Loret s Marketing Revolution Audience Representa Mémoires du livre Studies in Book Culture Érudit

Loret’s Marketing Revolution Audience Representation as Positioning Strategy in Seventeenth‑Century Newspapers[1]

The launch of Jean Loré's Lettre en vers in 1652 marked a major evolution in information culture. Borrowing concepts of positioning and segmentation from marketing, this paper focuses on Loré's powerful technique: by portraying Marie de Nemours as reader and recipient of news, he gave the public, the thing for sale, the appearance of a private, handwritten letter. He created a new, emotional, intimate and subjective relationship between the reader and the information, renewing the segmentation of the reader and distinguishing Lettre en vers from competing bulletins of the time. This paper also studies Loré's portrayal of a wider readership and shows the later success of his method in France, especially in the case of Mercure Galant. Keywords

Marketing

Early Modern Newspapers
Loré
Information Culture,
Audience Segmentation
The publication of Jean Loré's Lettre en vers in 1652 transformed the print information culture of 17th-century France. This paper revisits this tour de force using concepts borrowed from marketing research (segmentation, positioning). By positioning Marie de Nemours as the reader and recipient of the news, Loré gives the appearance of a private, handwritten correspondence to what is nevertheless a public and commercial object. By creating a new, intimate, affective and active relationship between reader and news, he renovated the segmentation of his audience and set Lettre en vers apart from its rivals. This paper also examines the representation of a wider readership in the same vers-letter and comments on the subsequent success of this "addressed information", especially in the case of Mercure Galant. Keywords

Résumé

Marketing,

Ancien Régime press,

Early Modern Newspapers
Information culture,
Information Culture,
On September 29, 1652, the first printed edition of the weekly newsletter in verse by Jean Loré was printed and began to circulate in Paris.[2] Its format was unique for a printed bulletin. In contrast to other publications before Loré, which conveyed news anonymously without a recipient, Loré began each letter by identifying the reader to whom the contents were addressed, namely, the dedicatee, Marie de Nemours (also known as Mademoiselle de Longueville):
Princess white as a queen... From a glorious moment, I have had the honour and the privilege of placing myself at your artes... I wish to inform you of the tumult that passes between the court and the bourgeoisie.[3]" On September 29, 1652, the first printed edition of the weekly newsletter in verse by Jean Loré was printed and began to circulate in Paris.[2] Its format was unique for a printed bulletin. In contrast to other publications before him, which reported news anonymously without a recipient, Loré began each letter by identifying the reader to whom it was addressed, namely, the dedicatee, Marie de Nemours (also known as Mademoiselle de Longueville):

Corps de l’article

Princess white as a queen... From this glorious moment I have had the honour and privilege of placing myself at your artes... I wish to inform you of the tumult that passes between the court and the bourgeoisie.[3] On September 29, 1652, the first printed edition of Jean Loré's weekly verse newsletter was printed and began to circulate in Paris.[2] Its format was unique for a printed official bulletin. In contrast to other publications before him, which reported news anonymously without a recipient, Lorre began each letter by identifying the reader to whom it was addressed, namely, its dedicatee, Marie de Nemours (also known as Mademoiselle de Longueville):

Princess white as a queen... From this glorious moment I have had the honour and privilege of placing myself at your artes... I wish to inform you of the commotion that passes between the court and the bourgeoisie.[3]"

The concept was a kind of addressed information and a marketing tour de force, as we will see.[4] In 1655, Loré's newsletter was copied in Lyon. From 1656 onwards, the form was imitated by Charles Robinet in his La Muse royale, a bulletin dedicated to the Duchess Palatine (in this case Anne de Gonzague of Clèves), and after Loré's death in 1665, journalists known as Loré's continuators[5] continued to publish verse-style newsletters addressed to various aristocratic recipients. In 1672, the form gave rise to epic prose forms such as Doneau de Visé's Mercure galant. As Marion Brechet has shown in the Dutch Lettres historiques, the form became common in subsequent European printed newspapers and in the 18th-century media in general.[6] In the case of the Mercure Galland in particular, the female reader was no longer a high-ranking woman of the court, but rather a "country lady", an anonymous and, above all, fictitious character. This change from an aristocratic female reader to an anonymous female reader of the provinces suggests that the essence of the Lorée formula was not so much the identity of the reader, but the fact of addressing news to someone, especially a woman. In fact, this surprising concept, as we will see, was a kind of addressed information and a marketing tour de force.[4] In 1655, Lorée's newsletter was copied in Lyon. From 1656 onwards, the format was imitated by Charles Robinet in his official bulletin La Muse royale, dedicated to the Duchess Palatine (in this case Anne de Gonzague of Clèves), and after Loré's death in 1665, the journalists known as "Lorée's continuators"[5] continued to publish verse-composed newsletters addressed to various aristocratic recipients. In 1672, this format gave rise to epic prose forms such as Doneau de Visé's Mercure galant. As Marion Brechet has shown in the Dutch Lettres historiques, this format became common in subsequent European print newspapers and in the 18th century media in general.[6] In the case of Mercure galant in particular, the female reader was no longer a high-ranking woman of the court, but rather a "country lady", an anonymous and, above all, fictitious character. This change from an aristocratic female reader to an anonymous female reader from the provinces suggests that the essence of the Lorée style was not so much the identity of the reader, but the fact of delivering news addressed to someone, especially a woman. In fact, this surprising concept was, as we will see, a kind of addressed information and a marketing tour de force.[4] In 1655, Lorée's newsletter was copied in Lyon. From 1656 onwards, the form was imitated by Charles Robinet in his La Muse royale, a bulletin dedicated to the Duchess Palatine (in this case Anne de Gonzague of Clèves), and after Rollé's death in 1665, journalists known as Rollé's continuators continued to publish verse-style newsletters addressed to various aristocratic recipients. In 1672, the form gave rise to epic prose forms such as Doneau de Visé's Mercure galant. As Marion Brechet has shown in the Dutch Lettres historiques, the form then became common in subsequent European print newspapers and in the media of the 18th century in general. In the case of Mercure galant in particular, the female reader was no longer a high-ranking lady of the court, but rather a "lady of the provinces", an anonymous and, above all, fictitious character. This shift from an aristocratic female reader to an anonymous provincial female reader suggests that the essence of the Lorraine system was not so much the identity of the reader, but the fact that the news was addressed to someone, especially a woman.

In this paper, we consider Loret's Lettre EN Vers as a case and consider the representation of the reader in the 17th century newspaper as a real readers, but as a product positioning strategy. The positioning of the product, which is an important step in all strategic marketing processes, refers to the decision and the whole behavior of the product from the design to the promotion to separate the product from the competition and connect it to the pr e-established market segment. [10]. Seg maintenance is to subdivide the market by designing products for these segments according to the marke t-related standards (for example, age, gender, occupation, common interest, etc.). 。 The concept of segmentation allows the criticism of the spectator to be more likely to be based on the vagu e-defined monolithic blocks, such as the "Mondan masses" and "doctors." Of course, dedication to Marie de Longville cannot be considered purely commercial business. Lore gave a material visible and fame to the donors by addressing Mademoisel de Long Ville. This had a politically significant meaning for Marie de Numur. In this article, Loret's Lettre En Vers is considered as a case, and the readers' representations in the 17th century newspaper are considered as a product positioning strategy, not as actual readers. The positioning of the product, which is an important step in all strategic marketing processes, refers to the decision and the whole behavior of the product from the design to the promotion to separate the product from the competition and connect it to the pr e-established market segment. [10]. Seg maintenance is to subdivide the market by designing products for these segments according to the marke t-related standards (for example, age, gender, occupation, common interest, etc.). 。 The concept of segmentation allows the criticism of the spectator to be more likely to be based on the vagu e-defined monolithic blocks, such as the "Mondan masses" and "doctors." Of course, dedication to Marie de Longville cannot be considered purely commercial business. Lore gave a material visible and fame to the donors by addressing Mademoisel de Long Ville. This had a politically significant meaning for Marie de Numur. In this paper, we consider Loret's Lettre EN Vers as a case and consider the representation of the reader in the 17th century newspaper as a real readers, but as a product positioning strategy. The positioning of the product, which is an important step in all strategic marketing processes, refers to the decision and the whole behavior of the product from the design to the promotion to separate the product from the competition and connect it to the pr e-established market segment. [10]. Seg maintenance is to subdivide the market by designing products for these segments according to the marke t-related standards (for example, age, gender, occupation, common interest, etc.). 。 The concept of segmentation allows the criticism of the spectator to be more likely to be based on the vagu e-defined monolithic blocks, such as the "Mondan masses" and "doctors." Of course, dedication to Marie de Longville cannot be considered purely commercial business. Lore gave a material visible and fame to the donors by addressing Mademoisel de Long Ville. This had a politically significant meaning for Marie de Numur.

