As early as 1970, Ivan Illich predicted that in the future, there would be a move towards ‘deschooling society’. At the outset of the new millennium, explosion in the production of information ignited a need for the shift from the significance of having ‘what’ to ‘what to do’ with the information. Indeed, developments in communication technologies not only facilitated and expedited reaching information but also enabled and ensured learning outside the schools - lifelong learning. After schooling, adults learn most of what they know from the media. The present paper challenges the adaptation of technology by media for raising awareness and learning the current issues and suggests that technology, indeed, should be used in media and education, however, after being challenged. This study challenges the use of technology for receiving information. It presents the results of bicommunal research conducted in Cyprus upon the already existing and suggested presentational formats. The present study sets out to explore attitude of the tertiary students towards already existing and alternative media sources used for receiving the news. It is suggested that rather than adopting ‘what is given’ by the technology, if media education challenges and suggests new forms for presentation of the information, this will facilitate learning, particularly learning from the media, which is the main source of information for masses after formal schooling.

The purpose of this paper is to introduce a new perspective of analyzing advertising designs from a new semiotic approach based on a new definition of the context. In order to achieve this goal, we will first of all give a definition for advertising design, and then Peirce’s idea about signs and definition of the science called semiotics will be necessary for starting the discussion. This research is based on three levels of context and shows that understanding an advertising design is not absolute but somehow relative because of differences in the background knowledge of the receivers. The conclusion of this research is that people understand advertising design based on their three contexts, which means seeing a so-called Context A, or better, what is designed, the receiver of the message will use a so-called Context B, or the context of situation, and also receives a so-called Context C, or the background knowledge in order to interpret what is selected and combined in Context A.

In this article, the authors try to review the Paris-Match cover page (No. 326 from 1955) analyzed by Roland Barthes and introduces a new model of analyzing sign system from a new semiotic approach based on the new definition of the context. This research is based on three layers of the context and shows that understanding the cover page of a magazine or any other kind of text is not only absolute but also somehow relative due to the different background knowledge of the audience. This means that human sees the Context A, or what is designed, in the situation of Context B, or situational context, and interpret based on their Context C, or background knowledge of the audience.

This article introduces a new assumption in the formation of myths. Based on the existing literature, the hypothesis of this article is that all myths are created based on the selection of components from a limited collection and the combination of those components with each other. For better understanding and discussing this hypothesis, it is required to give a definition of myth and its kinds, followed by short discussions about the narrative and continue with discussions of the two processes called selection and combination. The author shows that each myth is created based on the narrative and this creation is limited to the selection and combination of components which are exemplified from the real world. Each myth is created in a possible world which is based on the narrative of the myth. Selection and combination of components to create a myth is obeying the rules of the real world and the perception of myth is based on the human perception of the real world.