"The article gives an overview of general trends in media use in Estonia over the last 15 years, making some comparisons with Nordic countries. Since the beginning of postcommunist transformation in 1991, the media landscape in Estonia has faced substantial changes. A completely renewed media system
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has emerged, characterized by a diversity of channels, formats, and contents. Not only the media themselves, but also the patterns of media use among audiences, their habits and expectations, have gone through a process of radical change. Changes in the Estonian media landscape have some aspects in common with many other European countries, such as the impact of emerging new media and global TV; others are specific features of transition to a market economy and democratic political order. Besides discussing general trends, the article gives insights into some audience- related aspects of changes, more specifically age and ethnicity." (Abstract)
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"Spielt das Radio für die zeitgenössische Literatur eine Rolle? Antworten auf diese Frage geben 21 bekannte deutschsprachige Schriftsteller, die sich von den Ätherwellen inspirieren ließen. Sie erzählen von ihren Erfahrungen mit dem Radio; sie reflektieren, rühmen, glossieren oder poetisieren
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es. Entstanden ist eine einzigartige Sammlung literarisch-essayistischer Texte zur Radiokultur und zugleich eine Fülle von Geschichten, wie sie nur das Radio schreibt: John von Düffel zum Beispiel weiß von Stimmen, die man anfassen kann, für Ulrike Draesner ist das Radio lange der fünfte Küchenbewohner gewesen, Wilhelm Genazino interessiert sich für die Marotten der Moderatoren, Feridun Zaimoglu erzählt von der Vorliebe seines »russenfressenden« Großvaters für Militärsender, und Wolf Wondratschek erklärt uns, dass es das Radio deshalb gibt, weil es Mitleid mit den Schlaflosen hat. Diese und andere »Dichter am Äther« waren zwischen 2001 und 2004 in der WDR 3-Kultursendung Mosaik zu hören; ihre Beiträge liegen hier erstmals gesammelt als Buch vor." (Klappentext)
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"Fernsehen tötet die Fantasie – so zumindest die Alltagstheorie zum Verhältnis von Medien und der Imaginationsleistung von Kindern. Bei genauerem Hinsehen ist das Verhältnis jedoch sehr viel komplexer, wie die hier vorgestellte Studie zu den Tagträumen der 8- bis 10-Jährigen zeigt. Fernsehen
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verdrängt die Fantasie nicht, es wird zu einem Teil von ihr. Kinder nehmen sich etwas aus dem Fernsehen heraus und entwickeln mit den Medienbildern ihre eigenen Erzählungen. Globale Medienensembles wie Harry Potter oder Pokémon werden so zum Bestandteil der Tagträume von Kindern in Israel, Südkorea, den USA und Deutschland, so wie es in früheren Zeiten bei uns Karl Mays Winnetou, der Titanic-Film in Schwarzweiß oder in den 80ern die Ballerina Anna und Flashdance waren. Wie das im Einzelnen geschieht, welche Unterschiede es in den Aneignungsmustern von Mädchen und Jungen gibt, welche nationalen Besonderheiten deutlich werden, und worin sich heutige Kinder von früheren Generationen unterscheiden, zeigt diese qualitative Studie. 193 Kinder aus Israel, Südkorea, den USA und Deutschland gingen auf eine Fantasiereise und malten und erzählten von ihrem großen Tagtraum. Parallel dazu erinnern sich 56 Menschen, die in Zeiten mit einem anderen oder noch gar keinem Fernsehangebot aufwuchsen, an ihre Kindheitsfantasien." (Klappentext)
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"This substantial thesis – supported by a very extensive range of tables and appendices – explores voluntary reading habits in the multilingual environment of Kenya. Designed as a case study, it focuses on the social image of reading, the functions of reading, the factors impacting on reading ha
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bits, and the language use in reading among members of the ethnolinguistic Kikuyu and Luo communities in Nyeri District (Central Kenya) and Kisumu District (Western Kenya). By taking a reader-oriented perspective the study aims to add a new dimension to the discussion on the status of reading in the Kenyan context, which has thus far been mainly debated from the point of view of publishers." (Hans M. Zell, Publishing, Books & Reading in Sub-Saharan Africa, 3d ed. 2008, nr. 2209)
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"Nearly one woman in ten does not listen to radio at all. However, the results of the survey indicate that over half (51.4%) of women does not listen at all, or seldom listens to radio. This situation is not due to the competition from television, but rather to the fact that the majority of women do
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not have a radio and, to a lesser extent, to their core duties which leave them little time to listen to radio. The effect of the high impact of household core could be reduced if these women had their own radio sets. Indeed, an overwhelming majority of the women was classified as "housewife", which is not incompatible with listening to radio. Young people, in particular teenagers, have a lower level of access to information through radio. Health programs usually target this age group which should also be a focus for women promotion programs. It is all about women, who, while being still young, are becoming mothers and heads of a family. Their needs for information would seem to be thus more significant than those of other women. This is, however, the group that shows the least interest in radio. Moreover, radio management should see to it that these teenagers get more interested in their programs. This lack of keen interest from teenagers could be due to the fact that they have a more significant access to television. Women with lower incomes and those from the regions have the lowest rates of access to radio programs. These results tally with the low rate of radios owned by women. The results show a positive link between radio ownership rates and the percentage of women who listen to radio everyday. Very few female listeners (5%) contacted radio stations to take part in a program. This participation is somewhat easier for women who have access to telephone. However, the costs of communication could be a deterrent considering the low incomes of the population." (Executive summary)
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"L'enquête sur l'audience 2003 – 2004 fait suite aux précédentes enquêtes, menées en 1997 et en 1998 dans le cadre du programme de coopération Madagascar– UNICEF. Elle consiste à mettre à jour les données issues des précédentes enquêtes, mais également à identifier les canaux de co
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mmunication les plus efficaces pour transmettre les messages. Sans prétendre à la perfection, la présente étude permet ainsi d'ouvrir de nouvelles pistes de recherche pour la communication à Madagascar et de connaître la perception par la population de ses différents canaux (audio-visuel, presse écrite, etc)." (Preface)
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"This report, Audience Perceptions of Radio Programming in Afghanistan, is the result of qualitative research conducted to assess audience perceptions of 3 key radio stations in the cities of Kabul and Herat in June 2004. The stations are: Radio Afghanistan (the state broadcaster) Arman FM (Afghanis
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tan’s first commercial station) and Radio Herat (the state broadcaster). A total of 12 focus groups were conducted, split by age (18 – 29 and 30+) and gender. For each target station, 4 groups were held. Each group comprised 8 participants. The overall objective was to explore listening habits and audience preferences, particularly in terms of coverage of news and elections-related information, in order to inform the BBC WST project as it builds capacity within the Afghan media to play its part in the process of democratisation.
The research revealed a number of findings relating to general media consumption in Afghanistan: Listeners regularly switch between radio stations to listen to particular programming or presenters they like. Men and women listen at different times of the day, men more frequently in the early mornings and evenings, women during the day. Interactivity (such as phone-ins and letters) in programming appeals to listeners. Programmes that offer help and advice and have educational benefit are popular. Listeners dislike language that is overly formal and difficult but equally dislike language that is regarded as trivial or inappropriate. There are generational and gender differences in programme preferences, with younger audiences drawn especially by music programming. There is high awareness of programme names and presenter names." (Executive summary, page 2)
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