Full-text resources of CEJSH and other databases are now available in the new Library of Science.
Visit https://bibliotekanauki.pl

Refine search results

Journals help
Authors help
Years help

Results found: 46

first rewind previous Page / 3 next fast forward last

Search results

Search:
in the keywords:  media studies
help Sort By:

help Limit search:
first rewind previous Page / 3 next fast forward last
EN
Digital libraries provide an easy and convenient source of data for journalistic academic research. In this paper, the author answers the question of whether the most well-known socio-political Polish press titles published between 1918 and 1939 are available online and to what extent they are fully digitised and accessible in digital libraries. Through media content analysis and the press content analysis methods of Walery Pisarek, all the digital resources available for an ordinary Internet user were browsed. The main role of the analysis was to establish which journals and periodicals were published weekly and as daily newspapers. Also, the nature and political leanings of press publications were taken into consideration (each press title was usually associated with a particular party). At the same time, the texts were profiled as regional, national, Catholic, etc. Finally, an attempt to develop a typology of the given titles is made.
Zeszyty Prasoznawcze
|
2013
|
vol. 56
|
issue 1
170-179
EN
This article discusses the works of Professor Tomasz Goban-Klas seen from the perspective of a young researcher of the new media. First of all, the texts from this area were analyzed. Four main topics of the new media appearing in Professor´s publications were singled out and described: the new media as a part of the history of media, the new media in terms of technology, the new media and society, intertextual references and philosophy of the new media. The summary contains the conclusions that come from the analysis of Professor´s works for young scholars of media.
EN
Digital libraries provide an easy and convenient source of data for journalistic academic research. In this paper, the author answers the question of whether the most well-known socio-political Polish press titles published between 1918 and 1939 are available online and to what extent they are fully digitised and accessible in digital libraries. Through media content analysis and the press content analysis methods of Walery Pisarek, all the digital resources available for an ordinary Internet user were browsed. The main role of the analysis was to establish which journals and periodicals were published weekly and as daily newspapers. Also, the nature and political leanings of press publications were taken into consideration (each press title was usually associated with a particular party). At the same time, the texts were profiled as regional, national, Catholic, etc. ­Finally, an attempt to develop a typology of the given titles is made.
EN
The article presents the image of Warmia and Masurian which was created in Saint Petersburg’s weekly “Kraj”. The chronological frames are related to the events from the foundation of “Kraj” to its closure(1882–1909).
EN
The article presents the possibilities provided by applying media studies (media monitoring) in political studies. The author showcases theoretical connections between the impact of mass media and the phenomenon of political extremism. It also presents a case study – a research project carried out in Liechtenstein regarding the monitoring of political extremism. The article contains recommendations for the possible implementa-tion of the project in other countries. The research methods appliedwere limited to the analysis of literature in the field of political extremism and the methods of media studies. The desk research method was also used for the case study.
PL
Artykuł dotyczy udziału filmoznawców w badaniach mieszczących się w medioznawstwie kulturowym (medialnym kulturoznawstwie) rozumianym jako dynamicznie rozwijająca się wiedza o teoriach i praktykach audiowizualności. Autorka zastanawia się, dlaczego tak trudno przekonać medioznawców opcji społecznej do lektury, poparcia i popularyzacji cennych publikacji o mediach autorstwa filmoznawców i w ogóle badaczy o orientacji kulturoznawczej. Polscy komunikolodzy reprezentujący nauki społeczne, zajmując się mediami audiowizualnymi, skupiają się na analizowaniu funkcji i zawartości tych przekazów w różnych konfiguracjach, pomijając aspekt kulturowy. To humaniści – a szczególny wkład mają tu filmoznawcy – opracowali dzieje audiowizualności, piszą teorię oraz upowszechniają na polskim gruncie myśl zachodnioeuropejską i światową. A jednak ich wysiłku i spektakularnych osiągnięć jak dotąd nie docenili medioznawcy z obszaru nauk społecznych. W programach kształcenia ludzi mediów (na kierunkach dziennikarskich i pokrewnych) historia i teoria kultury audiowizualnej, choć cieszy się coraz większym zainteresowaniem studentów, wciąż zajmuje miejsce marginalne, dalekie za dziejami printmediów.
EN
The article deals with the participation of film studies experts in cultural media studies research, understood as a dynamically developing discipline dealing with theories and practices of audiovisual media. The author ponders why is it so difficult to convince social scientists among media studies researchers to read, promote and popularise valuable publications about media by film studies experts and cultural studies specialists. Polish media studies experts representing social sciences dealing with the audiovisual, focus on analysing the function and content of media transmissions, while ignoring their cultural dimension. It is the representatives of the humanities, and especially film studies experts, that developed the history of the audiovisual, create theories and popularise Western thought in Poland. However their work goes unappreciated by their media studies colleagues from the social sciences. Within media studies study programs history and theory of audiovisual culture is increasingly popular among students, yet highly marginal in relation the history of the printed media.