Such an approach has the advantage of avoiding a common pitfall for seventeenth-century studies: the scarcity of reliable data on audiences and readership. My approach to the seventeenth-century print market is therefore qualitative, not quantitative. The concept of marketing allows me to study Lorre's concept of newsletters in relation to its competitors, defining, on the one hand, the essential attributes of the product, and, on the other hand, the readership to which these attributes actually target. In what follows, therefore, I use the term readership to refer exclusively to the readership that newspapers targeted and constructed, never to the actual readership.[15]

Although the use of concepts from marketing studies may at first glance seem anachronistic, the methods and questions of this discipline correspond to a wide range of discourses and practices in the seventeenth century, and therefore offer considerable hermeneutical value. [Kathleen Lasri, who studies the fifteenth-century book trade, recalls, referring to the work of Stanley Hollander, that "many marketing phenomena... have existed in one form or another for centuries."[17] Indeed, marketing encompasses the research, design, and techniques employed to maximize the ability of a product to reach its target consumers in a given market. In other words, wherever there is a market, competition, and a desire to attract consumers, whether to sell a product or to gain political support, the concept of marketing immediately becomes relevant. Printed information in the 17th century fits this definition perfectly: Gilles Feyel has demonstrated the extent and complexity of this information market in France. In this "dual" environment, numerous gazettes, newspapers, and periodicals circulated and competed on a national and international scale.[18] In other words, to survive, the gazettes had to position themselves effectively and appeal to defined readerships or to acquire new ones.[20] Such an approach has the advantage of avoiding a common pitfall for 17th-century studies: the scarcity of reliable data on audiences and readership. My approach to the 17th-century print market is therefore qualitative, not quantitative. The concept of marketing allows us to study the concept of Lorre's newsletter in relation to its competitors and to define, on the one hand, the essential attributes of the product and, on the other hand, the readership to which these attributes actually target. In what follows, therefore, we use the term readership to refer exclusively to the readership targeted and constructed by the newspaper, and never to the actual readership.[15]

Positioning Strategies in the Seventeenth‑Century Press: A Brief Overview

Although the use of the concept of marketing studies may at first glance seem anachronistic, the methods and questions of this discipline correspond to a wide range of discourses and practices in the 17th century and therefore offer considerable hermeneutical value. [Referring to the work of Stanley Hollander, Kathleen Lasri, who studies the 15th century book trade, recalls that "many marketing phenomena... have existed in one form or another for centuries"[17]. Indeed, marketing encompasses the research, design, and techniques employed to maximize the ability of a product to reach its target consumers in a given market. In other words, wherever there is a market, competition and a desire to attract consumers, whether to sell a product or to gain political support, the concept of marketing immediately becomes relevant. Printed information in the 17th century fits this definition perfectly: Gilles Feyel has demonstrated the extent and complexity of this information market in France. In this "double" environment, numerous official gazettes, newspapers and periodicals circulated and competed on a national and international scale.[18] In other words, to survive, the official gazette had to position itself effectively, address a defined readership or acquire new ones.[20] Such an approach has the advantage of avoiding a common pitfall for 17th-century studies: the scarcity of reliable data on audiences and readership. My approach to the 17th-century print market is therefore qualitative, not quantitative. The concept of marketing allows me to study the concept of Lorée's newsletter in relation to its competitors, defining, on the one hand, the essential attributes of the product and, on the other, the readership to which these attributes actually target. Therefore, in what follows, I use the term readership to refer only to the target and constructed readership of newspapers, never to the actual readership.[15]

In what follows, I briefly survey the various positioning strategies used by 17th-century newspapers and highlight the absence of reader representation in most bulletins. I then reframe Lorret's formal experiment, the textual originality of the newsletter, in terms of positioning as a marketing innovation. Finally, I extend this analysis to include the representation of other readers in Lorret's work and in the work of his imitators and successors.

To fully appreciate the uniqueness of the Lorret style, we must first acknowledge that his model of information provision was quite unique and immediately set him apart from his competitors in the print news market. In most 17th-century European media, the presence of the reader is minimal (relegated to paratexts), indirect (mentioned in the third person), or implicit (when the content suggests a reader of some kind).[21] In other words, the reader is usually lacking a diegetic center in the text. As we will see, for example, the Mercure Français and the Le Gazette Renaud privilege neutral style information ("The 29th of [mois] passé, the foudre tomba sur..."[22]), while the Parliamentary Scout and the Faithful Scout attest ("The House of Commons considered a part of the register against marriage...") and ("From Cambridge, two petticoat-preachers..."[23]. The audience is often only mentioned indirectly in the paratexts of the journals. A number of English newspapers studied by Joad Raymond from 1640 to 1660 likewise make no reference to any addressee that could identify them.[24] Even the Danske Mercurius (Danish Mercury), founded in 1666 and with a poetic form directly inspired by Lorre's newsletter (and subsequently succeeded by Robinet, Souvriny and other poetic publications), does not retain the clear addressee characteristic of Lorre's original publication. [25]

In fact, various European newspapers, including Lore and their successors newspapers, have many strategies besides expressions that can identify readers in order to occupy an effective location in the printing market. Was making full use. Journal des Savants does not target the same market segment as "Gazette" or "Nouvelles Ordinaires". It targets different readers, including Mercure Franchaise, Mercure Galant, Kingdom Faceful and Impalical Scout, and Mercurius Plug Matthus. The fact that it was issued in Leiden and Amsterdam implicitly promised information other than what was issued in France. [For example, Renode preferred in-4 ° formatting to distinguish from all Ookenells that spread in Paris. [29] In fact, various European newspapers, including Lore and their successors newspapers, can be identified in the printing market and can identify readers. He used many strategies. Journal des Savants does not target the same market segment as "Gazette" or "Nouvelles Ordinaires". It targets different readers, including Mercure Franchaise, Mercure Galant, Kingdom Faceful and Impalical Scout, and Mercurius Plug Matthus. The fact that it was issued in Leiden and Amsterdam implicitly promised information other than what was issued in France. [For example, Renode preferred in-4 ° formatting to distinguish from all Ookenells that spread in Paris. [29] In fact, various European newspapers, including Lore and their successors newspapers, have many strategies besides expressions that can identify readers in order to occupy an effective location in the printing market. Was making full use. Journal des Savants does not target the same market segment as "Gazette" or "Nouvelles Ordinaires". It targets different readers, including Mercure Franchaise, Mercure Galant, Kingdom Faceful and Impalical Scout, and Mercurius Plug Matthus. The fact that it was issued in Leiden and Amsterdam implicitly promised information other than what was issued in France. [For example, Renode preferred in-4 ° formatting to distinguish from all Ookenells that spread in Paris. [29]

Also note that the type of news a newspaper offers clearly differentiates it from other publications: Lorre's literary and theatrical news is not the political news of the Gazette, nor the academic reviews of the Journal des Savants. But such content differentiation is not really "positioning" unless it is emphasized in a visible way for the consumer.

Addressed News as a New Positioning Strategy

The low frequency of readers in 17th-century European newspapers is rather surprising, given that the structure of European newspapers originated in correspondence. One might therefore expect to find textual traces of author and reader, sender and receiver, that is, of correspondent and receiver.[32] But Renaud erases such traces, and most of the articles are written in a neutral style, such as this one:

From Warsaw: Information from Ukraine tells us that the Tartars, having learned that the Kalmuks have also returned to Crimea, are very happy to be so quickly liberated from an enemy that has almost always had the upper hand.[33]

Although "nous" occasionally serves as the basis for speech, most of the essay's content is narrated without a clear narrator, often by the impersonal third-person pronoun "on." The decision to eliminate any traces that could identify readers or correspondents stems at least in part from a question of positionality. In opposition to private letters and the Gazette à la main (a secretly circulated handwritten gazette or gazette), a printed newspaper such as the Gazette presents its news as objective truth. It does not originate from a specific correspondent, is not addressed to a specific person, and does not represent a specific readership. In fact, the absence of direct address, such as "je vous l'avais bien promis que mes premières nouvelles seraient" (I know you will be the first new writers)[35], in the early days of the Gazette, came from Renaud's instructions to stick to a "simple description of the facts" and to avoid any political analysis or statements of opinion.[36]

Just because the readers are relatively sparse does not mean that there is no target reader. However, segmentation is mostly useful, social and occupational categories, political sympathic, or demand for general news-what Marion Bretheese is appropriately called "L'Appétit Nouvelliste" [37]. It was based on. From the gender perspective, the superiority of the positioning strategy based on the absence of reader representation and professional activities has been extremely consistent with the 17th century media. [38]

Lore was opposed to the customs of the printing shop at the time by directly sending news to a noble woman and praising her in poetry. Lore is a series of values shared instead of a classical and professional category classification or a traditional positioning strategy based on the publicity of the public gazette in a specific (male) department of society. [39] Targets the values and representations built by Garan Terry, a new French cultural paradigm, a new cultural paradigm in France [39]. [39] Such a position is such a position, regardless of gender, bourgeois, aristocrats, swordsman (Gens d'Epée), clothing (Robins), letters, many other readers, this new cultural paradigm. It may reach everyone in sync. In addition, Lore appeals to all of these categories at the same time by presenting a novel relationship with the information.

