1、Pg1 唐亚杰 52 13401081016 4521208641When did the populars become tabloid?Matthew Engel writes that American visitors to Britain are shocked by the riot of competing libertine tabloids (Engel, 1966a: 31), but he could added any number of other nationalities as well as many of the indigenous population t
2、hemselves. A major part of the appeal of these newspapers is their national and linguistic specificity. They belong to, and for better or for worse, represent contemporary Britain to a carefully targeted popular audience. They have developed over time the language they used to weave their version of
3、 the fabric of national life. Much of the power of the tabloids has been accrued by the evolution of this language its relationship to the broader patterns of popular print culture which have developed over centuries. Tabloid newspapers are merely the latest and most marketable permutation of the la
4、nguage of the people periodical form.The link between print media and the language of the ordinary people is as old as print itself. Printers soon realized that there was money to be made by distributing popular printed material which could reach the wildest possible readership in order to maximize
5、profits. The best way to appeal to that audience was to build upon accepted patterns of popular culture (Burke, 1978) and to frame printed material as much as possible in a language with which the audience would be familiar. Ever while literacy rates were low, there were still markets for printed ma
6、tter which could be read, often out loud, or sung and which appealed to a community of readers and listeners by means of the language which they employed. Much of this early popular print culture in the 16th and 17th centuries deliberately followed the rhythms and patterns of the spoken language of
7、the ordinary people (Ong, 1982). In addition, it used illustration to draw the illiterate (Watt, 1991) into the new print culture. Early printed ballads, broadsheets and ephemeral productions such as the almanacs, which sold straight to the streets and markets of the Early Modern period, were the ty
8、pographic and stylistic precursors of popular and later tabloid journalism in their appeal to a popular and specifically national audience in a highly stylized version of the common language (Shepard, 1973: 24).1 小报何时开始流行？ 马修.恩格尔写道，美国游客对英国的市井小报之间竞争之狂暴感到震惊（恩格尔，1966a：31） ，但其他一些国家也是如此。这很大程度上取决于其国家和语言的特
9、性。无论好坏，它们代表了当代英国主流流行受众。随着时代的发展，小报已经形成独有的语言来描绘它们的国家生活。它们的力量在语言的发展中愈发强大，这关系到百余年以来形成的公众出版产业模式的拓宽。其实小报仅仅是大众刊物语言最新、最有市场的更替形式。 印刷媒体和大众语言之间的联系自有印刷之日就已存在。印刷业很快就意识到，流行出版物有利可图、可获得最大读者量，从而最大限度获得利润。吸引读者最好的方法是建立一个大众文化接受模式（伯克，1978 年） ，并以观众最熟悉的语言、尽可能多的印刷出版。即使是识字率很低的时代，印刷品仍然有市场，通过大声朗读、吟唱，或通过阅读者与听众之间进行语言交流，使其具有可读性。在 16到 17世纪的早期流行印刷文化中，印刷物大多刻意模仿日常口语的风格或模式。另外，它还采用插图的形式使文盲也能阅读（华特，1991） ，从而形成一种新印刷文化。早期的诗集、传单和短线产品，如年鉴，直接在街道和现代早期的市场上出售，这些印刷物在排版和体裁上是当代流行的前导，后来的小报以相似的版式、共同的语言开始引领潮流，特别是对国内读者而言。 （谢帕德，1973：24） 。