|
2015
|
vol. 64
|
issue 1(253)
48-61
EN
Postmodernity, theatre and the media of the 1960s and 1970s underwent a process of intense shaping of their mission and self-awareness, although in each case it expressed itself different-ly. Postmodernity emerged as a philosophical, historiosophical and social project. The theatre perceived itself in the whole richness of its potential: as an agent of social change, a sacred institution, a tool of research (in anthropology, for example), etc. The media acquired a new dimension, i.e., their participation in general cultural and social processes, which up to that point had not been so obvious. Comparison of these three areas requires a proper ground, which can be afforded by a kind of discourse that does not decide facts, but – to put it in a slightly oversimplified way – is only based on ways of discussing them; at this level, problems (of ontological compatibility, for example) cease to be an issue. Such discourse has emerged within the framework of post-modernism and deals with two most significant themes: the social conditions (figuratively: power) and epistemology (knowledge). Both of these themes pick out the circumstances in which the media and theatre have been developing; for the theatre, knowledge appears initially as its foremost ambition, but it soon gives way to power and becomes trivial, which I describe ironically by referring to Jame-son as a paradoxical commentator of Lehmann. The latter rather inadvertently agreed with Jameson in his materialistic interpretation of art (there is more of such muddling “parallels”, but that only makes the riddle more interesting) describing how the theatre took on the role of an active participant in world processes. Such participation, however, was tantamount to rejec-tion of refined reflexion possible in theatre. (Theatre showed this refinement and, concurrent-ly, omnipotence upon the emergence of postmodernity). Due to its activism, the theatre has moved onto the field of social issues and, what is worse, entangled itself in the trivial reality of materialistic existence. The media, on the other hand, have opposite status. Awakening in the 1960s and 1970s as participants of varied social and cultural processes, they have gradually become a reason for, an instrument of, and a place for increasingly generalised reflexion that reaches the level of epistemology, i.e., it methodically poses questions about the modes and ways of speaking about the world, and by doing so gains novel insights into key areas of epistemologi-cal discourse tackled from various theoretical perspectives. Postmodernism or its effects play an important part in this process. In a way, theatre and the media have switched their places in the historical process of consuming the postmodern legacy; as a result, they approach post-modern themes from different angles and to different effect.
PL
Celeberrimae urbes – celebres praedicatores. Mendicant friars as a medium of the medieval city. This article deals with media studies and discusses a problem thoroughly examined by historians of the Medieval period concerning the expansion of mendicant orders and their ministry work in the flourishing European cities of the 13th century. The research perspective – which differs from a strictly historical and theological point of view – emphasizes the impact of mendicant orders on communication in the rapidly changing social conditions of the era. Therefore, it allows one to interpret confrontations with wandering heretical preachers in the 12th century not only as a religious conflict, but also a confrontation with a certain way of distributing ideas that contested the existing state of affairs. It also makes it possible to expose the enduring features of the media role of the preacher, which determined his popularity until the Reformation.  
EN
The paper focuses on the reception of Derrida’s Archive Fever among (new) media theorists and its relevance for the ongoing discussions in that academic field. Although this Derrida’s text is often described as the one in which he provides a statement on the pervasive revolutionary impact of new media, its reception among media theorists remains scarce. Several media scholars that tackle the text, however, have an ambivalent stance on it: they appreciate some of Derrida’s theses, but regard them largely obsolete. The first part of the paper analyzes these critiques and argues that many of the objections on Derrida’s behalf are caused by the misinterpretation of important features of the deconstructive thought. In its second part, the paper firstly deals with certain weaker points of Derrida’s reflection and then proceeds to examine his insights pertinent to the problems of contemporary media theory that were neglected in earlier reception. Finally, paper reaffirms the claim about the need for a more profound exchange between the deconstruction and media studies, albeit one that would avoid the examined shortcomings.
EN
  In this essay I intend to tell a story of media studies and mass communication research as a field, based on the work of the late Denis McQuail – and that of editing the new edition of his seminal handbook McQuail’s Media and Mass Communication Theory (McQuail & Deuze, 2020). Using McQuail’s historical storytelling method, I specifically look at the challenge for the field in the context of a global pandemic alongside an infodemic, at a time when the whole world faces the consequences of recurrent lockdowns, social distancing measures, and institutional pressures to stay at home. Media studies and (mass) communication research, while having a distinct narrative, as a field has only just begun to articulate its relevance to society – we have only just started to tell our story. Using developments in understanding the self as a research tool, the implementation of integrative research designs, and calls for engaged and public scholarship, the paper outlines challenges and opportunities for what we can do with our field.