First of all, by adopting a letter to a woman, Lore has clearly given a public product, even a public and intimate correspondence. Gazette and journal are replaced by private communication, and are more information sources. "[40] In Europe, both in France and in the UK have expressed a healthy skepticism of printed news organizations, and more private reliability is better. The suggestion that it is reliable, not a mercenary, and is as if it provides direct knowledge, can be suggested that it can access the news without intervening. In 1684, Madeleine de Scudeli emphasized the category when he advocated the following audience categories. Just because the readers are relatively sparse does not mean that there is no target reader. However, segmentation is mostly useful, social and occupational categories, political sympathic, or demand for general news-what Marion Bretheese is appropriately called "L'Appétit Nouvelliste" [37]. It was based on. From the gender perspective, the superiority of the positioning strategy based on the absence of reader representation and professional activities has been extremely consistent with the 17th century media. [38]

First of all, by adopting a letter to a woman, Lore has clearly given a public product, even a public and intimate correspondence. Gazette and journal are replaced by private communication, and are more information sources. "[40] In Europe, both in France and in the UK have expressed a healthy skepticism of printed news organizations, and more private reliability is better. The suggestion that it is reliable, not a mercenary, and is as if it provides direct knowledge, can be suggested that it can access the news without intervening. In 1684, Madeleine de Scudeli emphasized the category when he advocated the following audience categories. Just because the readers are relatively sparse does not mean that there is no target reader. However, segmentation is mostly useful, social and occupational categories, political sympathic, or demand for general news-what Marion Bretheese is appropriately called "L'Appétit Nouvelliste" [37]. It was based on. From the gender perspective, the superiority of the positioning strategy based on the absence of reader representation and professional activities has been extremely consistent with the 17th century media. [38]

And some people, who have exquisite judgment and delicate hobbies, know only people in the world of educated worlds, and prefer what is called the Cabinet news that they hear with their ears. "[42]

The difference between the two audiences drawn by Sukdei is a matter of meaning and a matter of content. By directly telling the information "in the ear" (à l'a oreille), something new is born in the cabinet, which is exactly like the intimacy of Lore's "Lettre En Vers". Despite being printed and sold, Lore's newsletter is a letter written in "to please the Duke and the small number of people who are trying to meet their trust" [43]. I'm showing it. In one market, consumers "trust their beliefs rather than the objective characteristics of the product" [44], and the reader was actually captivated. In 1678, Pierre Byeye, who was interested in the textile structure of "Mercure Galan", was quite serious about his brother, "La Dam II Il Eclit, and his son's" Mercure ". Is it a assumption to give an atmosphere? [45] "Lore's poetry letters are in a society where gazette is not differentiated, and promises the raw information of the Cabinet, that is, a seemingly familiar, targeted, intimate information. If the kind of news published in Lore's letter is certainly different from other gazets, it is the reader's simula to recognize this difference immediately. And some people who have exquisite judgment and delicate hobbies, only those in the world of educated worlds, and prefer what they hear in their ears. " 42]

A Wider Audience: Representing the Readership Community

The difference between the two audiences drawn by Sukdei is a matter of meaning and a matter of content. By directly telling the information "in the ear" (à l'a oreille), something new is born in the cabinet, which is exactly like the intimacy of Lore's "Lettre En Vers". Despite being printed and sold, Lore's newsletter is a letter written in "to please the Duke and the small number of people who are trying to meet their trust" [43]. I'm showing it. In one market, consumers "trust their beliefs rather than the objective characteristics of the product" [44], and the reader was actually captivated. In 1678, Pierre Byeye, who was interested in the textile structure of "Mercure Galan", was quite serious about his brother, "La Dam II Il Eclit, and his son's" Mercure ". Is it a assumption to give an atmosphere? [45] "Lore's poetry letters are in a society where gazette is not differentiated, and promises the raw information of the Cabinet, that is, a seemingly familiar, targeted, intimate information. If the kind of news published in Lore's letter is certainly different from other gazets, it is the reader's simula to recognize this difference immediately. It is, and some people who have exquisite judgment and delicate hobbies know what is called the cabinet news.

The difference between the two audiences drawn by Sukdei is a matter of meaning and a matter of content. By directly telling the information "in the ear" (à l'a oreille), something new is born in the cabinet, which is exactly like the intimacy of Lore's "Lettre En Vers". Despite being printed and sold, Lore's newsletter is a letter written in "to please the Duke and the small number of people who are trying to meet their trust" [43]. I'm showing it. In one market, consumers "trust their beliefs rather than the objective characteristics of the product" [44], and in fact, the reader was captivated. In 1678, Pierre Byeye, who was interested in the textile structure of "Mercure Galan", was quite serious about his brother, "La Dam II Il Eclit, and his son's" Mercure ". Is it a assumption to give an atmosphere? [45] "Lore's poetry letters are in a society where gazette is not differentiated, and promises the raw information of the Cabinet, that is, a seemingly familiar, targeted, intimate information. If the kind of news published in Lore's letter is certainly different from other gazets, it is the reader's simula to recognize this difference immediately. It is to be there.

In this way, the Lettres en verse marks the source of a certain sector of society and offers the reader the allure of belonging, if only within the time-space of the Gazette, to the circle of the most attractive figures of the court. This is another advantage of addressed information. This process is largely in line with Jeffrey Tarnovsky's analysis of Madeleine de Scuderi's novels and short stories: the (textual) representation of a small circle of intimates did not reflect the actual readership of these works, but rather was a way to attract the many readers who dreamed of immersing themselves in an intimate relationship with the princess's entourage, the same readers who made Scuderi's novels best-sellers.[47] Lorre stirs up this desire for intimacy and closeness by describing his audience in detail:

On Sunday, when I arrived in the visiting room to see you, a beautiful light suddenly streamed in through my visor. Was it dazzling to me then? Yes, very much so. I thought I could see the chaste Diana and her daughters through the gaps in the balustrade.

In this "paper salon"[49], Lorre, by the magic of letters and type, promises to visit Longueville's drawing room and to "meet her in person".

Another fundamental element of the Loré system is the gender of the audience. Historiography has long taken the framing of a female readership as a straightforward reflection of the actual readership, often placing Mercure Galant as the precursor to women's magazines.[50] However, addressing the news to a female addressee does not imply an exclusively female audience. This distinction is easily seen in the careful positioning of the Muses Historiques: "Marquises and princesses, nobles and ladies of the court, men of long robes and professions, and scholars, who for a short time have ceased their other work to attend [lectures on letters in verse]."[51] The representation of the female reader corresponds to the model of the contract between the producer and the public, described by Stephen Neale in 1980. The representation of a female readership creates certain expectations and triggers certain cultural associations, which Lorre relies on to differentiate his Lettres en verse from his competitors.[52] Another fundamental element of Lorre's formula is the gender of the audience. Historiography has long taken the framing of a female readership to be a straightforward reflection of the actual readership, and has often placed the Mercure Galant at the vanguard of women's magazines.[50] However, the presentation of news to a female addressee does not imply an exclusively female audience. This distinction is easily seen in the careful positioning of the Muses Historiques: "Marquises and princesses, nobles and ladies of the court, men of long robes and professions, and scholars, who for a short time have given up their other work to attend [lectures on letters in verse]."[51] The representation of the female reader corresponds to the model of the contract between the producer and the public, described by Stephen Neale in 1980. The representation of the female reader generates certain expectations and triggers certain cultural associations, which Lorre relies on to differentiate his Lettre en verse from his competitors.[52] Another fundamental element of the Lorre formula is the gender of the audience. Historiography has long taken the framing of the female readership as a straightforward reflection of the actual readership, often placing Mercure Galant as the precursor to women's magazines.[50] However, addressing news to a female addressee does not imply that it is intended for an exclusively female audience. This distinction is easily seen in the careful positioning in Muses Historiques: "Marquises and princesses, nobles and ladies of the court, men of long robes and professions and scholars, all for a short time leaving their other work to attend [lectures on letters in verse]."[51] The representation of a female readership corresponds to the model of the contract between producer and public described by Stephen Neale in 1980. The representation of a female readership generates certain expectations and triggers certain cultural associations, which Lorre relies on to differentiate his Lettres en verse from his competitors.[52]

