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By Dennis Schoeneborn

Powerfully pushed through the paintings of consulting corporations, the presentation softwear Microsoft PowerPoint is more and more used on all degrees of industrial and academic conversation. however, slidewear ranks amoung the least explored media in verbal exchange reviews. This research investigates the position of PowerPoint in organizational conversation, really by way of a sensible predicament among its software for documentation rather than presentation reasons. This ebook is a helpful reference for lecturers within the social sciences, in particular media and conversation experiences, in addition to practitioners in company conversation and data administration.

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Instead, we would do better to explore the multiple levels at which failures and successes occur by studying the social fields that structure these engagements and the actual ways that people and groups relate to media. 62 In the final chapter of this book, I consider carefully the special nature of national forms like the television serials that are the subjects of this book—forms that are meant to entertain while they teach and that use complex means, including actors who become celebrities, to mobilize fantasies, pleasure, and emotion, sometimes undermining their own intentions with their excess.

54 The argument goes something like this: the nation is an often tense intersection of multiple communities or microcosms, divided and crosscut by region, religious affiliation, urban or rural habits, class, gender, and power. National television is imbricated in deeply political efforts to make nations into legit- Ethnography of a Nation 25 imate units, dominated by particular groups and with specific images of and visions for themselves and for their citizens. 55 As much as the spread of mass and small media around the globe, the shifts in the intellectual terrain of anthropological theory and research have set the stage for this endeavor.

Yet even this is not enough. Anthropologists cannot dispense with “textual” analysis, the equivalent of the symbolic analyses of rituals and myths that have illuminated so much. Even more important, they need to do ethnographies of production. Television programs are produced not just by specialists of a different social status than viewers, like priests and bards, but by professionals of a different class— often urban, rather than rural, with national and sometimes transnational identities and social ties—who are working within structures of power and organizations that are tied to and doing the work of national or commercial interests.

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