By Helen Cousins, Jenni Ramone
ISBN-10: 1409401332
ISBN-13: 9781409401339
In January 2004, daylight hours tv presenters Richard Madeley and Judy Finnegan introduced their ebook membership and sparked debate in regards to the manner humans in Britain, from the overall reader to publishers to the literati, thought of books and studying. "The Richard & Judy e-book membership Reader" brings jointly historians of the publication, literature students, and experts in media and cultural reports to check the impact of the membership on interpreting practices and the publishing and advertising of books. starting with an research of the e-book club's historical past and its ongoing improvement in terms of different interpreting teams all over the world together with Oprah's, the editors give some thought to problems with e-book advertising and style. extra chapters discover the consequences of the mass-broadcast superstar publication membership on society, literature and its advertising, and pop culture. participants ask how readers talk about books, pass judgement on worth and make offerings. This assortment addresses questions of authorship, authority and canon in texts attached through subject or style together with the postcolonial unique, incapacity and representations of the physique, meals books and domesticity. moreover, e-book membership writer Andrew Smith stocks his stories in a desirable interview.
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Sample text
Our data thus suggest or indicate conclusions about reading habits and attitudes to popular culture, rather than providing definitive statistical evidence of them and we cannot generalize our findings to apply to all readers in the UK. Suspicious Minds 25 Among the Richard & Judy participants who responded to our online survey, visiting the website and reading the selected titles were the top two activities (21 and 24 per cent, respectively). This result suggests that readers were using the Book Club brand, or more pragmatically, the stickers, clearly signposted in many high street bookstores and public libraries through posters and book bins, as a recognizable, trusted and reliable “badge” to help them select books to read.
Her inference is that being selected for the Book Club is not a sign of aesthetic merit or literary value but of mass appeal. Janet’s assessment coincides with Bourdieu’s original conceptualization of the literary field in which the autonomous work of art held high symbolic value but generated little economic return, unlike its mass-produced popular opposite (Bourdieu 1993). Yet, as we noted above, changes in the publishing industry have restructured the economics of book production and new players such as television producers and media production companies have become agents within the literarycultural field.
Their frequent addresses direct to camera enhanced the perception of intimacy between presenters and viewers, enabling the formation of para-social relationships, which are fundamental to the successful operation of contemporary day-time television talk shows as well as a long-standing feature of celebrity culture (Burnett and Beto 2000; Giles 2000, 2002, 2003; Greenwood and Long 2009; Rubin and McHugh 1987). Additionally, Madeley and Finnigan represented themselves as “regular” readers rather than as professional reader-critics who possessed specialized knowledge of narrative strategies and literary aesthetics.
The Richard & Judy Book Club Reader by Helen Cousins, Jenni Ramone
by Daniel
4.3