What are the hopes of readers depending on the gender of Loretto? First, the gender of a woman suggests an interesting and eas y-t o-read content, combined with the elegant expression of Lettre EN Vers (border, steps, italics). In the 17th century, stereotype expressions were often described as those who could not concentrate for a long time and lacked the necessary education to work on excessively specialized subjects. [53] Lore is drawing gender expectations for women's readers of this era. The news for women implies that the content is comfortable and friendly, and that it avoids endless explanations on military features and boring technical details. Therefore, by marking the gender of the reader, paradoxically, it is positioned as a "no mark" intended for no n-professional readers without discouraging professional readers, and ultimately as possible. Is targeted. The daughter of Orleans Henry II is familiar with war and politics, and has a deep knowledge of art and culture. In other words, Lore promises to provide hig h-quality news according to the "reading time" of multiple people. What are the hopes of readers depending on the gender of the Lorette's name? First, the gender of a woman suggests an interesting and eas y-t o-read content, combined with the elegant expression of Lettre EN Vers (border, steps, italics). In the 17th century, stereotype expressions were often described as those who could not concentrate for a long time and lacked the necessary education to work on excessively specialized subjects. [53] Lore is drawing gender expectations for women's readers of this era. The news for women implies that the content is comfortable and friendly, and that it avoids endless explanations on military features and boring technical details. Therefore, by marking the gender of the reader, paradoxically, it is positioned as a "no mark" intended for no n-professional readers without discouraging professional readers, and ultimately as possible. Is targeted. The daughter of Orleans Henry II is familiar with war and politics, and has a deep knowledge of art and culture. In other words, Lore promises to provide hig h-quality news according to the "reading time" of multiple people. What are the hopes of readers depending on the gender of Loretto? First, the gender of a woman suggests an interesting and eas y-t o-read content, combined with the elegant expression of Lettre EN Vers (border, steps, italics). In the 17th century, stereotype expressions were often described as those who could not concentrate for a long time and lacked the necessary education to work on excessively specialized subjects. [53] Lore is drawing gender expectations for women's readers of this era. The news for women implies that the content is comfortable and friendly, and that it avoids endless explanations on military features and boring technical details. Therefore, by marking the gender of the reader, paradoxically, it is positioned as a "no mark" intended for no n-professional readers without discouraging professional readers, and ultimately as possible. Is targeted. The daughter of Orleans Henry II is familiar with war and politics, and has a deep knowledge of art and culture. In other words, Lore promises to provide hig h-quality news according to the "reading time" of multiple people.

The "contract" between Lorret and his readers also inscribes the news in an affective, engaging, and playful relationship, thereby guaranteeing a novel "closeness" to the reader that is still important in press marketing today.[55] With Lettres en verse, reading the news no longer seems a serious, unpleasant, or purely informational event. Lorret succeeds in imbuing printed news with the charm that private letters once offered: an intimate form of social entertainment, a form of entertainment that invites an emotional response from the reader. Of course, the verse expression of Lorret's news also plays an important role, but it is the expression of his readers that allows him to promote such an active and enjoyable reading style week after week. In his letters to the Princess, he takes care to please her, to "divertir" her sufficiently, to provide her with poetry that she will find "wonderful".[56] By placing form above all else, the representation of the reader enhances the effect of Lorret's burlesque. To read Lettre en vers, in contrast to the stark prose of the Gazette, is not simply to learn something, but also to appreciate the way it is told. In this sense, Lettre en vers is a literary endeavor.[57] Through the person of the addressee, Lorre constructs an originality with each letter. The "contract" between Lorre and the reader also inscribes the news in an affective, engaging, and playful relationship, thereby guaranteeing a novel "closeness" to the reader that is still important in press marketing today.[55] With Lettre en vers, reading the news no longer seems a serious, unpleasant, or purely informational event. Lorre succeeds in imbuing printed news with the same appeal that private letters once offered: an intimate social pastime, a form of entertainment that invites an emotional response from the reader. While Lorre's verse-based presentation of news certainly plays an important role, it is the representation of his readers that allows him to promote this lively and enjoyable reading week after week. In his letters to the Princess, he takes care to please her and to "divertir" her sufficiently, providing her with poetry that she finds "excellent."[56] By placing emphasis on form above all else, the representation of the reader enhances the effect of Lorre's burlesque. To read the Lettre en vers, in contrast to the stark prose of the Gazette, is not simply to learn things, but also to appreciate the way they are told. In this sense, the Lettre en vers is a literary endeavor.[57] Through the person of each addressee, Lorre constructs an original letter, and the "contract" between Lorre and his readers also inscribes the news in an affective, engaging and playful relationship, thereby guaranteeing a novel "closeness" to the reader that is still important in today's press marketing.[55] With the Lettre en verse, reading the news no longer seems a serious, unpleasant or purely informational event. Lorre succeeds in imbuing the printed news with the charm that private letters once offered: an intimate social pastime, a form of entertainment that invites an emotional response from the reader. Of course, the verse in which Lorre presents his news also plays an important role, but it is the expression of his readers that allows him to promote such an active and enjoyable reading style week after week. In his letters to the Princess, he takes care to please her, to "divertir" her sufficiently, to provide her with poems that she will find "excellent".[56] By placing form above all else, the reader's representation enhances the effect of Lorre's burlesque. To read Lettre en vers, in contrast to the stark prose of the Gazette, is not simply to learn something, but to appreciate the way it is told. In this sense, Lettre en vers is a literary endeavor.[57] Through the person of each addressee, Lorre constructs an original letter,

Finally, the reader's reaction to Lore's attempt is given more value to Lettre EN Vers. The support of Mademoisel de Longville, like the endorsement of the 17t h-century celebrity brand, proves the quality and validity of Lore's news. In addition, Lole regularly describes the favorable evaluation of the dedicated person, and explains that the Duke of the Duke "every New Year was happy to accept my poetry" with a distinctive explanation, and with a distinctive discreet expression. The poem is thanks to the Duke.

After that, if his successors apply corrections directly to Lore's address model, the features of the abov e-mentioned address information, especially gender, will be confirmed. For example, Charles Robine used the Newsletter to the Palatine Prince and later Madam, but used the Lore. Following Lore, Maijoras also followed the predecessor's method. However, when he began to give a letter to the king in the early 1670s, Maijolas had to make up for the changes in the gender of the other party by adding trendy sentences to the end of the letter, such as impressions of mirrors and clocks. 。 Finally, Mercure Galant (Mercure Galant) was a recipient of anonymous fictional women, but enjoyed the same advantages as the Lore model, except for the prestigious name. As if to make up for this loss, Denod de Vize has increased the number of important dedications in the court throughout 1677, and since 1678, in a speech to the dedicated and reader, the prince. I woven praise for Mercure.

In addition to Mrs. Longville, the main destination, Lore also represents the reader's community. Such representations also appear in the preface to "Historical Muse", but also appear in Lore's letter. By acknowledging a wider reader's community, Lore will take the risk of reducing the quality of private and intimate interpersonal relationships in Lettre En Vers. In order to avoid this pitfall, Lore is mostly in the third person, and by emphasizing the grammatical differences (and distance), Lore's specialty and intimacy of letters to the Duke. Prevents:

Princess, now my poems are read by a hundred audience, but this poem is not what I should read. Finally, it gives the Lettre EN VERS more value by expressing the reader's response to Lore's attempt. The support of Mademoisel de Longville, like the endorsement of the 17t h-century celebrity brand, proves the quality and validity of Lore's news. In addition, Lole regularly describes the favorable evaluation of the dedicated person, and explains that the Duke of the Duke "every New Year was happy to accept my poetry" with a distinctive explanation, and with a distinctive discreet expression. The poem is thanks to the Duke.

After that, if his successors apply corrections directly to Lore's address model, the features of the abov e-mentioned address information, especially gender, will be confirmed. For example, Charles Robine used the Newsletter to the Palatine Prince and later Madam, but used the Lore. Following Lore, Maijoras also followed the predecessor's method. However, when he began to give a letter to the king in the early 1670s, Maijoras had to make up for the changes in the gender of the other party by adding trendy texts to the end of the letter, such as impressions of mirrors and clocks. 。 Finally, Mercure Galant (Mercure Galant) was a recipient of anonymous fictional women, but enjoyed the same advantages as the Lore model, except for the prestigious name. As if to make up for this loss, Denod de Vize has increased the number of important dedications in the court throughout 1677, and since 1678, in a speech to the dedicated and reader, the prince. I woven praise for Mercure.

