The purpose of this paper is to propose and emphasis on the subjectivity of audience to mass media. First, the author assumes two functional models of relationships between"Bewustseins-Industrie"(consciousness industry) and"audience"in mass communication process. Using the functional analysis, we could come up with two basic concepts. One is"transmission and persuasion, "the other is"ritual and aesthetics."The former is based on"effects and influences research, "the latter on "uses and gratifications research"and"reception theory."From these analyses, we could define these models as follows: (1) Transmissive and persuasive communication. In the traditional studies, the subjectivity of"Bewustseins-Industrie"had been emphasized in the sender-oriented model. It seems that the subjectivity of the audience is a consequence of one's"zweckrationales Handeln"(rational purpose act). (2) Ritual and aesthetic communication. Nowadays, in the receiver-oriented studies, it seems that the subjectivity of the audience is a consequence of one's"Wertrationales Handeln"(rational value). Secondly, the author uses the analogy of the reception theory of mass media with literature to support the subjectivity of the audience. As a result of this analogy, the following findings can be supposed: (1) In"reader-oriented criticism, "it seems that the audience is the subjective reader. (2) We can describe that the non-subjective audience is an"ideal receiver, "and the subjective audience is a"relative receiver."Hense, the author characterizes a new aspect of"the contemporary mass audience"as"reader."

A new aspect of the mass communication process is proposed stressing on the superiority of mass audience to mass media. The fundamental concepts ‘interactivity’ and ‘autonomy’, the former being based on H.M.Enzensberger’s media theory, the latter on ‘Cultural Studies’ and ‘Reader-oriented Criticism’ are applied to support the superiority assumed by the author. As result of this ‘gedankenexperiment’, the author exemplifies a new aspect of ‘the contemporary mass audience’.

いま我々の部屋にあるTV こそ、安楽なメディア史の臨界点ではないのかという再考を促し、次代を担う若者におけるリテラシィの展望を示した。

The developpement of French comics is very different from Japanese comics. The origine of these two comics might be that of the United States before the World War II. In America, the comics began to exist at the end of the 19 th century. The immigrants from europe, especcially the german speaking people began to draw the comics, and the famous one was entitled "Katzenjammer Kids". And in the 1920's and the 30's, many new types of comics appeared, for exemple, the Flash Gordon by Alex Raymond and Dick Tracy by Chester Gould. This period is called "the golden age" of American comics, because many heros were born, and they still have been famous even in the 21 st centry, like Spiderman and Batman. In France, these american comics were already imported before the World War II. When the war began, the famous american comic "Flash Gordon" did not arrive because of the German attack, the belgium comic writer, Edgar Jacob drawed the pictures in place of Alex Raymond. Later the belgium writer became very famous with his own works like "the Yellow Mark". The authentic european comic was made by Herge in Belgium, entitled "Tintin" in 1929. The boy in culotte travels all over the world with his dog Milou (also called "Snowy" in Japan).. These adventures of Tintin and Milou are typical frencch-belgium comic, because of their political and social meaning. For example, in the "Blue Lotus", Tintin goes to Sanghai just before the World War II, when the chinese city was devided by the Japanese army and other european countries. The boss of the japanese group dealing with opium was Mitsuhirato, and he planned the Manchurian Incident. In this way, the adventure of Tintin is not only a fiction for amusement, but it is very critical to the real historical problem. After the World War II, two big comic magazines were active and many writers succeeded. In 1959, very impotant comic magazine was born by Rene Gossiny, called "Pilote". In 1968, the student power exploided in France and the comics changed much. Because new comic generation liked comics for adult people. In the 70's and 80's, many young writers appeared and there is no limit to the contents of French comics. Satire, violence and love, they are the themes very prefered. Since then, french comics don't do the auto-censure and each writer has his own style. For example, the italian comic painter, Liberatore is famous for his Ranxerox, with very violent and beautiful dessin. Enki Bilal is also famous, drawing cold winter in socialist countries before the fall of Berlin wall. The girls painted by Pichard or Crepax are very beautiful and sexy. The space opera of Philippe Druillet is extraordinary like the rock music "Bohemian Rhapsody" by the Queen. The french comics become more and more different from japanese comics, because of their artistic expresssions. Comics in Europe are not only the media of amusement but also Art, which they call so the "nineth Art", after the pictures and the cinemas. But since 2000, many japanese comics begin to invade in France and the competition in comic market is furious now.

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