Victim Blame in Fictional Crime Dramas: An Examination of Demographic,Incident-Related,and Behavioral Factors

How victims are portrayed in fictional crime dramas is an important way that individuals come to understand and interpret what it means to be a victim of crime. We examine how demographic variables (e.g., gender, race, age), incident variables (e.g., location of offense, relationship between victim and offender, type of crime), and behavioral variables (e.g., drug use/alcohol use, sexual promiscuity, negative personality traits, or concealing elements of personality) predict victim blame. Although some literature has analyzed victims in fictional crime dramas, such literature has been limited to a single year, a single show, a particular crime, or a particular factor. We extend this literature by focusing on multiple factors that predict victim blame using data collected from a systematic sample of 124 episodes from 4 fictional crime dramas (CSI, Law & Order: Special Victims Unit, Criminal Minds, and Without a Trace) over 7 years (2003–2010).     

Exploring the representation of xenophobia in a South African television drama series: A Zimbabwean audience's perspective

Abstract

A great deal of research has been conducted on minorities and their representation in the media in various parts of the world (Evra 2004: 67; Miller 1996; Vicsek & Markus 2008: 124). Fundamentally, the reason for this is political, as ‘the cohesion or rupture of a social world depends on relations among groups who perceive themselves as disadvantaged either as groups or as individuals’ (Staiger 2005: 13). Television programmes, as elements of the media, are a source of information that contributes to these perceptions. Many scholars are of the view that television creates, reflects and reinforces social relations and functions as a mediation of the social world (Evra 2004: 13). In South Africa relatively little research has been conducted on the representation of minorities in local media. Particularly the representation of black immigrants and their representation on South African television has been largely ignored (Kiguwa 2008: 67; Nyamnjoh 2006). The focus of this article is not on the analysis of the representation of foreigners on television, but rather on how a specific group of viewers perceives the representation of Zimbabwean immigrants in the drama series Usindiso (Redemption), broadcast on the South African Broadcasting Corporation's SABC1. The central research question posed by this article is: How does a selected group of Zimbabwean immigrants living in Hillbrow in South Africa perceive the representation of Zimbabwean immigrants in Usindiso?     

Baltic Theater 1995–2005: Processes and Trends

During the decade from 1995 to 2005 theater in the Baltic region widened its repertory borders, created a new system of management and renewed its artistic language. It lost its ideological significance and intellectual leadership. The new system of contracts gave more freedom to theater managers in changing the inner structure of theaters, and in forming smaller and more dynamic theater companies. The self-identifying process appeared in all three Baltic theaters, as seen in such productions as Alvis Hermanis's Latvian Stories (2004), Priit Pedajas’ performance of Andres Kivirahk's Estonian Funeral (2002) and Rimas Tuminas’ production of Marius Iva?kevi?ius’ Madagaskaras (2004).     

目的论视角下的泰国电影片名汉译

在当前泰国影视剧正在中国传播的背景下，用功能学派翻译理论的目的论来指导电影片名的翻译无疑是正确的方法与手段。在翻译目的论的指导下，泰国电影片名的汉译能把电影的四项基本价值即信息价值、文化价值、审美价值和商业价值充分地体现出来；同时能总结出影片名翻译的多种方法，如音译、直译、意译与换译以及这些方法的运用条件与缘由。     

从观众接受史的角度看文明戏

以往的文艺研究,一般重视了文本本身的美学价值,而忽视了读者(观众)的接受心理层次,本文以上世纪初至30年代上海社会商品文化存在为剖面,从观众接受层次(与"接受史"理论相关)和商品意识的角度,探讨了同时期文明戏(新剧)创作与上演的成败情况及其发展轨迹。     

浅谈歌剧与音乐剧的关系

音乐剧的音乐形式是歌剧化的,它是古典歌剧艺术的现代传承,是现代音乐戏剧的主流。音乐剧与歌剧在形式上是相同的,它们之间没有明显的界限。如果说歌剧是用音乐展开的戏剧,那么,音乐剧则是用音乐展开的戏剧。音乐剧属于现代艺术,歌剧属于古典艺术,两者因为时代气息的不同而在表演方式和表演要素上又各有所侧重。     

论草原文化对古代戏曲形成的影响

古代戏曲的形成有两个重要时期,十六国北朝集中出现的一批古剧,促进了唐代古剧的繁荣,形成了以唐参军为标志的主流艺术,古代戏曲形成的艺术进程明显加快;金元两代草原游牧文化的传入,促使金院本、诸宫调、胡曲蕃乐的艺术融合,形成了元杂剧,古代戏曲正式成熟.十六国北朝与金元两代,都是草原文化大规模传入中原,各民族文化冲撞与融合的重要时期.古代戏曲是各民族文化冲撞与融合的艺术结晶,草原文化的传入,对古代戏曲形成有着极其重要的影响.     

转型：从写实传统到现代主义——论1960至70年代台湾话剧的发展

台湾话剧从写实传统向现代主义转型是在1960年代后半期及70年代.姚一苇等戏剧家为了真实深刻地描写现实和表现人,为了给已呈衰颓迹象的台湾话剧注入活力,借鉴西方现代派戏剧并融合民族戏曲传统去求新求变,推动了中国话剧艺术的发展.     

论明代浙江曲家的佛教情结及思想渊源

The Buddhism state of mind which all have a kind of mightiness of Drama writer in Zhejiang of Ming Dynasty, they not only deeply clear 佛 reason, and aware of self the 援佛 go into 儒 , 援佛 to go into a way, looking for three teach of agree with a point, they much with recluse and mountain person and call, is a clear certificate.Then with the publicity Buddhist doctrine, life and death round return for create an aim to return, and beg to take true meaning from the Buddhism, melt 佛 in the heart, the mind 佛 turns, the 禅 turn, purify, pursuing to be born, super take off, return a leisure method of returning the mind.The creation of this kind of current of thought, one is the heart learns, especially the king learns leftists to populars to song house in Zhejiang in Zhejiang of influence, two is after Drama writer in Zhejiang situation has the misfortune to, the mind needs a kind of spirit good medicine that can comfort or match more.