Audience

1. The Flesh and Blood Audience.

Audience
1. The Flesh and Blood Audience.
a. The FBAuthor can anticipate the FBAudience.

Deliberate attempt to ADAPT to your future possible

audience.

Gender, age, income, interests, organizations, profession, etc.

Audience
1. The Flesh and Blood Audience.
2. The “Situational” Audience
Audience
1. The Flesh and Blood Audience.
2. The “Situational” Audience
a. Those who can participate in resolving the “situation.”

An author can shape their audience via shaping their

situation.
Audience
1. The Flesh and Blood Audience.
2. The “Situational” Audience
3. The Audience in the Text
Audience
1. The Flesh and Blood Audience.
2. The “Situational” Audience
3. The Audience in the Text
The 2nd Persona or the Authorial Audience.
The “You” of the text.
This audience is fictionalized in, implied by, or projected through
the TEXT.
Audience
1. The Flesh and Blood Audience.
2. The “Situational” Audience
3. The Audience in the Text
The 2nd Persona or the Authorial Audience

The kind of person the text “wants” you to be, the role you are
to play, or the position you are to take, as audience member.
Audience
1. The Flesh and Blood Audience.
2. The “Situational” Audience
3. The Audience in the Text
The 2nd Persona or the Authorial Audience

The kind of relationship that you are to have with the (implied)
author of the text (or the 1st persona).
Audience
1. The Flesh and Blood Audience.
2. The “Situational” Audience
3. The Audience in the Text
The 2nd Persona or the Authorial Audience

Your place among others in the group.

The Second Persona
What kinds of things have to characterize you for you to be a
member of the audience, or

What elements of a text can prevent you from willingly, fully,

successfully entering and engaging with the world of the text?
The Second Persona
Knowledge: what you have to know about the perceptible world
of the text: terms and language, things, places, people, events
and what you may not know, or need explained to you.
The Second Persona
Knowledge:
Beliefs: Ideas about abstractions and concepts concerning how
the world works. What you believe and what you don’t believe.
The Second Persona
Knowledge:
Beliefs:
Tastes: Preferences about what is pleasurable, enjoyable,
attractive and what is painful, distasteful, repellant.
The Second Persona
Knowledge:
Beliefs:
Tastes:
Values and Judgements: What you find honorable, good,
important, valuable, worthwhile, pure, and what you find
shameful, bad, trivial, cheap, worthless, tainted.
Similar to finding a narrative “tellable”
The Second Persona
Knowledge:
Beliefs:
Tastes:
Values and Judgements:
Identity: the collection of knowledge, beliefs, tastes, values, and
judgements characteristic of a certain position, role, or status.
An aspect or “facet” of a person, a self.
We each have multiple identities (roles) that we can enact.
The Second Persona
Knowledge:
Beliefs:
Tastes:
Values and Judgements:
Identity:
Relationships: with the author, and with others in the group.
The Second Persona
Knowledge:
Beliefs:
Tastes:
Values and Judgements:
Identity:
Relationships:
These are not INDIVIDUAL or UNIQUE attributes,
But COMMON to and SHARED by a CULTURE.
The Second Persona
The set of shared attributes, identities, and relationships
Within a Culture can be called an
IDEOLOGY
The Second Persona

IDEOLOGY

The network or cluster of knowledge and beliefs, tastes, values

and judgements that make up a shared or public identity (a role
or position) within a culture and the relationships it has with
other identities.
The Second Persona

IDEOLOGY
And its roles or identities and relationship is expressed through
texts: the situation it presents, how it argues, stories it tells, how
it is arranged,
And through language, and style, like metaphors and slang.
The Second Persona

IDEOLOGY

Each group and category of identity within a culture will have its
own “idiom of discourse,” and its own type or genre of texts.
The Second Persona

IDEOLOGY
A TEXT in its particular idiom of discourse will imply, model,
specify and invoke its culturally recognized identities
(knowledge, beliefs, taste, values, judgements) and relationships.

As members of a culture, we are encouraged to learn and

”inhabit” the identities it presents to us.
The Second Persona
Readers are encouraged to grasp and take up the implied
role/identity and ideology of the text as they read, in order to
“get” the text in the way that it “wants” to be gotten.
The Second Persona
Readers must grasp and take up the role/identity and ideology of the text as they read
in order to “get” the text in the way that it “wants” to be gotten.
This role/identity is not the reader’s “real self” but must be a
possible subject identity with which they are familiar or can
approximate.
The Second Persona
Readers must grasp and take up the role/identity and ideology of the text as they read,
in order to “get” the text in the way that it “wants” to be gotten.
This role/identity is not the reader’s “real self” but must be a possible subject identity
with which they are familiar or can approximate.
While reading, we play the game of being a member of an
audience that does not “really exist.”
The Second Persona
By playing this game, “taking up” this role, readers practice,
engage in, and embody this identity.
The Second Persona
By playing this game, “taking up” this role, readers practice, engage in and embody
this identity.
Through practice, familiarity, and utility we “take on” and inhabit
this identity more easily and comfortably.
We gradually come see ourselves AS this identity. I am a ____.
The Second Persona
By playing this game, “taking up” this role, readers practice, engage in and embody
this identity.
Through practice, familiarity, and utility we begin to “take on” and inhabit this identity.

We gradually come see ourselves AS this identity.

In this way the “fiction” of the game or role becomes real.

This shared cultural identity becomes (one aspect of) who we

really are.
The Second Persona
Some Second Persona identities are
important, central, or permanent.
Woman, Mother, American, Muslim.

