passed by. In its most basic sense, multimodality is a theory of communication and social rutadeltambor.comodality describes communication practices in terms of the textual, aural, linguistic, spatial, and visual resources - or modes - used to compose messages.

Where media are concerned, multimodality is the use of several modes (media) to create a single artifact. From a general summary to chapter summaries to explanations of famous quotes, the SparkNotes The Story of an Hour Study Guide has everything you need to ace quizzes, tests, and essays.

Here's where you'll find analysis of the story as a whole. Themes Motifs Symbols Quotes. Audience Analysis The target audience for my summary and response to Kate Chopin’s, “The Story of the Hour,” would be primarily college students, my professor, and any individual both male and female interested in the works of Chopin and/or the interpretation there of.

Calendar - The Reliability Calendar