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Copyright of Revista de Filosofía (0185-3481) is the property of Universidad Iberoamericana Cuidad de Mexico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Radio research of the 1930s and 40s poses a challenge to the contemporary scholar of broadcast history. In the early days of radio research, scholars and practitioners often placed emphasis on material extraneous to the broadcast content rather the content itself. As a result, radio scripts and broadcast material that might have been preserved for contemporary scholarship was at best inconsistently and imperfectly preserved, and at worst discarded altogether. Considering the development of radio research in the 1930s and 40s, Leo Löwenthal and other members of the Frankfurt School often found that their emphasis on content analysis meant they were at the center of methodological disputes that put them at odds with their peers but firmly on the side of today's radio historians and preservationists. In this essay, I argue that the historical emphasis on radio audiences and effects analysis that tends to predominate early radio research often obscured the broadcast content that produced those effects. However, with their studies of the techniques of right-wing radio agitators, the Frankfurt School's insistence on content analysis inadvertently helped preserve historically significant broadcast material that not only would have otherwise been lost, but which also provides an important template for understanding contemporary manifestations of demagoguery. For today's scholars invested in the preservation of broadcast content, following the trail left by these methodological iconoclasts can help us fill in missing pieces of radio's historical puzzle. [ABSTRACT FROM AUTHOR]

For years after its start-up in 1979, Farm Radio International (FRI) sent radio scripts and other material to broadcasters in more than 100 developing countries, believing it reached as many as 100 million people. By 2000, however, its unidirectional scattershot approach was being questioned by both communication specialists and its principal donor. Following a four-year struggle to reorganise its mission, programmes, and funding, FRI found new purpose, a new donor, and solid evidence of impact. The viewpoint offers lessons in management, communications for development, donor infatuation with “The Next Big Thing”, the difference between information and knowledge, and how people learn. [ABSTRACT FROM PUBLISHER]

The re-use of storylines from radio plays on early television was not uncommon; indeed, much of the television programming of the 1950s and early 1960s consisted of repurposed radio scripts. Columbia Presents Corwin 'Moat Farm Murder' (Bernard Herrmann, 18 July 1944) was among the many radio programmes from the 1940s that had music featured in The Twilight Zone. Of the radio plays to feature music in the series, 'Moat Farm Murder' provided more cues than any other CBS radio score. Cues from 'Moat Farm Murder' are found in eleven episodes of The Twilight Zone (CBS, 1959-1964). The use of music from radio dramas and their re-uses in television has thus far not been examined. This essay looks at the composition of the 'Moat Farm Murder' radio score and Corwin's collaboration with Herrmann in it, as well as the re-use of radio music in The Twilight Zone. Through this case study of 'Moat Farm Murder', better knowledge of how the CBS Stock music library was used, in tandem with the way in which other similar network and production company cue libraries worked. [ABSTRACT FROM AUTHOR]

A list of sources for the transcripts of Spike Milligan's radio comedy series "The Goon Show is presented that include "The Kipped Herring Gang," "The Greatest Mountain in the World," and "The Internal Mountain."

William Butler Yeats is recognised as a pioneer in the history of radio broadcasting in the United Kingdom; the talks and poetry readings he conceived for the British Broadcasting Corporation between 1931 and 1938 display his genuine interest in writing for, and speaking to the wireless, and the published scripts of his broadcasts have received sustained critical attention in their own right. However, if Yeats’s collaboration with the BBC during the 1930s has been carefully explored, the periods that precede and follow the creation of his BBC broadcasts have remained shrouded in mystery. In this article, I provide a new chronology of radiophonic adaptations and broadcasts of Yeats’s writings that complements extant knowledge of this facet of broadcasting history, and I argue that Yeats’s personal involvement with radio should be envisaged in a wider context. Indeed, the artistic leeway that Yeats was granted when conceiving his BBC programmes is not merely related to his status as Nobel Prize winner, but is inscribed in an evanescent and previously undocumented history of broadcasting, which saw the rise of Yeats’s poetry and plays to prominence on the British and Irish airwaves from the early days of broadcasting in the 1920s. [ABSTRACT FROM PUBLISHER]

As verse dialogue, debate poetry displays a complicated structure with poetic, dialogic and textual hierarchies. This paper is a pilot study of the ways in which visual elements (e.g. layout, colour, images or different typefaces) are used to mark these layers of structure in printed or manuscript debate poetry. It examines four English Body and Soul debates ranging from the thirteenth to the seventeenth century, analysing both the visual markers used and the functions they served. The findings indicate that poetic structure was the layer most consistently visually marked by scribes and typesetters, while the most visually striking markers tend to be found at the boundaries of textual sections. Speech turns tend to coincide with other structures, which causes them to be somewhat less consistently marked. Further investigation of the visual marking of speech turns and its interaction with verbal marking would be beneficial, especially with a larger corpus of debate poetry. [ABSTRACT FROM AUTHOR]