Others are
less important, peripheral, or only “occasional.”
Bob Marley Fan, Barista, Translator, Diabetic
The Second Persona
We judge persons based on how they perform their identity
(skillfully, compassionately, fairly, etc. or not),

The personae of a text feel like, invoke, and contribute to the

formation of “real” persons.

We can (and do) judge texts as moral objects.

The Second Persona
Some examples:

Who is the speaker?

Who are you (as audience)?
What is the relationship between you?
Is there a moral quality to these personae and ideology?
Use caution. Kickback can happen when the nose or tip of
the moving chain saw touches an object while the saw is
operating. This contact may abruptly stop the cutting
action and in some cases may cause a reverse reaction,
kicking the saw tip up or down and back. Kickback can
cause users to lose control of the saw. The cutting chain
can then cause serious injury if it comes in contact with
any part of the body. To prevent injury, keep hand guard
secured and grip your saw firmly with hands on both hand
grips, maintaining control at all times. Cut only with
bottom of the saw, never the tip.
It is vour duty to follow all of these instructions. Regardless of
any opinion you may have about what the law is or ought to be,
you must base your verdict on the law as I present it to you.
Apply that law to the facts in the case which have been properly
proven by the evidence. Consider only the evidence received
during this trial and the law as given to you by these
instructions and from these alone. Then, guided by your
soundest reason and best judgment, reach your verdict. If any
member of the jury has an impression of my opinion as to
whether the defendant is guilty or not guilty, disregard that
impression entirely and decide the issues of fact solely as you
view the evidence. You, the jury, are the sole judges of the
facts, and the court is the judge of the law only.
You don't know about me without you have read a book by
the name of The Adventures of Tom Sawyer; but that ain't
no matter. That book was made by Mr. Mark Twain, and
he told the truth, mainly. There was things which he
stretched, but mainly he told the truth. That is nothing. I
never seen anybody but lied one time or another, without it
was Aunt Polly, or the widow, or maybe Mary. Aunt Polly
—Tom's Aunt Polly, she is—and Mary, and the Widow
Douglas is all told about in that book, which is mostly a
true book, with some stretchers, as I said before. Well I
lived with Aunt Polly for a time, but I had to light out from
there considerable quick after my Pa came after me.
In the late summer of that year, we lived in a house in a village
that looked across the river and the plain to the mountains. In
the bed of the river there were pebbles and boulders, dry and
white in the sun, and the water was clear and swiftly moving
and blue in the channels. Troops went by the house and down
the road and the dust they raised powdered the leaves of the
trees. The trunks of the trees were dusty and the leaves fell
early that year and we saw the troops marching along the
road and the dust rising and the breeze stirring the leaves and
the leaves falling and the soldiers marching and afterwards the
road, bare and white except for the fallen leaves.
Audience
1. The Flesh and Blood Audience.
2. The “Situational” Audience
3. The Audience in the Text
The 2nd Persona or the Authorial Audience:
The ”you” of the text.
The 3rd Persona
The “they” of the text.
Third Persona
The “outgroup” to the 2nd persona’s “ingroup.”
The “silhouette” or “negative” of the 2nd persona.

Those negated, ignored, objectified, alien, dehumanized.

An identity and characteristics to deny or avoid.
Those made to seem that they need not be attended to or
noticed, or that simply doesn’t exist.
Third Persona
Just as a culture constitutes and informs cultural roles and
identities via the 2nd Persona of texts.

Also a culture can constitute and inform (via negation or

objectification) prohibited or ignored cultural roles and
identities via the 3rd persona. What you are NOT to be.
Third Persona
Just as
The 2nd Persona identifies and constitutes
legitimate cultural roles.

The 3rd Persona identifies and constitutes

illegitimate cultural roles.
Third Persona
A text can constitute the 3rd persona through

What it condemns, insults, rejects.

Or through what it ignores, what it denies, what it is silent

about.
A 3rd persona can exist in what is not said.
The Second and Third Persona
Who is the speaker?
Who are you (as audience: identity, features, role)?
What is the relationship between you?

What is the third persona, negated, left our, or avoided?

Is there a moral quality to these personae and ideology?
Works of art are natural and familiar to everyone .... If we
consider the works in their untouched actuality and do not
deceive ourselves, the result is that the works are as naturally
present as things. The picture hangs on the wall like a rifle or a
hat. A painting, e.g., the one by Van Gogh that represents a pair
of peasant shoes, travels from one exhibition to another. Works
of art are shipped like coal from the Ruhr and logs from the Black
Forest. During the First World War, Hölderlin's hymns were
packed in the soldier's knapsack together with cleaning gear.
Beethoven's quartets lie in storerooms of the publishing house
like potatoes in a cellar.
A Western Europe which could wield the strength to spread its
pioneers to colonize the uninhabited lands, and its pukka sahibs to
bring civilized rule to the primitive natives, on all the continents of
earth—that Western Europe of the nineteenth century can never
come back. It is either dying before our eyes or is already dead. For
the vigor of its muscles and the strength of its whole body have been
sapped beyond recovery by the cancer of collectivism. America
needs to get out of the bed of a Europe that is dying of this cancer,
and breathe our own healthy air of opportunity, enterprise, and
freedom; then the Communist tumors that we already have, even
though they be of considerable number and growth, can be cut out.
Third Persona
Through the second and third persona,
We can gauge the ingroups and outgroups that texts establish.
Who belongs and who does not, and on what terms,
According to what features, identities, or relationships.

In this way, the elements of a text shape group belonging and

values.
Analysis:
For each text we can ask:
Who is the second persona for this piece?
What are they like?
Mark and comment on any features of the text that convey this.

Is there a third persona?

Who are they or what are they like?
Mark and comment on any features of the text that convey this.
Analysis: