第二章分别从文化背景、创作主体和文学受众三个方面探讨了该现象产生的原因。
In the second chapter, the author wants to explore the causes of the phenomenon from cultural background, writers and literary audience.
本文将传播学与文学结合在一起，考察当代文学受众阅读方式的变化，研究当代受众在文学阅读中显现的新特点。
This text will discuss the changes of the reading modes of the modern readers and the new characteristics presented on reading.
文学评论家弗兰克·科莫德极好地证明了，所有成功的艺术作品都具有激发受众进行多重解释的能力。
The literary critic Frank Kermode famously argued that all successful works of art have the ability to inspire multiple interpretations.
因为那时的美国儿童文学大多还是说教式，目标受众为某个虚幻的读者——某个理想化的男孩或女孩，假定情境是他或她在看完故事后会立刻把里面的主角奉为榜样。
American children's literature in those days was mostly didactic, addressed to some imaginary reader—an ideal girl or boy, upon reading the story, would immediately adopt its heroes as role models.
只有主动向影视突围，与影视合作，自觉符合形象化、视觉化潮流，自觉考虑社会受众的精神需求，文学才能走出目前的困境。
Literature must explore a path for survival via cooperation with film and TV arts. It should take into account the image, visualization and the spiritual demand of the audience.
俗文学哺育了高雅文学，同时也培育了广大的市民阶层的受众，培育了现代文学市场。
Popular literature breeds elegant literature, and in the meantime, it also cultivates numerous readers of the citizen stratum, even develops the modern literature market.
《百家讲坛》通过电视媒体来传播传统文学，使得受众在观看电视之余学习到了更多的文化知识，并且掀起了受众对传统文化的追求。
"Lecture Room", through the television media coverage of traditional literature, not only allows audience to watch TV but also to learn more cultural knowledge.
同样作为传播学的一个分支，新闻传播在争取受众方面比文学传播有明显的优势。
News communication, as a branch of communication, in term of attracting receiver, has obvious advantage, which is decided by its flexible and diverse communication forms.
同样作为传播学的一个分支，新闻传播在争取受众方面比文学传播有明显的优势。
News communication, as a branch of communication, in term of attracting receiver, has obvious advantage, which is decided by its flexible and diverse communication forms.
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