Princess, now my poems are read by a hundred audience, but this poem is not what I should read. Finally, the reader's reaction to Lore's attempt is given more value to Lettre EN Vers. The support of Mademoisel de Longville, like the endorsement of the 17t h-century celebrity brand, proves the quality and validity of Lore's news. In addition, Lole regularly describes the favorable evaluation of the dedicated person, and explains that the Duke of the Duke "every New Year was happy to accept my poetry" with a distinctive explanation, and with a distinctive discreet expression. The poem is thanks to the Duke.

Parties annexes

Biographical note

Notes

Princess, now my poems are read by a hundred audience, but this poem is not what I should read.
This format is rather original, and Lore emphasizes his success, stimulates imitation desires, and makes the illusion of intimacy with the dedicated dedicated person. Furthermore, Lore has succeeded in presenting his gazette as worthy of the argument by complaining:
QUELQUES BEAUX Esprits Tempérés Souhaitent QUILS [HIS VERSES] Others want to feel that La Gazette does not feel any epineous Vinet. But my poetry is not good unless I please people. My poetry is "Méchants" and "Sn'ne's Méchants" on shampoo as now. Voyez Quelle EST Mon Infortune! When poor, poor when poor, poor when poor, poor when poor, poor when poor, poor when poor, poor, poor, poor.
By expressing the reader's community discussing his Lettre EN VERS and claiming to write a "éGratine" poem, he is not neutral than Renode's gazette, so it is interesting and embodied. It is positioned as a dissonant voice. This arrogance also matches the taste that Sorel will find among the same periods 20 years later:
This is a great deal, as if it were plausible to write, as if it were a matter of the times, or a criticism of a new work, this is a great deal, and the spirit of the century is the most notable person. [63] I want to see being blamed.
Through his "VERS Méchants" -ring poetry ("Méchants Vers" -None is not an unpleasant poem) -Loret, Loret is a timely published publication of Lettre En Vers and at the same time. It is presented as a commentary on the person.
The phrase that Longeville is his poetry arch, helped to develop emotional relationships with the news. This position is now giving "other" readers:
My poor and journalistic tongue does not create a legitimate discourse that attracts lectures and readers forever.
Setting up the reader as a judge for his poetry is initially involved in the "interaction with media content", and now it means "participation in the media production". It supports modern marketing strategies. [65] Lore speaks, refusal, approval, or readers' interests by speaking discussions and judgments, to create loyalty, and create a personal relationship with his "Lettre EN VERS". Encourage to have sex. In 1656, the famous episode of a shepherd woman Nanon promoted this positioning strategy. [66] Yves Giro followed a few weeks of poetry with Role and the mysterious lover Belger Nannon. Regardless of fiction or in the meantime, this series of episodes of Nanon is a master. This is an element of position that could not be fulfilled by Longeville's expression alone. The daughter of France and Bourbo n-Conde could not declare love for Lore. Setting the reader as a judge for his poetry is initially "interaction with media content", and now it means "participation in media production". [65] It supports modern marketing strategies that involve. Lore speaks, refusal, approval, or readers' interests by speaking discussions and judgments, to create loyalty, and create a personal relationship with his "Lettre EN VERS". Encourage to have sex. In 1656, the famous episode of a shepherd woman Nanon promoted this positioning strategy. [66] Yves Giro followed a few weeks of poetry with Role and the mysterious lover Belger Nannon. Regardless of fiction or in the meantime, this series of episodes of Nanon is a master. This is an element of position that could not be fulfilled by Longeville's expression alone. The daughter of France and Bourbo n-Conde could not declare love for Lore. Setting up the reader as a judge for his poetry is initially involved in the "interaction with media content", and now it means "participation in the media production". It supports modern marketing strategies. [65] Lore speaks, refusal, approval, or readers' interests by speaking discussions and judgments, to create loyalty, and create a personal relationship with his "Lettre EN VERS". Encourage to have sex. In 1656, the famous episode of a shepherd woman Nanon promoted this positioning strategy. [66] Yves Giro followed a few weeks of poetry with Role and the mysterious lover Belger Nannon. Regardless of fiction or in the meantime, this series of episodes of Nanon is a master. This is an element of position that could not be fulfilled by Longeville's expression alone. The daughter of France and Bourbo n-Conde could not declare love for Lore.
However, in the publications of Lore's successors, especially Mercure Galant, by Denod de Vizz, the possibility of marketing on the readers was most fully demonstrated. For example, the readershi p-ove r-effects have effectively inherited the functions and contents that have been allocated to the conventional preference. In 1672, in the first issue of the Mercure Galan, Denod de Vize spoke to fictional readers and listed the diversity of the newspaper. The monologue here is that it can express the reaction of a fictional reader: Denod de Vizes to the Louis XVI's most effective cultural and political platform in 1673. He was looking for an ideal sales method to transform. After two volumes, mainly in the Netherlands's military operations, Du Vizes has been on publishing, focusing on more literary content. This "re -
-About Volume 2 and Volume 3 of Mercure Galant! The story of Mercure Galant Volume 2 and Volume 3! It's full of war novels and short novels, and I'm told I don't want to read it. " -If Luel seeks the story, Melan Collic treats it as a trivial thing. However, because the latter is small, the author will publish many short stories in the books provided to the masses in the future, and all other short stories will be reduced to several lines. -The author will publish many short stories in Mercure magazine in the future. Women want it, and it's women who succeed in the work, so those who can't find the secrets to please them will never succeed. " However, in the publications of Lore's successors, especially in Denod de Vize's Mercure Galant, the possibility of marketing on the readers was most fully demonstrated. For example, the readershi p-ove r-effects have effectively inherited the functions and contents that have been allocated to the conventional preference. In 1672, in the first issue of the Mercure Galan, Denod de Vize spoke to fictional readers and listed the diversity of the newspaper. The monologue here is that it can express the reaction of a fictional reader: Denod de Vizes to the Louis XVI's most effective cultural and political platform in 1673. He was looking for an ideal sales method to transform. After two volumes, mainly in the Netherlands's military operations, Du Vizes has been on publishing, focusing on more literary content. This "re -
-About Volume 2 and Volume 3 of Mercure Galant! The story of Mercure Galant Volume 2 and Volume 3! It's full of war novels and short novels, and I'm told I don't want to read it. " -If Luel seeks the story, Melan Collic treats it as a trivial thing. However, because the latter is small, the author will publish many short stories in the books provided to the masses in the future, and all other short stories will be reduced to several lines. -The author will publish many short stories in Mercure magazine in the future. Women want it, and it's women who succeed in the work, so those who can't find the secrets to please them will never succeed. " However, in the publications of Lore's successors, especially Mercure Galant, by Denod de Vizz, the possibility of marketing on the readers was most fully demonstrated. For example, the readershi p-ove r-effects have effectively inherited the functions and contents that have been allocated to the conventional preference. In 1672, in the first issue of the Mercure Galan, Denod de Vize spoke to fictional readers and listed the diversity of the newspaper. The monologue here is that it can express the reaction of a fictional reader: Denod de Vizes to the Louis XVI's most effective cultural and political platform in 1673. He was looking for an ideal sales method to transform. After two volumes, mainly in the Netherlands's military operations, Du Vizes has been on publishing, focusing on more literary content. This "re -
-About Volume 2 and Volume 3 of Mercure Galant! The story of Mercure Galant Volume 2 and Volume 3! It's full of war novels and short stories, and I'm told I don't want to read it. " -If Luel seeks the story, melancholic treats it as a trivial thing. However, because the latter is small, the author will publish many short stories in the books provided to the masses in the future, and all other short stories will be reduced to several lines. -The author will publish many short stories in Mercure magazine in the future. Women want it, and it's women who succeed in the work, so those who can't find the secrets to please them will never succeed. "
Interestingly, this sentence is the "market research". Denault de Vizes divide the readers into various segments (for example, women, "melancholic") and have different characteristics. And the content of the regular publication is determined based on women who are the most promising segments, but not many but melancholic people. Through a fictitious market research, Du Vize shows a perfectly harmonious work of the readers, the best part of the reader, and the worst part of the readers.