EN
In order to build a better understanding of what sexuality meant in interwar Estonia and how it was expressed, this article focuses on representations of sexual and gender minorities in the Estonian printed media of the 1920s–1930s. On the one hand, seldom if ever, I found immediate voices of the marginalised people in focus, while on the other hand, many of the terms to describe sexual diversity were in the process of being articulated or had not been defined by that time. This lack of definitions, however, creates an epistemological gap between the present day and the interwar period, which I am aiming to reduce with this article. Hence, in order to demonstrate the development of sexuality-related terminology through time, I start with a brief survey of Estonian LGBTQI+ historiography. Next, I map the journalistic and scientific articles on sex and gender minorities in interwar Estonia. Finally, I present a case study of a so-called male-woman A. Oinatski, who was the most frequently and diversely portrayed queer person in Estonia during the interwar era. To systematize and differentiate the found fragmented sources, I apply feminist theorist Karen Barad’s model of agential realism, which helps to notice nuanced relationships between various examples of discourse around sexual minorities during the interwar era. Finally, I look at how the eugenics movement influenced the depictions and concepts of sex and gender in the public discussions held in interwar Estonia.
EN
The aim of the article is to present the relationship between cyberpsychology and media studies in the perspective of common research fields, main concepts and paradigms as well as analysis methods of selected phenomena related to the media sphere and cyberculture. Cyberpsychology is described in the article as a transdiscipline in the context of (new) media studies and media cultural studies. It has been also presented as a sub-discipline of media psychology and communication. Cyberpsychology represents “media-user based approaches”, because research on main types of media is conducted in relation to their impact on human behaviour. The features of new media, the transition to the interactive network media paradigm and immersive technological environments in the 1980s and 1990s require the use of psychological methods by media experts. Cyberpsychologists, on the other hand, are obliged to use media-based approaches in their research. Within the framework of cyberpsychology focused on the study of digital media user, the mainstream of theoretical and applied research has been distinguished. Its links with other sub-disciplines of psychology and the relevant direction of contemporary research on digital media and cyberculture 3.0 have been indicated.
EN
The author presents the proceedings used by the linguists involved in the media research highlights dominant approaches, distinguishes two hypothetical ones: hegemonic and sovereign, and discusses challenges related to both of them. Hegemonic approach in the media research means the a distinctly defined subject of the study, that is the language of the media, precisely defined subject of analysis, namely the language of the media, and a supremacy of linguistic methods used in the analysis. The linguist as a sovereign prefers an open attitude towards methods applied in the study. Such an approach considers achievements of the media scholarshop as well as other related scientific disciplines. This attitude in the media research means that the linguist analyzes an image of the world in the media, a stylistic differentiation of the media communication, media genres, and the discourse. Furthermore, the linguist as a sovereign claims creating a new linguistic discipline and widens the research field with contrastive issues.
19
75%
Stylistyka
|
2014
|
vol. 23
163-178
EN
Depicting the feasible actions of a linguist interested in media research, the autlior presents two dominant research approaches and the problems relaled therewilh. She hypothetically distinguishes the role of a linguist - hegemonie leader and the role of a linguist - sovereign.The hegemonie approach means a clearly specified research subject, i.e. the media language, a precisely specified scope of analyses and the supremacy of research methods deriving from linguistics.The linguist - sovereign prefers an open approach, considering the appropriately selected achievements of media studies and related disciplines in his/her analyses and interpretations. He/she characterizes irt his/her own manner the media vision of the world, the stylistic diversification of media messages, media genres, placing the selected issues in a discourse perspective. The dynamics of research shaped in such manner has resulled in proclaiming a new sub-discipline within linguistics referred to as media linguistics.
EN
The paper analyses the character of classical receptions and the proposed methodology of its analysys within the context of the new media. An example of a popular Polish website Filmweb, devoted to cinema, is used to present the case postulating new interdisciplinary methodology, necessary for the research on the receptions of antiquity in the new media.
first rewind previous Page / 3 next fast forward last
JavaScript is turned off in your web browser. Turn it on to take full advantage of this site, then refresh the page.