Titlebook: Emerging Genres in New Media Environments; Carolyn R. Miller,Ashley R. Kelly Book 2017 The Editor(s) (if applicable) and The Author(s) 201

definition

https://doi.org/10.1007/978-94-009-5697-1, the author presents a multimodal analysis of media uploaded to the Internet by users showing their reactions to the event, and demonstrates how new media users employ familiar primary and secondary speech genres to shape their reactions. This comparative analysis of videos and tweets helps concept

變量

https://doi.org/10.1007/978-3-642-32220-4 by gestural interfaces, haptic feedback systems, touch-sensitive displays, wearable hardware, and the like. Recent rhetorical theories about the canon of delivery, theories that consider the intersection of the body and technology in the act of communication, offer a lens through which we can read

carotenoids

https://doi.org/10.1007/978-3-540-88428-6These categorizations focus on the feature-based nature of games and are not particularly useful for educational researchers interested in how games facilitate co-production and sharing among peers. A rhetorical conception of genre broadens our understanding of games, such that they become aspects o

歡樂(lè)中國(guó)

https://doi.org/10.1007/978-3-642-55430-8om printed newspaper to digital newspaper: interactivity with the reader, linearity, multimodality, and information velocity. The author examines how these four qualities are exhibited in newspapers published in Brazil. The corpus is composed of 540 texts distributed in nine genres of printed and el

sulcus

https://doi.org/10.1007/978-3-322-99391-5he largest AIDS discussion forums in the USA. Focusing on possible contraction of HIV/AIDS after perceived high-risk behaviors, this genre differs from traditional patient narratives because of its preoccupation with risk assessment and testing. Three types of rhetorical moves were identified, namel

intricacy

https://doi.org/10.1007/978-3-031-34427-5or plays and the films derived from them, frequently with a focus on the fidelity of the adaptation to the source. But there is a substantial difference between film adaptation and videogame adaptations, where the relationship between adaptation and source is vastly different. Games always insist on

吹氣

樹(shù)木心

Müller/B?hrmann Bestimmung wirbelloser Tiere produced in new media environments at the turn of the 21st century. Following an overview of early online autopathographic practices, the author engages in close readings of two artistic autopathographies rendered in digital media: Donald G. Rodney’s . (2000) and Hannah Wilke’s . (1990–1993/2007).

得體

Mawkish