These "seven Cs" guide student-readers to choose the content and style that best fits the purpose and recipient of any given message. Pedagogically rich, most chapters in this paperback text include checklists, mini-cases and problems, "Communication Probe" boxes which summarize related research, and sidenotes that isolate significant points that should not be missed. Two new chapters are devoted to ethics and technology respectively.

    "Interpersonal Communication, 2e" demonstrates how effective interpersonal communication can make students' lives better. With careful consideration given to the impact of computer-mediated communication, the program reflects the rapid changes of the modern world in which today's students live and interact. The program also helps students understand and build interpersonal skills and choices for their academic, personal, and professional lives.

    The reader will learn to plan and manage multimedia projects, from dynamic CD-ROMs and DVDs to professional websites.

    The book also applies communication theories to the mass media with current examples from journalism, broadcasting, advertising and public relations to clarify the concepts. A new chapter on cyber communications explores the influential new medium, using discussions of mediamorphosis, hypertext, multimedia, interface design, Internet addiction and Internet dependency. An extensively rewritten chapter on media chains and conglomerates addresses key developments in the field. The book also includes unique coverage of media uses and institutions, meant as an alternative way to think about mass communication. For readers interested in exploring mass communication theory.

    In this witty, often terrifying work of cultural criticism, the author of Amusing Ourselves to Death chronicles our transformation into a Technopoly: a society that no longer merely uses technology as a support system but instead is shaped by it--with radical consequences for the meanings of politics, art, education, intelligence, and truth.

    Here the lives of rich and poor, white and coloured are tightly interwoven. Various characters roam here, each with their own story. As Oom Kêppies says: “He’s like the sea, like a wave. You think you’ve got him, but his foam line on the sand is all that’s left.” But even before the line of foam is all that remains on the sand, the calm life cycle of the “salt of the earth” is suddenly threatened.,

    Graham Lord was born and educated in Southern Rhodesia (now Zimbabwe), raised in Mozambique, took an honours degree in History at Cambridge, and spent twenty-three years as Literary Editor of the Sunday Express in London, where he wrote a weekly column about books and met almost every major English language author of the 1960s to the 1990s.After leaving the Sunday Express in 1992 to become a full-time author he wrote regularly for The Daily Telegraph, The Times and the Daily Mail, and from 1994 to 1996 he edited the short story magazine Raconteur.Printed book size: 482 pages

    Like everyone else, preachers long to be understood. Unfortunately, the rules first learned in seminary, if misapplied, can quickly turn homiletic precision into listener boredom. To capture heart and mind, Mark Galli and Craig Larsen suggest preachers turn to the lessons of journalism. In Preaching That Connects, they show how the same keys used to create effective, captivating communication in the media can transform a sermon. Amply illustrated from some of today’s best preachers, Preaching That Connects walks through the entire sermon, from the critical introduction to the bridge to illustrations and final application. Key points include the five techniques for generating creative ideas, your six options for illustrations, and the ten rules for great storytelling—and why the transition sentence is the hardest sentence you’ll write. Preaching That Connects is for all who seek to hone their craft to communicate the truth of the gospel effectively.

    Young or old, their devotion and obedience were almost superhuman. Luckily, as described in the Mahabharata, the gods looked kindly on them. After all, these young men had earned the right to happiness.

    . . [together] why media audiences have fled and why new technology and megacorporate ownership are putting good journalism at risk.” —Rasmi Simhan, Boston Globe“Kovach and Rosenstiel’s essays on each [element] are concise gems, filled with insights worthy of becoming axiomatic. . . . The book should become essential reading for journalism professionals and students and for the citizens they aim to serve.” —Carl Sessions Stepp, American Journalism Review“If you think journalists have no idea what you want . . . here is a book that agrees with you. Better—it has solutions. The Elements of Journalism is written for journalists, but any citizen who wonders why the news seems trivial or uninspiring should read it.” —Marta Salij, Detroit Free PressThe elements of journalism are:* Journalism’s first obligation is to the truth.* Its first loyalty is to citizens.* Its essence is a discipline of verification.* Its practitioners must maintain an independence from those they cover.* It must serve as an independent monitor of power.* It must provide a forum for public criticism and compromise.* It must strive to make the significant interesting and relevant.* It must keep the news comprehensive and proportional.* Its practitioners must be allowed to exercise their personal conscience.

    You can t motivate people they are already motivated, but generally in superficial and short-term ways. Applying recent, often surprising psychological discoveries, Fowler lays out a tested model and course of action that will help leaders guide their people toward motivation that not only increases productivity and engagement but gives them a profound sense of purpose and fulfillment. Fowler argues that leaders still depend on traditional carrot-and-stick techniques because they haven t understood their alternatives and don t know what skills are necessary to apply the new science of motivation. Her Optimal Motivation process shows leaders how to move people away from dependence on external rewards and help them discover how their jobs can meet their deeper psychological needs for autonomy, relatedness, and competence that science tells us result in meaningful and sustainable motivation. Susan Fowler's book is the groundbreaking answer for leaders who want to get motivation right."

    No, what we are short of is the attention to make sense of that information. With all the verve and erudition that have established his earlier books as classics, Richard A. Lanham here traces our epochal move from an economy of things and objects to an economy of attention. According to Lanham, the central commodity in our new age of information is not stuff but style, for style is what competes for our attention amidst the din and deluge of new media. In such a world, intellectual property will become more central to the economy than real property, while the arts and letters will grow to be more crucial than engineering, the physical sciences, and indeed economics as conventionally practiced. For Lanham, the arts and letters are the disciplines that study how human attention is allocated and how cultural capital is created and traded. In an economy of attention, style and substance change places. The new attention economy, therefore, will anoint a new set of moguls in the business world—not the CEOs or fund managers of yesteryear, but new masters of attention with a grounding in the humanities and liberal arts. Lanham’s The Electronic Word was one of the earliest and most influential books on new electronic culture. The Economics of Attention builds on the best insights of that seminal book to map the new frontier that information technologies have created.

    This text shows how interpersonal communication theory and skills pertain to students' daily encounters with others.

    It includes character studies and summaries of the plot with discussions of the major themes, as well as a background to John Steinbeck.

    This provocative book undertakes a new and challenging reading of recent semiotic and structuralist theory, arguing that films, novels, and poems cannot be studied in isolation from their viewers and readers.