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| focuses on the signification, or how meaning is created |
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| the connotative meaning that signs carry wherever they go; makes what is culture seem natural |
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| anything that can create meaning or "stand for something else" |
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| a signifier that is physically caused by the signified |
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| a sign in which a signifier structurally resembles the signified |
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| when the signifier and signified are linked only by convention |
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| the physical aspect of the sign |
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| the meaning communicated by the signifier |
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| denotation (first order signification) |
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| the literal or primary meaning |
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| connotation (second order signification) |
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| denotation loses its history and instead reinforces the dominant values of a culture |
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| attempt to uncover the history of a sign |
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| rejection of logic and inevitable progress; little narratives; praxis |
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| neo-Marxist critique that sets forth the position that mass media manufacture consent for dominant ideologies |
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| belief that human behavior and relationships are ultimately caused by differences in financial resources and the disparity in power that those gaps create |
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| frameworks through which we interpret, understand and make sense of social existence |
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| myth that society is held together by such common norms as equal opportunity, respect for diversity, one person one vote, individual rights and rule of law |
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| the producers of culture, radio, fashion, television, music, film, magazines, newspapers, etc. |
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| struggle between ideologies |
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| how a culture thinks -- defines the conditions for the possibility of knowledge or for the world view of an age |
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| process by which unquestioned and seemingly natural ways of interpreting the world become ideologies |
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| molding discourse so that media echoes that message and it is decoded and acted upon by the audience |
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| process of practicing an idea |
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| movement of innovations from one culture to another |
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| a type of persuasion that involves mass audiences with the purpose of achieving the goals of the persuader |
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| the theory that the media have direct, powerful, immediate and universal effects on audiences |
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| those who pay more attention to the media; provided information, interpretations and opinions to others |
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| opinion leaders attend to the media and then opinion leaders inform and influence others |
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| messages become more concise |
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| central features of the story are retained and become the dominant theme |
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| changes occur to the story based on people's opinions and attitudes |
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| idea, practice or object that is perceived as new |
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| characteristic pattern by which innovations are adopted over time |
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| the mass media have the ability to transfer the salience of an issue on their news agenda to the public agenda |
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| attitudes one can express without running the danger of isolating oneself; a tangible force that keeps people in line |
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| the increasing pressure people feel to conceal their views when they think they are in the minority |
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| when people fear rejection, they will show greater tendencies to conform |
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| sixth sense that tallies up information about what society in general is thinking and feeling |
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| difference between heavy viewers and light viewers |
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| television operates as a gravitational force pulling different demographic groups of heavy viewers together |
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| when the media reinforces an environment so heavy viewers are more extreme in their judgements |
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| suggests that masculine and feminine styles of discourse best viewed as two distinct cultural dialects |
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| typical conversational style of women, which seeks to establish connection with others |
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| typical monologic style of men, which seeks to command attention, convey information and win arguments |
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| a place from which we view the world around us |
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| people with little power who have trouble giving voice to their perceptions because they must re-encode their thoughts to make them understood in the public sphere |
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