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EN
Computational and interactive technologies are ubiquitous and play an increasingly important role in our daily lives. From the oral language to the written word and printing, we have been building and expanding our capacity to provide information and present it through fictional or non-fictional narratives, allowing newfangled models through which we learn and interpret the world. As new representations transformed these new digital environments, through procedural, encyclopedic, spatial, and participative affordances, narratives have also changed and afforded a set of different scenarios, where users are given the possibility to experience and understand the same system by exploring different paths. Interactive digital narratives are open and complex works that cross different approaches, research fields, and emerging technologies, but are always shaped by interaction, from creation to reception. They also explore social, cultural, ideological, and aesthetic elements, where it is significant to comprehend how these computational formats can help us to allow new positions and points of view, modeling how we construct meaning, examining the relationship between user and technology and how human beings perceive the world. Analyzing the aesthetic qualities of the Netflix production Bandersnatch through immersion, agency, and transformation, and combining these with an analytical framework that studies the dimensions of user experience, we develop a close reading, that analyzes the development of aesthetic relations and its transformational potential in interactive digital narratives.
Society Register
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2019
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vol. 3
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issue 1
137-162
EN
AbstractThe use of video recordings for the production of knowledge has spread all over society. This paper presents an empirical study of the processes of interpretation of audio-visual recordings. It draws on an example in the context of police work and on the other side investigation of recordings of police violence. With a theoretical background in communicative constructivism special attention is given to situated bodily forms of “making things visible” performed by the participants. Interpretation is not understood as an pure cognitive but rather an communicative process. I elaborate on that by presenting results of (reflexive) videography of practices of video-interpretation. However, the specifics of the work are not only brought upon situatively, but are embedded in an institutional and organizational context. This paper draws on the concept of work arcs, that allow to highlight the trans-situative linkage.
Open Theology
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2014
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vol. 1
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issue 1
EN
The paper analyzes Karl Popper’s and John Eccles’ account of mind-matter interaction and compares their use of the concept of downward causation with other more recent accounts of it, especially those of Nancey Murphy and George Ellis. The argument includes John Polkinghorne’s take on Divine action, as it provides an interesting version of downward mind/matter-interaction. It will be argued that while downward causation is a speculative concept, it nevertheless remains the best approximation to a scientific perspective on mind/matter interaction that we can obtain. As a result, Popper’s and Eccles’ account seems to be more interesting in these regards than usually assumed, and should not continue to be overlooked in the debate.
PL
The following article presents a study on interaction in a Content and Language Integrated Learning classroom. Starting with a brief description of van Lier’s interaction framework,and a general overview of the qualitative studies, the article focuses particularly on the description and analysis of various types of interaction as well as their functions observed in a CLIL classroom
EN
The article introduces spiritual direction in relation to the mystery of the Trinity. Based on the existing terminology (direction, fatherhood and support), it distinguishes three basic dimensions of spiritual direction, defined according to their relation to the three divine Persons. It concerns the charisma of direction, discernment and fatherhood, which enables the Holy Spirit to work via spiritual director on the guided in order to become the follower of Jesus Christ in a more radical way, to resemble Christ and to be united with him. The relation with the persons of God determines also the requirements to the guided person (modesty, trust and good judgement) and to the director (knowledge, experience and prudence). This theological concept is complemented with anthropological observations: the author offers his own model for spiritual direction (with the personal and temporal structure of human being, the instances of censor and mirror and the dynamics of thoughts and Word), suggests the interaction between the guide and the guided and criticises the itineraries of spiritual development.
EN
This paper describes our experience of introducing a structured format for students requesting formative feedback on draft work. Initially the aims were to encourage the development of selfassessment skills in distance-learning students and to develop the dialogue between student and tutor. In 2013 we considered the benefits of this initiative could be applied to campus based students with a similar profile. The experiences of staff involved in this process were collated and the advantages and challenges recorded. Our experience confirms this process results in high quality, specific and consistent feedback which can impact on students’ success in summative assessment. The development of trust in the process results in useful dialogue and increased self-esteem as students gain confidence in their critical-thinking skills. An unexpected benefit shows students utilise the process to express anxieties about, not only their studies, but personal and work challenges, thereby enabling us to provide additional support. The most challenging aspect for tutors is the time required to provide feedback in this format. This process highlights distinct benefits for students and in our view these outweigh the issue of tutor time, but resources need to be addressed before it can be used effectively for larger cohorts.
EN
The Arabian Nights were passed orally for long eras, long before they were written down; the collective sense, through several anonymous narrators, developed them: changing, modifying, omitting and adding to this oral discourse. All for the purpose of entertaining the public according the spirit of the age and the socio-cultural contexts, afterwards, it was recorded in different versions, as diverse as their sources, up until the landmark version, namely the one printed in Bulak, Egypt in 1835.The West is to be commended on paying attention to the significance of The Arabian Nights, academically and creatively, before its original-home, especially since it was later translated to many languages. After French orientalist Antoine Galland (1646 - 1715) translated into French between 1704 and 1713 a third of the manuscript he had brought from the Orient.This study delves into “The Impact of The Arabian Nights on Modern Egyptian Narration”. The researcher tries to point out how Egyptian writers were inspired by the classic text by examining Naguib Mahfouz's Arabian Nights and Days (Layālī alf laylah) as a case study. An analytic, text-based approach was used to detect the intertextual interaction between the classic and the modern, and to explore how classical elements and connotations were employed within the modern text.
