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ZAUFANIE DO CYFROWYCH MEDIÓW JAKO FUNDAMENT W PRACY E-NAUCZYCIELA

100%

Perzycka E.

Problemy Profesjologii

2014

issue 1

43-50

Inspiracją do podjęcia tematu były moje wizyty w szkołach polskich i rosyjskich, które odbyłam w ramach realizowanego projektu 7 Programu Ramowego Marie Curie, People, pt. Stymulatory i inhibitory kultury zaufania w interakcjach edukacyjnych wspomaganych technologią informacyjną i komunikacyjną (No 318759), którego jestem koordynatorem. W wyniku poszukiwań związku pomiędzy zaufaniem a pracą nauczyciela zauważyłam, że istnieje silna zależność pomiędzy zaufaniem, a wartościowaniem środowiska pracy. W konsekwencji odkryłam, że ograniczone zaufanie jest fundamentem pracy nauczyciela, a ograniczone zaufanie do mediów cyfrowych stanowi fundament pracy e-nauczyciela, co będę chciała opisać i wyjaśnić w niniejszym tekście.

My visits to the Polish and Russian schools were inspired to take this article. They were held of part of the project 7th Framework Programme Marie Curie, People, title: Stimulators and Inhibitors of Culture of Trust in Educational Interactions Assisted by Modern Information and Communication Technology (No. 318759), of which I am the coordinator. As a result of research the relationship between trust and the work of the teacher saw that there is a strong correlation between trust and valuation work environment. As a result, I discovered that the limited trust is the foundation of a teacher, and limited confidence in the digital media is the foundation of the work that - a teacher, what I want to describe and explain in this text.

Zombiczna transmedialność i złośliwy demon obrazów

63%

Nieracka A.

Literatura i Kultura Popularna

2018

vol. 24

55 - 66

Contemporary horror films can no longer be reduced to classical cinematic models. Is the term “genre” still functional? If so, then there is a need to look at genre through the mediation of a technological form. Introduction of the concept of “meta-horror”, or “database horror”, might be necessary. “Zombie cinema” is interpreted on the one hand as trauma of extermination by Žižek, and on the other — as the only contemporary myth by Deleuze and Guattari. Yet, in reality, it is a retreat from magic and the gothic genealogy of horror cinema; it is a turn towards the physiology of death, often reinforced by an index-like relationship with reality. In 1968, George Romero turned zombies into emblems of culture (Night of the Living Dead), so intensely marking their presence in transmedial narratives. At the same time, Cannibal Holocaust by Ruggero Deodato belongs to the category of found footage cinema within horror films, which later will be mediated by viral marketing (Blair Witch Project). Another genre formula — horror verité — mobilizes epistephilic lust, but the camera and the viewer, as its extension, is attacked and threatened (Paranormal Activity, Rec, Cloverfield). Volatility and the flickering nature of genre formulas submerged in a dynamic transmedial cultural space is connected by an always affective communication mode. While locating types of contemporary horror films between the spheres of media reality and real reality, we might reconstruct the meanings of these narratives.

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1 Literatura i Kultura Popularna

1 Problemy Profesjologii

1 Nieracka A.

1 Perzycka E.

1 2018

1 2014

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ZAUFANIE DO CYFROWYCH MEDIÓW JAKO FUNDAMENT W PRACY E-NAUCZYCIELA

Zombiczna transmedialność i złośliwy demon obrazów