Such readers' representations have independently enhanced the position of the 17t h-century European newspaper, from Loret's Lettre EN Vers to Donneau de Visé's Mercure Galant. Basically, Mercure Galan, which was basically a collaboration, published a monthly reaction to readers and the public's reaction to it. [70] However, the origin of the Avan La Letter in this "use r-generated content" could be erased or neutralized. In other words, as Renode did in Gazette, it was easy for Du Vize to hide the names of correspondents and contributors. In contrast, Mercure is the source of dynamic, fashionable and dashing industry news by posting the names of readers who send songs, Enigum, and Pies Galant every week. It was introduced as. The vice versa is also true among the Denod de Vize competition, and the expression of readers is another kind of way to slander regular issues among those who blame Mercure. It will be used to foster a community:
Such books embraced in Bourgeois' chest. Interestingly, this sentence is now a "market research." Denault de Vizes divide the readers into various segments (for example, women, "melancholic") and have different characteristics. And the content of the regular publication is determined based on women who are the most promising segments, but not many but melancholic people. Through a fictitious market research, Du Vize shows a perfectly harmonious work of the readers, the best part of the reader, and the worst part of the readers.
Such readers' representations have independently enhanced the position of the 17t h-century European newspaper, from Loret's Lettre EN Vers to Donneau de Visé's Mercure Galant. Basically, Mercure Galan, which was basically a collaboration, published a monthly reaction to readers and the public's reaction to it. [70] However, the origin of the Avan La Letter in this "use r-generated content" could be erased or neutralized. In other words, as Renode did in Gazette, it was easy for Du Vize to hide the names of correspondents and contributors. In contrast, Mercure is the source of dynamic, fashionable and dashing industry news by posting the names of readers who send songs, Enigum, and Pies Galant every week. It was introduced as. The vice versa is also true among the Denod de Vize competition, and the expression of readers is another kind of way to slander regular issues among those who blame Mercure. It will be used to foster a community:
Such books embraced in Bourgeois' chest. Interestingly, this sentence is the "market research". Denault de Vizes divide the readers into various segments (for example, women, "melancholic") and have different characteristics. And the content of the regular publication is determined based on women who are the most promising segments, but not many but melancholic people. Through a fictitious market research, Du Vize shows a perfectly harmonious work of the readers, the best part of the reader, and the worst part of the readers.
Such readers' representations have independently enhanced the position of the 17t h-century European newspaper, from Loret's Lettre EN Vers to Donneau de Visé's Mercure Galant. Basically, Mercure Galan, which was basically a collaboration, published a monthly reaction to readers and the public's reaction to it. [70] However, the origin of the Avan La Letter in this "use r-generated content" could be erased or neutralized. In other words, as Renode did in Gazette, it was easy for Du Vize to hide the names of correspondents and contributors. In contrast, Mercure is the source of dynamic, fashionable and dashing industry news by posting the names of readers who send songs, Enigum, and Pies Galant every week. It was introduced as. The vice versa is also true among the Denod de Vize competition, and the expression of readers is another kind of way to slander regular issues among those who blame Mercure. It will be used to foster a community:
Such books embraced in Bourgeois' chest.
Neutral and anonymous declaration framework, that is, news that is not sent to anyone and does not seem to be addressed to a specific person, and targets readers based only on the usefulness of the newspaper content. In contrast to the European news agencies, which are characterized by what they are doing, Lore's marketing method, instead, appealed to both emotions and intelligence. The Lore newspaper was different from the other due to the intimacy of the information. The format was comfortable, the content was serious, private but public. Lore's "Letter Ann Vels" was targeting readers who would eventually believe in values that would be the values of La France Gallant. Such positioning was gradually constructed based on many interruptions, such as typography and the gradual incorporation of the news (and poetry), but dependence on "addressed information", that is, that is. Presenting the news with a direct and intimate secon d-person call to a identified reader is definitely a new and innovative element in such a positioning strategy. Lore's information culture revolution relies on using marketing strategies, artifacts, as a whole, and the representation and desires of society.
Associate Professor, Ale University, 17th century French literature. The research theme is the modern marketing, media, information control, and cultural exchange between Britain and France. He wrote in "A Literary Entrepreneur: Donneau de Visé, from Molière to The" (Classiqueques Garnier, 2020), the 17th century French Literature. Commercial and material I am studying the context. He is also involved in the field of Digital Humanity as a theorist and a practitioner. Publishing a book called Interfaces: What Digital Humanity's can do in literature (Alphil, 2019) is published to develop several digital criticisms and databases.
[1] This paper was subsidized by the Jale University Whitney & Betty McMilan International Regional Research Center. Thanks to Doyle Calfoon, who translated from French to English, and the editorial department of Studies in Book Culture, who did a good job. Neutral and anonymous declaration framework, that is, news that seems to be not sent to anyone, not being addressed to a specific person, and only the usefulness of the newspaper content. In contrast to European news agencies, which are characterized by the readers, Lore's marketing method, instead, appealed to both emotions and intelligence. The Lore newspaper was different from the other due to the intimacy of the information. The format was comfortable, the content was serious, private but public. Lore's "Letter Ann Vels" was targeting readers who would eventually believe in values that would be the values of La France Gallant. Such positioning was gradually constructed based on many interruptions, such as typography and the gradual incorporation of the news (and poetry), but dependence on "addressed information", that is, that is. Presenting the news with a direct and intimate secon d-person call to a identified reader is definitely a new and innovative element in such a positioning strategy. Lore's information culture revolution relies on using marketing strategies, artifacts, as a whole, and the representation and desires of society.
Associate Professor, Ale University, 17th century French literature. The research theme is the modern marketing, media, information control, and cultural exchange between Britain and France. He wrote in "A Literary Entrepreneur: Donneau de Visé, from Molière to The" (Classiqueques Garnier, 2020), the 17th century French Literature. Commercial and material I am studying the context. He is also involved in the field of Digital Humanity as a theorist and a practitioner. Publishing a book called Interfaces: What Digital Humanity's can do in literature (Alphil, 2019) is published to develop several digital criticisms and databases.
[1] This paper was subsidized by the Jale University Whitney & Betty McMilan International Regional Research Center. Thanks to Doyle Calfoon, who translated from French to English, and the editorial department of Studies in Book Culture, who did a good job. Neutral and anonymous declaration framework, that is, news that is not sent to anyone and does not seem to be addressed to a specific person, and targets readers based only on the usefulness of the newspaper content. In contrast to the European news agencies, which are characterized by what they are doing, Lore's marketing method, instead, appealed to both emotions and intelligence. The Lore newspaper was different from the other due to the intimacy of the information. The format was comfortable, the content was serious, private but public. Lore's "Letter Ann Vels" was targeting readers who would eventually believe in values that would be the values of La France Gallant. Such positioning was gradually constructed based on many interruptions, such as typography and the gradual incorporation of the news (and poetry), but dependence on "addressed information", that is, that is. Presenting the news with a direct and intimate secon d-person call to a identified reader is definitely a new and innovative element in such a positioning strategy. Lore's information culture revolution relies on using marketing strategies, artifacts, as a whole, and the representation and desires of society.
An assistant professor at the 17th century of French Literature, Ale University. The research theme is the modern marketing, media, information control, and cultural exchange between Britain and France. He wrote in "A Literary Entrepreneur: Donneau de Visé, from Molière to The" (Classiqueques Garnier, 2020), the 17th century French Literature. Commercial and material I am studying the context. He is also involved in the field of Digital Humanity as a theorist and a practitioner. Publishing a book called Interfaces: What Digital Humanity's can do in literature (Alphil, 2019) is published to develop several digital criticisms and databases.
[1] This paper was subsidized by the Jale University Whitney & Betty McMilan International Regional Research Center. Thanks to Doyle Calfoon, who translated from French to English, and the editorial department of Studies in Book Culture, who did a good job.
[2] GILLES FEYEL, L'Annonce et La Nouvelle (Oxford: Voltaire Foundation, 2000), Lore, "La Muse Historique de Loret. Ne FronDE EN VERS BURLESQUE "in MinEURS, Minorités, Marginalités au Grand SièCle, ED. Marta Teixeira Anacleto (Paris: Classiques Garnier, 2019), 181-97. Dedicated research has not been conducted yet.