PL
The article deals with the problems of teaching and learning speaking, in particular those which are most relevant in the context of developing oral skills at the advanced level of foreign language proficiency. The complex nature of spoken discourse must be taken into account and reflected at each stage of the learning process. Thus, the article examines the difficulties connected with choosing the appropriate framework and approach and discusses the typical patterns of interaction in the foreign language classroom. It also examines forms of control and evaluation and suggests some speaking activities which seem most suitable for advanced language learners in the light of the above theoretical considerations.
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2020
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vol. 16
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issue 4
164-179
EN
The article aims at presenting the symbolic interactionism as a useful and flexible theoretical perspective in research on the human body. It shows the assumptions of symbolic interactionism in their relation to the human body, as well as explains how basic notions of this theoretical perspective are embodied-the self, social role, identity, acting, interacting. I depict the unobvious presence of the body in the classical works of George H. Mead, Anselm Strauss, Howard Becker, Erving Goffman, and in more recent ones, such as Bryan Turner, Ken Plummer, and Loïc Wacquant. I also describe the Polish contribution to the field, including research on disability, hand transplant, the identity of a disabled person, together with the influence of sport, prostitution as work, yoga, climbing, relationships between animals and humans based on gestures and bodily conduct, the socialization of young actors and actresses, non-heteronormative motherhood, and the socialization of children in sport and dance. In a case study based on the research on ballroom dancers, I show how to relate the theoretical requirements of symbolic interactionism with real human “flesh and bones.” I depict three ways of perceiving own bodies by dancers: a material, a tool, a partner; and, two processes their bodies are subjected to: sharpening and polishing a tool. I draw the link between the processual character of the body, of the symbolic interactionist theoretical perspective, and process-focused grounded theory methodology.
EN
The authors of this text present the philosophical basis in which the relationship of communication and integration is seen in a new context. It deals with the tight involvement of language acquisition in the formation of social identity. Both are examined in the process of the development of pragmatic competence as the fundamental component of communicative competence. The alternative stance offered by the authors underlines and explains the major tendencies of foreign language teaching – to distance themselves from narrowly linguistic approach and to aim at communications thoroughly. At the end of the text, the authors introduce a hint of a possible research design that grasps the relationship between pragmatic competence and social identity.
EN
This study aims to examine the interaction effect of country of manufacture and brand awareness, packaging and price impact on the purchase intention of toothpaste among young adults in Malaysia. As previous studies show, the country of origin should not be taken as a single clue, as it exaggerates the country of origin effect. This study evaluates the effect of the country of origin effect on the low-involvement good (toothpaste). The Cue Utilization Theory was used to explain how the consumer uses product cues to rate a product before making a purchase decision. Study data are analysed using SmartPLS. The results of this study showed that all variables influence consumer purchase intention for toothpaste. IPMA analysis showed that the interaction effect of the country of manufacture and brand awareness are important factors.
PL
Celem niniejszego opracowania jest zbadanie wpływu interakcji pomiędzy krajem produkcji a świadomością marki, opakowaniem i ceną na intencję zakupu pasty do zębów wśród młodych dorosłych w Malezji. Jak pokazują wcześniejsze badania, kraj pochodzenia nie powinien być traktowany jako pojedyncza wskazówka, ponieważ wyolbrzymia on efekt kraju pochodzenia. Niniejsze badanie ocenia wpływ efektu kraju pochodzenia na dobro o niskim stopniu zaangażowania (pastę do zębów). Teoria Wykorzystania Wskazówek została wykorzystana do wyjaśnienia, w jaki sposób konsument wykorzystuje wskazówki dotyczące produktu do oceny produktu przed podjęciem decyzji o zakupie. Dane z badania analizowane są za pomocą programu SmartPLS. Wyniki badania wykazały, że wszystkie zmienne wpływają na intencję zakupu pasty do zębów przez konsumenta. Analiza IPMA wykazała, że efekt interakcji kraju produkcji i świadomości marki są istotnymi czynnikami.
PL
Poezja cybernetyczna jest nowym gatunkiem powstałym z połączenia literatury i cybernetyki. W wyniku integracji poezji z technologią wygenerowany zostaje obiekt tekstowo--wizualno-dźwiękowy, który atakuje odbiorcę różnorodnością elementów, wywołując poczucie dezorientacji czy szoku. Prawidłowy odbiór cyberpoezji uwarunkowany jest kontekstem, do którego dany utwór się odnosi. W niniejszym tekście omówiony jest kontekst ludyczny, podkreślający aspekt gry i zachodzącą interakcję między użytkownikiem a obiektem. Odwołując się do konkretnych utworów animacyjnych, wskażę, w jaki sposób odbywa się gra z cybertekstem, którego charakter ujawnia się wyłącznie poprzez aktywną działalność odbiorcy. Kontekst ludyczny zmusza użytkownika do interakcji, ponieważ tylko wtedy odsłania się cybernetyczny aspekt poezji, a mianowicie sterowanie tekstem i generowanie znaczeń.
EN
Cyber poetry is the exemplification of an art genre whose existence is due to the fusion of literature and cybernetics. Where poetry meets with technology, images, sounds and words merge into a single work of art whose three constituents assail the consumer in a literal typhoon of impulses that leave him stunned and baffled, as he is confronted with the essence of audiovisual culture. The adequate reception/absorption of cyber poetry is dependent on the respective essential conditions it refers to as a genuine work of art. The game is the most essential context in the interpretation of cyber poetry, as it emphasizes the aspects of a game and the interaction between consumer/user and the object. Referring to a selection of actual animated works of cyber art the author demonstrates how to operate with a cybertext, whose character discloses itself solely through usertext-interaction. The ludic character compels the user to interaction, only through the latter’s leading part the composition reveals its cybernetic aspect, which lies in the piloting of the text itself and the evocation of connotations and underlying sense.
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