Copyright of Education Policy Analysis Archives / Archivos Analíticos de Políticas Educativas / Arquivos Analíticos de Políticas Educativas is the property of Educational Policy Analysis Archives & Education Review and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article intervenes in ongoing debates around the democratic potential of new television satire through an analysis of the content and reception ofThe Thick of It(TTOI).TTOIis popular not only with a notoriously cynical British public, but even more so with the politicians and journalists that are the target of its ridicule.TTOI’s politics are relatively radical, portraying the news media and politicians as forming a social apparatus which is rotten to the core, and thereby offering a challenge to liberal democracy itself. It is deeply ironic, then, that the show has been incorporated by this very apparatus. What does it mean for the show to be adopted so enthusiastically by the system it so aggressively derides, and what can it tell us about satire’s relationship to cynicism, politics, and democracy? [ABSTRACT FROM PUBLISHER]

The article discusses and presents an edited reproduction of the script for the documentary radio program "Nietzsche" written by Québec novelist, essayist, political activist, and filmmaker Hubert Aquin. The program focused on German philosopher Friedrich Wilhelm Nietzsche and his affinity for music and friendship with German composer Richard Wagner and was part of the radio series on philosophers and thinkers entitled "Philosophes et penseurs" broadcast by the Canadian Broadcasting Corp. on May 24, 1964.

Abstract: This paper discusses the caller types in political talk radio programs in Israel and the United States. The different caller types are: anonymous, regular, returning, first-time and the unmarked standard caller. The regular callers in Israel use recognitionals to be identified by the host. The returning callers in both countries state their return at the beginning of their talk. The first-time caller also starts his interaction by stating this identity, and some of them say they are regular listeners, to mitigate their novice identity. These types are relevant throughout the interactions: the interactions with regulars and returning callers are harsher or freer than other interactions, whereas interactions with first time callers are gentler. These types resemble similar types from non-media environments, such as the barroom. The various caller membership types contribute to the construction of a community around the programs. [Copyright &y& Elsevier]

Background: Rising cesarean section (CS) rates are a major public health concern and cause worldwide debates. To propose and implement effective measures to reduce or increase CS rates where necessary requires an appropriate classification. Despite several existing CS classifications, there has not yet been a systematic review of these. This study aimed to 1) identify the main CS classifications used worldwide, 2) analyze advantages and deficiencies of each system. Methods and Findings: Three electronic databases were searched for classifications published 1968-2008. Two reviewers independently assessed classifications using a form created based on items rated as important by international experts. Seven domains (ease, clarity, mutually exclusive categories, totally inclusive classification, prospective identification of categories, reproducibility, implementability) were assessed and graded. Classifications were tested in 12 hypothetical clinical case-scenarios. From a total of 2948 citations, 60 were selected for full-text evaluation and 27 classifications identified. Indications classifications present important limitations and their overall score ranged from 2-9 (maximum grade = 14). Degree of urgency classifications also had several drawbacks (overall scores 6-9). Woman-based classifications performed best (scores 5-14). Other types of classifications require data not routinely collected and may not be relevant in all settings (scores 3-8). Conclusions: This review and critical appraisal of CS classifications is a methodologically sound contribution to establish the basis for the appropriate monitoring and rational use of CS. Results suggest that women-based classifications in general, and Robson's classification, in particular, would be in the best position to fulfill current international and local needs and that efforts to develop an internationally applicable CS classification would be most appropriately placed in building upon this classification. The use of a single CS classification will facilitate auditing, analyzing and comparing CS rates across different settings and help to create and implement effective strategies specifically targeted to optimize CS rates where necessary. [ABSTRACT FROM AUTHOR]

The main purpose of this review of the published academic literature on Nigerian and Ghanaian video films is to foster self-awareness in this new field of study. This literature has been produced on three continents and out of many academic disciplines; in consequence, scholars tend to make few references to others working in the field, debates have been rare, and there has been a great deal of repetition. African Cinema studies, as it had already been constituted, has been slow to recognize and adapt to the video revolution, and film studies in African universities has suffered from the decline of those institutions. Anthropologists have done much of the groundbreaking work in describing the video phenomenon, though Nigerians from a variety of disciplines have also made valuable contributions. Theoretical analyses, cultural interpretations, reception studies, and detailed, extended readings of particular films are all on the agenda for the future. [ABSTRACT FROM AUTHOR]

Purpose - The purpose of the paper is to explore the potential of visual cultural studies (VCS) to inform and extend research on "accounting and the visual". Design/methodology/approach - A VCS framework is utilized: to draw together and organize work on "accounting and the visual"; and to illustrate how concepts and empirical studies from VCS can develop and extend accounting research. Findings - The "visual culture turn" in the social sciences has generated considerable theorizing and empirical research pertinent to accounting research. In particular, it can deepen studies of accounting visuality - accounting's visibilities, invisibilities and ways of seeing - and stimulate new imag(in)ings. Practical implications - The paper introduces accounting researchers to questions, topics, concepts and debates in the VCS field and illustrates how accounting and VCS research can mutually inform each other and foster interpretive/critical accounting projects. Originality/value - VCS can frame studies of "accounting and the visual" (i.e. affirm it as a distinct field, with rich interdisciplinary connections) with implications for developing and extending accounting research. [ABSTRACT FROM AUTHOR]