[3] "A white princess like ivory / ... from the brilliant moment I stayed at His Highness / I was honored and happy / Rumors that spread through the court and Bourgowa / I wanted to write it. "Jean Lore, May 12, 1650 (La Muse Historique, Ed. Jules Ravenel et Al. (Paris: Jeannet, 1857), T. I, 11.
[4] Jennifer Perlmutter, "Journalistic Intimacy and Le Mercure Galant," IN Actes Du 39 E Congrès De la nasscfl. Ingen: Gunter Narr, 2009), 223-31.
[5] This expression is in 1665, including Charles Robine, Perdu de Subrinnie, La Grabate de Myoracolas, including RotSchild et al. In Les Continuates de Loret (PARIS: Morgand, 1881-1889). It is a coined word used to represent the author of many poetry documents that appeared shortly after death.
[6] MARION Brétéché, Les Compagnons de Mercure. Journalisme et Politique Dans L'Europe de Louis Xiv (Ceyzérieux: Champ Vallon, 2015), 179-81.
[7] From 1648 to 1652, more than 4000 printed pamphlets appeared in the city in Paris. This was about three times the political crisis (see Jeffrey Sawyer, Printed Poison (Berkeley: UC Pres, 1990), 27). MUSE HISTORIQUE "instead of" is to focus on the published newsletter, not the later edited newsletter.
[8] For this relationship with the news in the 17th century France, see, for example, Chloé Hogg, Absolutist Attachments (Chicago: Northwestern UNIVERSITY PRESS, 2019). It is also related to the phenomena observed in modern media. For example, "Affect Theory and Audience", in The Handbook of Media Audiences, Ed. Virgnia Nightingale (Malden: Wiley-Blackwell , And Zizi Papacharissi, "Toward New Journalism," Journalism Studies 16 , No. 1 (2014): 27-40.
[9] For this conflict, see Jouhaud, Mazarinades and Grihl, éCRITURE et Action (PARIS: EHESS, 2016).
[10] Regarding positioning in the relationship with competition, the basic book Michael E. Porter "Competition Strategy" (New York: Free Press, 1998), Philip Kotler "Marketing Management" (New York: Free: Free ・ Press, 1998) See: New York: Free Press, 1998), Philip Kotler "Marketing Management" (Boston: Pearson, 2016): Analysis, Planning, IMPLEMETATION, and CONTROL, 15 THED. (Boston: Pearson, 2016).
[11] Wendell Smith, "Product Differentation and Market Segmenting as Alternative Marketing Strategies," Journal of Marketing 21, No: 3-8.
[12] Sarah Hanley, "Marie d'Orléans-longueville," Dictionnaire de la Siefar (2014): http://seprnaire/marie_d27ORL%. %A9ans-longueville See. Thanks Yohann Deguin for important insights about Marie de Numur. Regarding the same literary strategy in France, Juliette Cherbuliez, The Place of EXILE (Lewisburg: Bucknell, 2005), Nicolas Schapira, UN Professionnel desk VII E SièCle (Seyssel: Champ Vallon, 2003), 227-46 , Christophe Schuwey, "Une Trajectoire Exemplaine au Début des années 1660: Antoine Baudeau de Somaize," Xvii E SiereCle 284, NO. 3 (2019): 543-47 (2019): 543-47.
[13] According to an existing study of Lore, he began with a manuscript in 1650 and started printing in 1652. Although this study has a blind spot (cannot explain the existence of the Lyon version), the time series has nothing to do with the position. In 1652, Loret's Lettre EN Vers seemed to have been a great success, competing with other newspapers.
[14] Regarding the distinction between reflection and behavior, jouhaud, mazarinades; grihl, écriteret et action.
[15] See Wendy Griswold et Al., "Readers as Audience," in the Handbook of Media Audience, 19-39 for the definition of audience including readable people.
[16] See Franch Cochoy, UNE Histoire Du Marketing (Paris: La DécouVerte), 1999 for complete definitions of sociology and full definitions. The practice of the term marketing has existed before marketing became an autonomous research field (Note 17). The 17t h-century France's literary market is Geoffrey Turnovsky, The Literary Market (University of Pennsylvania Press, 2010) and UNTRE See Preneur des Lettres (Paris: Classique Garnier, 2020), 21-26.
[17] Kathleen, M. Rassuli, "Evidence of Marketing Strategy in the Early Printed Book Trade: An Application of Hollander's Historical Approach," in Historical Perspectives in Marketing, edited by Terence Nevett and Ronald Flanders. Terence Nevett and Ronald Fullerton (Lexington: Lexington Books, 1988), 91. For a recent survey of historical marketing, see Brian Jones, "A History of Historical Research in Marketing," in Marketing Theory: A Student Text, eds. M. J. Baker and M. Saren, 51-82. Sage Books, 2010, http://dx. doi. org/10. 4135/9781446280096. n3.
[18] Feyel, L'Annonce et la nouvelle, 309-602. For England, see Joad Raymond, The Invention of the Newspaper (Oxford: Clarendon Press, 2005). See also Jouhaud (The Mazarinades, 29) on the Mazarinades market. "It had to be very fast and in touch with current events, even if it meant making something new out of the old by republishing a piece a month or a month and a half later with some minor changes. The danger was to become outdated before it was sold out, to become outdated by events or the discoveries of competitors. [It had to be very fast and in touch with current events, even if it meant making something new out of the old by republishing a piece a month or a month and a half later with some minor changes. The danger was to become outdated before it was sold out, to become outdated by events or the discoveries of competitors.]" [19] For a list of newspapers, see Jean Sgard, ed, Dictionnaire des journaux (Oxford: Voltaire Foundation, 1991), http://dictionnaire-journaux. gazettes18e. fr. [20] Even in the very hypothetical case where the sole purpose of a printed poetic letter is to represent the dedicatee, this representation is only effective if it reaches a specific reader.
[21] For the implied reader, see the surprising summary in Aude Volpilhac, Le secret de bien lire (Paris: Champion, 2015), 21-22.
[22] "On the 29th of last month, a bolt of lightning struck." Renaudot, Gazette , no. 12, 1657.
[23] In Joad Raymond, ed., Making the News : An Anthology of the Newsbooks of Revolutionary England: 1641 - 1660 (New York: St Matin's Press, 1993), 161.
[24] In Raymond, ed., Making the News. Exceptions can be found, for example, in Kindom's Weekly Intelligentsia (160). Although he claims that "there is one thing worthy of your observation," there is actually no description of the reader.
[25] Anders Bodying "Den Danceke Mercurius" Paul Ries. Paul Ries (Copenhagen: DSL, 1984).
[26] Juo "Mazarinard" Chapter 1.
[27] Extra Odiner was a detailed description of specific events and documents. Most of the speeches rely on the secon d-person and firs t-person synonyms, and are not as developed as Lore. However, this special form is still a matter of positioning. This was one of the methods for extra obediner to differentiate from the regular Gazette.
[28] Feyel, L'Annonce et la nouvelle, 504-46.
[29] 「... de tous les occasionnels alors colportés dans Paris.」. Feyel, L'Annonce et la nouvelle , 150. ロナルド・フラートンは「セグメンテーションの歴史的発展」の中で、書籍のフォーマットとオーディエンスの Connecting segmentation: The Historical Development of Segmentation: The Example of German Book Trade 1800-1928 ING 4, NO: 56-67.
[30] About the 17th-century French commercial practices, Miriam Speyer, "Les Dieux écrivent-ILS EN Italique? L'habillage du livre et du textte AUX Xviie et xviiie SièCles, eds. Anne-ELISABETH SPICA et AL.
[31] "Le Nom de Gazette, Qu'on Lui Autrefois, N'est Point Quitté Par mépris; au Lieu Que, Celles Dont Nous Parlons étant En Vers , ON SE DOIT BIENER QUES'ELLES'S Débitées par l'Une des music [Discard the name "Gazette" that was once used It is not hard to imagine that it was born from one of the muse because the news we convey.
[32] Feyel, L'Annonce et La Nouvelle, 172-92 and StéPhane HaffeMayer, L'InFormation Dans La France Du Xvii E Siorr 3 (Paris: Champion, 2002).
[33] "From Valsovia". According to Ukraine, the Taltares were very pleased that the Calmuk people were returning to Crimea and were relieved so quickly that they were almost always superior to themselves. Nouvelles Ordinaires [Gazette de France], January 4, 1653.
[34] This was a Renode mission. See L'Annonce et la nouvelle, 132-37.
[35] I promised "The first news is ..." ... "Renode, Gazette, January 1, 1632.
[36] "... a single et simple narrration des choses.". Feyel, L'Annonce et la nouvelle, 152.
[37] "The Crave for News", Brétéché, Les Compagnons de Mercure, 19.
[38] CAROLYN M. Byerly, "THE HE HANDBOOK OF GENDER, SEX, and Media, Ed. Karen Ross," THE GEOGRAPHY of Men and Media Scholarship, "in the Handbook of Gender, SEX, And Media, Ed. Karen Ross (Malden: Wiley-Blackwell, 2012), 8-9 ("Absence"), and Joke Hermes Dar ", EOIN DEVEREUX" Media Study's " (Los Angeles, 2012). EOIN DEVEREUX (Los Angeles: sage, 2007), 198.
[39] Alan Viara La France Galante (PARIS: PUF, 2008).
[40] "The official gazette and the newspaper overturn the personal communication as the most information source for the most people." Stéphane HaffeMayer, "Transferts Culturels Dans La Presse Européenne au Xvii E SèCle," Temps des Médias 11, No. 2 (2008): 25.
[41] See Schapira, Un Professionnel des Lettres, 265-68. In the UK, Ben Johnson's news comedy has been attacking the print market since the 1620s. Roger Chartier, Inscrire et EFFACER (PARIS: GALLIMARD, 2005), 96; RMANCE. Fritz Levi, "Fritz Levy" ("Staging News," in Print, Performance. -78.
[42] "I'm not interested in big incidents such as the official gazette." [And] A word of mouth, like we call it Nouver Du Cabinet, is an exquisite person who really knows it. People who prefer only those who have judgment and delicate hobbies to know well. This conversation was added to the 1684 "ConverSations Nouvelles Sur Divers Sujets" 531-33. Here we quote the latest version. The distinction between the types of short novels is one of the points that is amplified in the second edition compared to the first edition.
[43] Lore "Historical muse" 6.
[44] "IL SE FIT DAVANTAGE à Ses Croyancy QU'aux CaractéRistique Objectives du Product.". VIOT, Le Marketing, 113.
[45] "" The person who gives a letter is not the arrogance of trying to show his media like a letter. "Pierre Bayle, Letter to Jacob Bayle, November 26, 1678 in Correspondondance de Pierre Bayle, Eds. Anthony McKenna et al. (Oxford: Voltaire Foundation, 2004), Vol. 3, 92.
[46] Loret, La Muse Historique, 6.
[47] Geoffrey Turnovsky, "Authorial Modesty and ITS READERS: Modern Language Quarterly 72, No. 4 (2011): 461-92.

