Comunicación y cultura

There is growing emphasis in Health Communication on the study of communication processes that aim to change systems, policies, beliefs, attitudes, and/or behaviors for the betterment of the health of individuals and communities. Engagement on behalf of individual and community health is the basis of health advocacy – the attempted effort to change health policies so that better health outcomes may result.
This book explores the processes and strategies involved in creating a health advocacy campaign to guide current and aspiring health advocates to successfully advocate for policy change.
The Health Communication Advocacy Model is provided as a framework for exploring these issues. The model emphasizes the message design process, particularly in the tailoring of messages to address the needs of target audiences. However, consideration of important health advocacy concepts also is provided, including how to organize an advocacy team, approaches to formative research, research-based strategies for crafting effective health advocacy messages, and recommendations for what to do when an advocacy campaign is ending. This framework is designed for users to execute an advocacy effort for any health issue – from obesity, to cancer and smoking – in an efficient and effective manner.
Ultimately, readers will learn how to lead a successful advocacy campaign and accomplish their desired advocacy goals.

This volume presents state-of-the-art reporting on how to measure many of the key variables in health communication. While the focus is on quantitative measures, the editors argue that these measures are centrally important to the study of health communication. The chapters emphasize constructs, scales, and up-to-date reports and evidence about key social science constructs and ways of measuring them, whether your interest is in patient-provider dyadic communication, uncertainty management, self-efficacy, disclosure, social norms, social support, risk perception, health care team performance, message design and effects, health and numerical literacy, communication satisfaction, social influence and persuasion, stigma, health campaigns, reactance, or other topics. Students, researchers, and policymakers will find this book an accessible resource for planning and reviewing research studies and proposals.

The «Korean Wave», or Hallyu phenomenon, has brought South Korean popular culture to the global population. Studies on Korean visual culture have therefore often focused on this aspect, leaving North Korea sidelined and often considered in a negative light because of its political regime. Korean Screen Cultures sets out to redress this imbalance with a broad selection of essays spanning both North and South as well as different methodological approaches, from ethnographic and audience studies to cultural materialist readings. The first section of the book, «The South», highlights popular media – including online gaming and television drama – and concentrates on the margins, in which the very nature of «The South» is contested. «The South and the North» examines North Korea as an ideological other in South Korean popular culture as well as discussing North Korean cinema itself. «The Global» offers new approaches to Korean popular culture beyond national borders and includes work on K-pop and Korean television drama. This book is a vital addition to existing scholarship on Korean popular culture, offering a unique view by providing an imaginary unification of the two Koreas negotiated through local and transnational popular culture flows.

For the first time, this volume shows the benefits of a praxeological approach to linguistics. It conceives of language, text, behavior, and communication as “practices.” A focus is placed on processuality, materiality, embodiment, and social routines. Instead of regarding language as an autonomous system, it looks at how actors use language in the context of embodied practices as shaped by social and cultural history.

Originally written in the late 1971s, this book was untouched for more than 35 years. McLuhan passed away before it went to press, but Logan always intended to finish it. Even though much has changed in the three decades since work on the project was halted, many of the points that McLuhan and Logan made in the era of ‘electric media’ are highly cogent in the era of ‘digital media.’
Looking at the future of the library from the perspective of McLuhan’s original vision, Logan has carefully updated the text to address the impact of the Internet and other digital technologies on the library. McLuhan prophetically foreshadowed the transformative effect that computing would have on «mass library organization,» saying it would become obsolescent. It is perhaps no coincidence that a key theme of the book is that libraries must strive to create context given today’s hyper information overload. The authors believe this task can be achieved by putting together a compact library of books providing an overview of human culture and scholarship.
This book is based on the original text that McLuhan and Logan wrote. Logan’s updates are integrated in the main text and clearly identified by markers. This preserves the flow of the original text and at the same time provides updates in the context of the original study. Other significant updates include two new chapters: Chapter 6 provides a LOM (Laws of the Media) treatment of the new post-McLuhan digital media, and Chapter 7 discusses the impact of these media on today’s library. A second part to the concluding Chapter has been added to update some of the conclusions reached in 1979, and there is also a new preface.

In Animal, Vegetable, Digital, Elizabeth Swanstrom makes a confident and spirited argument for the use of digital art in support of ameliorating human engagement with the environment and suggests a four-part framework for analyzing and discussing such applications.

Through close readings of a panoply of texts, artworks, and cultural artifacts, Swanstrom demonstrates that the division popular culture has for decades observed between nature and technology is artificial. Not only is digital technology not necessarily a brick in the road to a dystopian future of environmental disaster, but digital art forms can be a revivifying bridge that returns people to a more immediate relationship to nature as well as their own embodied selves.

To analyze and understand the intersection of digital art and nature, Animal, Vegetable, Digital explores four aesthetic techniques: coding, collapsing, corresponding, and conserving. “Coding” denotes the way artists use operational computer code to blur distinctions between the reader and text, and, hence, the world. Inviting a fluid conception of the boundary between human and technology, “collapsing” voids simplistic assumptions about the human body’s innate perimeter. The process of translation between natural and human-readable signs that enables communication is described as “corresponding.” “Conserving” is the application of digital art by artists to democratize large- and small-scale preservation efforts.

A fascinating synthesis of literary criticism, communications and journalism, science and technology, and rhetoric that draws on such disparate phenomena as simulated environments, video games, and popular culture, Animal, Vegetable, Digital posits that partnerships between digital aesthetics and environmental criticism are possible that reconnect humankind to nature and reaffirm its kinship with other living and nonliving things.

Medienentwicklung liegt nicht mehr allein in den Händen professioneller Medienproduzenten. Nutzer digitaler Netzwerkmedien können die Linearität der medialen Kommunikation aufbrechen und mediale Prozesse der Produktion, Verteilung und Vernetzung selbst organisieren. Erstmalig haben gewöhnliche Leute nicht mehr nur Einfluss auf die Wahrnehmung und Nutzung von medialer Kommunikation. Weil sie immer häufiger auch produzieren und verteilen, wird die Entwicklung von Medien ein alltägliches Handeln. Auswirkungen hat dies nicht nur für ehemalige (Nur-)„Nutzer“, sondern auch für „klassische“ Medienentwickler, Medienunternehmen und -organisationen sowie die Politik. Der Band reflektiert und diskutiert die neuen Möglichkeiten, und wie sie die Grundlagen und Voraussetzungen der Entwicklung von Medien grundlegend verändert haben, auf empirischer und konzeptioneller Ebene.​ ​

Common sense tells us that verbal communication should be a central concern both for the study of communication and for the study of language. Language is the most pervasive means of communication in human societies, especially if we consider the huge gamut of communication phenomena where spoken and written language combines with other modalities, such as gestures or pictures. Most communication researchers have to deal with issues of language use in their work. Classic methods in communication research – from content analysis to interviews and questionnaires, not to mention the obvious cases of rhetorical analysis and discourse analysis – presuppose the understanding of the meaning of spontaneous or elicited verbal productions. Despite its pervasiveness, verbal communication does not currently define one cohesive and distinct subfield within the communication discipline.
The Handbook of Verbal Communication seeks to address this gap. In doing so, it draws not only on the communication discipline, but also on the rich interdisciplinary research on language and communication that developed over the last fifty years as linguistics interacted with the social sciences and the cognitive sciences. The interaction of linguistic research with the social sciences has produced a plethora of approaches to the study of meanings in social context – from conversation analysis to critical discourse analysis, while cognitive research on verbal communication, carried out in cognitive pragmatics as well as in cognitive linguistics, has offered insights into the interaction between language, inference and persuasion and into cognitive processes such as framing or metaphorical mapping.
The Handbook of Verbal Communication volume takes into account these two traditions selecting those issues and themes that are most relevant for communication scholars. It addresses background matters such as the evolution of human verbal communication and the relationship between verbal and non-verbal means of communication and offers a an extensive discussion of the explicit and implicit meanings of verbal messages, with a focus on emotive and figurative meanings. Conversation and fundamental types of discourse, such as argument and narrative, are presented in-depth, as is the key notion of discourse genre. The nature of writing systems as well as the interaction of spoken or written language with non-verbal modalities are devoted ample attention.
Different contexts of language use are considered, from the mass media and the new media to the organizational contexts. Cultural and linguistic diversity is addressed, with a focus on phenomena such as multilingual communication and translation.
A key feature of the volume is the coverage of verbal communication quality. Quality is examined both from a cognitive and from a social perspective. It covers topics that range from to the cognitive processes underlying deceptive communication to the methods that can be used to assess the quality of texts in an organizational context.

For the first time, the Handbook of Language in Art Communication provides a systematic overview of the linguistic aspects of art communication, ranging from everyday art talk to the academic tradition of discourse on art, including art education, aesthetics, and art history. It covers exhibition practice and depictions of art communication in art itself.

The book brings together experts from Media and Communication Studies with Postcolonial Studies scholars to illustrate how the two fields may challenge and enrich each other. Its essays introduce readers to selected topics including »Media Convergence«, »Transcultural Subjectivity«, »Hegemony«, »Piracy« and »Media History and Colonialism«. Drawing on examples from film, literature, music, TV and the internet, the contributors investigate the transnational dimensions in today's media, engage with local and global media politics and discuss media outlets as economic agents, thus illustrating mechanisms of power in postcolonial and neo-colonial mediascapes.