News discourse as a type of non-literary mass media discourse attracts attention from many critical linguists.
新闻作为一种非文学的大众传媒语篇，受到众多批评语篇分析家的重视。
Early media discourse from a single Mandarin LIBRARY evolution to the present situation of coexistence of multiple words.
媒介话语从早期单一的官话集锦演变到现在的多元话语并存局面。
Since its birth in the 1970s, CDA has drawn more and more attention and has been widely used, especially in media discourse analysis.
批评性话语分析自二十世纪七十年代诞生以来受到了越来越多的关注，并得到广泛的应用，特别是在新闻语篇分析领域。
The news discourse, as a type of non-literary mass media discourse, has been drawing great attention from critical discourse analysts.
新闻语篇，作为一种非文学的大众语篇，一直以来就在批评性话语分析领域倍受关注。
Together with other influencing powers, these powers have greatly affected the production of media discourse about migrant workers and brought about the changes of media discourse.
这几支力量与其他力量一起作用于媒体的话语生产，共同影响着媒体农民工话语的历史变迁。
Based on the former foundations, the concept of "field" is introduced to the analysis and several important influencing powers in the field of media discourse production are analyzed.
在此基础上，研究引入“场域”概念，将媒体话语生产所处的环境视作一个场域，对其中相互角力的几支重要力量进行了分析。
The theoretical implications lies on providing a practical critical analyzing model for analysis of economic news discourse, as a result, providing a supplement to do CDA on mass media discourse.
本研究的理论意义在于提供一种实用的基于经济新闻的批评语篇分析模式，为大众媒体语篇的批评性分析提供补充。
The main body of beauty appreciation, the object and features for producing beauty, and the discourse media are the three nuclear elements.
审美主体、引起主体美感的对象与特征、话语媒介是其核心三要素。
Through the construction of women images, television media expresses various expectations for womens roles in the male-centered culture and the imagination and narration for women in mens discourse.
电视媒介通过对女性形象的建构，表达了男权中心文化对女性角色的种种期待，以及男性话语对女性的想象和叙述。
Discourse analysis of mass media has two theoretical dimensions: language semiology and culture semiology.
大众传媒话语分析具有语言符号学和文化符号学两个理论向度。
Secondly, we try to analyze the Chinese media how to reflect the rich class image through the media production process and its interpretation and meaning for discourse construction.
其次，分析在媒介生产过程中，媒体如何反映中国“富人阶层”的形象，并对其进行话语诠释和意义建构。
The most salient way his work engages this discourse and this discourse, likewise, informs his creative language is in his use of urban structures in works that span a variety of media.
他的作品以最为突出的手法触及到这一话语，而这一话语也同样为他的创造性语言赋予了活力，这种手法就是在跨越不同媒介的作品当中运用了城市的整体结构。
Some discourse created by the mass media even describes the peasants in an arrogant and prejudicial way, distorting their image, leading the whole society to a negative stereotype of the peasants.
一些媒介制造的话语甚至以傲慢与歧视的态度对待农民，有意无意地扭曲农民形象，塑造着全社会对于农民的刻板成见。
But considering the practice and academic histories of our media critics, we see the public discourse of the media critics is a problem to be constructed.
但纵观我国媒体评论的实践史和学术研究史，媒体评论的公共性话语还是一个待建构的问题。
And by erasing the content and characters printed in all kinds of newspapers one by one, Zhang Zhenyu reflected the discourse power behind the media through these blank "newspapers".
张震宇则将不同报纸上印刷的内容字迹一个个擦掉，以空白的“报纸”反思传媒和媒体背后的话语权力。
It is useless even to argue for it by using the flexible aesthetic perception once possessed by the mass media because subject has disappeared in the discourse of the media.
即使拿媒介曾经具有的无比灵动的审美知觉来进行辩护也无济于事，主体已经消失在媒介话语的地平线上。
It is useless even to argue for it by using the flexible aesthetic perception once possessed by the mass media because subject has disappeared in the discourse of the media.
即使拿媒介曾经具有的无比灵动的审美知觉来进行辩护也无济于事，主体已经消失在媒介话语的地平线上。
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