Bibliography

[48] "To meet you on Sunday/ when you arrive at your reception, suddenly a beautiful light/ my visor has been shot through. Yeah, that was the case, I felt that I was a strong diana and my girls. He did not fall down. " Lore, December 18, 1650, Volume 1, 68, "History of Muse".

7 questions pour en finir avec les poux de tête

[49] SCHUWEY, UN ENTREPREPRENEUR des Lettres, 419-48. See: bucknell, 2013).

À quoi ressemblent les poux de tête?

[50] Monique Vincent (2005) is Mercure Galant La "Première Revue Fémineinine d'Information et De Culture: 1672-1710

Comment se transmettent-ils?

[51] "The prince, princess, court Grand Duke and Lady of the Court, and those who have long clothes and have a serious and academic occupation (reading Letter Ann Virth) are just a little a little. In the meantime, I leave other jobs. " In Mercure Galant, the participating audience consists of both men and women.

Comment pouvez-vous les repérer?

[52] Stephen Neal, Genre (London: BFI, 1980). See also Hermes "Media Expected" 198.

Quand devriez-vous inspecter la tête de votre enfant?

[For example, Linda TimmerMans, L'Accès des Femmes à la Culture Sous L'Ancien Régime [PARIS: CHAMPION, 2005) NS (CHICAGO: CHICAGO UNIVERSITY PRESS, 1996 ), Katherine Dauge-Roth, "Femmes Lunatiques: Women and the Moon in In Early Modern France," Dalhousie French Studies 71 (2005): 9.

Comment devriez-vous procéder pour l’inspection?

[54] Nicolas Clément, Mieux Vendre Sa PRESSE (PARIS: VICTOIRES, 2007), 35-36. See Reneur, 174-76.

[55] Clément, mieux vendre, 33.
[56] "Good or evil". Loret, JULY 27, 1655 in La Muse Historique, Vol. 2, 70.
[57] Schuwey, Un entrepreneur, 239-47.
[58] Lore, May 29, 1655, August 28, 1655, November 10, 1654 (La Muse Historique, Vol. 2, 54, 89, and 404).
[59] "To entertain you", "Except for a very serious subject ... there is nothing to write", "The next line is not very fascinating" "To be bored," "Several stories / whether it's true or lie." Lore, November 5, 1650, "La Muse Historique" Volume 1, 55.

Quel traitement devriez-vous utiliser?

[60] Lore, October 5, 1658, "History of Muse" Volume 2, 535.

Quels conseils additionnels devriez-vous suivre pour gérer la situation efficacement?

[61] "Princess, my lines are now found by hundreds of different readers / the work I have to do / I will annoy me more than before." Loret, January 18, 1653 in La Muse Historique, 331. For example, the last poem on November 13, 1655 has exceptions: "Princess, I wrote this poem / And you, you, you are cute. The emblem of the emblem "in la music, 122.
[62] "Some of the mild beauty wants to be more modest/ others want others to make the gazette a little more sour, but my rhyme is not good. / I don't bother me, in other words, my poem is bad if it's evil! I am worried and if I don't stab, my poem is cold and not attractive, "La Muse Historique", 1st volume.
[63] "This is a great deal of criticism of something new, as if it were a topic, or a criticism of some new work." The recent trend is the most notable person. Is being criticized. "Charles Sorel, De La Connaissance des BONS LIVRES (PARIS: PRALARD, 1671), 21.
[64] "In my weak and mediocre heads / I can't always create a reasonable speech that attracts readers (men and women) / Lore, February 22, 1653," La Muse Historique " , 343.
[65] Nico Carpantier, "New configuration of the audience", "Media Audience Handbook", 192-93. Regarding the audience as a critic in the early modern era, Sara Harvey, "Les Figures Du Critique Dans La Predique Little: LE CASE DU Mercure Galant (1672-1721)," RA, Littérature, Livre et Librairie En France au Xvii E SièCle, Eds. Mathilde Bombart et Al. (Tübingen: Gunter Narr, 2020), 271-81.
[66] Yves Giraud, "NOS Lecteurs Nouse écrivent" La Corresspondance Du Gazetier Loret De La Bergère Nanon (1656) S 18 (1993): 197-209.
[67] Mercure Galant, Vol. 1, Paris: Girard, 1672: "Le Libraire au Lecteur."
[68] "Récit de Publication, Récit de Publiciste: de QUELQUES DISCOURS Dans Le Mercure Galant," IN L'Art De Préface E des Lumières, Ed. IOANA GALLERON (Rennes: Presses UNIVERSITAIRES DE Rennes, 2007 ), 133-43.
[69] "" Oh, don't talk to me. "A woman told another friend. Luer (salon) may need a story, but some of the melancholic readers who think it is boring, but there are few latter, so many of these stories will be published in the future. The author will be able to publish many stories in Mercure, which will be published in the future. Because there is, those who do not find a way to please them will never succeed. " Mercure Galant 3 (1673): 261-66.

[70] Of the numerous papers related to readers' contributions to "Mercure Galant", "Commerces et Autorialités Dans Les Les Extraordinaires Du Mercure Galant (1678-1680)" Alité, VOIX ET PUBLICS DANS LE Mercure Galant , Xvii E SièCle 270, No. 1 (2016): 81-96, the same issue, "Les Lecteurs du Mercure Galant. See also Sara Harvey, Ed., La Critique au Présent (paris: Classiques Garnier, 2019).

[71] "This terrible book in the bourgeois is found every new month, like a clock: / is it a Palnassos sewer in France?" (PARIS: CLERC, 1698), Vol. 1, 271. Also, Denis-François Camusat, Histoire Critique des Journaux (Amsterdam: Bernard, 1734), T. 2, 205.

Bayle, Pierre. CorRespondance de Pierre Bayle, Edited by Labrbousse, Edward James, and Anthony McKenna et al. Oxford 999-2017.

Every fall, when the new semester begins, the problem of Atomadi lice is rekinding. This troublesome small insect really becomes a headache. Fortunately, it is possible to get rid of it. Here, I will explain what you need to know about Atomajiri.
Atomadi lice is a gra y-like insect that is as large as sesame seeds that suck blood. Although it is misunderstood as unsanitary, head lice likes clean hair and dirty hair, and parasitizes anyone. The female produces an average of 5 to 10 head lice (eggs) a day. The living eggs are gray and glossy. It is near the roots and is very difficult to remove. The dead eggs are more white, far from the scalp.
The transmission route is direct contact with the hair. Unlike generally believed, lice does not fly or jump from the head to the head. Furthermore, it is difficult to survive in a place away from the scalp for more than three days, so it is difficult to infect a brush or pillow.
The main symptoms are the head, neck, and ears, but shirami does not necessarily cause itching. Small blood spots may be seen on the scalp. To be diagnosed with lice infection, the existence of lice and mites must be confirmed.

If you have a head lice near your child, your head is itchy, or scratched, you should do it every day. Also, if your child starts going to school, it is recommended that you examine it once a week to prevent it.

Elim Poon - Journalist, Creative Writer

Last modified: 27.08.2024

For more on de Brosses, see Manuel () “In taking up the problem of the development of culture as a branch of ethnological research, a first. New Configurations of the Audience? The Challenges of User-Generated Content for Audience Theory and Media Participation ; Toward an epistemology ofWikipedia. La publication imprimée de la Lettre en vers de Jean Loret en transforme la culture de l'information imprimée dans la France du XVIIe siècle. En s'appuyant.

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