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Tematy i Konteksty
|
2022
|
vol. 17
|
issue 12
214-227
EN
The article studies in detail two examples of the so-called 'true-crime podcasts', following the genological analysis scheme introduced by Maria Wojtak in Introduction to genology. It addresses not only their textual aspect, but also the audial part. In a broader perspective, this work attempts a systematic investigation of the 'podcast' in the genological context (as a relatively new and still dynamically evolving notion, it lacks a genre template) and its correlations within the mediasphere.
PL
Artykuł przedstawia analizę genologiczną dwóch wybranych podcastów kryminalnych o tematyce true-crime z wykorzystaniem narzędzi badawczych zaproponowanych przez Marię Wojtak (Wprowadzenie do genologii, Lublin 2019). Przedmiotem analizy jest nie tylko część tekstualna podcastu, ale również jego aspekt audialny. Autorka konkretyzuje terminologię dotyczącą podcastu oraz zarysowuje szerszą perspektywę do zbadania podcastu w kontekście genologicznym (jako pojęcia nowego i wciąż dynamicznie ewoluującego, pozbawionego wzorca gatunkowego) i jego korelacji w sferze medialnej.
EN
American culture is rich in “popular” murder cases and virtually all serial killers have been elevated to a celebrity status. Serial killer industry selling murderabilia is booming, and the popularity of true-crime shows, podcasts, and books is at an all-time high. This paper aims at the analysis of the cultural trend of serial killer celebrities, treatment of the media coverage surrounding their victims as well as the victims’ bodies before and after death, and the overarching narratives concerning murder in American history and culture. Serial killers – celebrities, monsters, anti-heroes of American culture – fuel their own industry, established in postmodern times as the self-referential nightmare of commodified death. Both serial murderers and their victims are the object of said industry. However, the bodies of victims are objectified threefold: as the victims of the crime, as elements of the murder industry, and as the evidence of the crime itself. Additionally, the socioeconomic background of some of the victims, often referred to as the “less-dead” victims according to Steven Egger’s theory, reinforces the narrative in which they are merely objects of the crime, not individuals. Together, all these factors constitute what Mark Seltzer calls “wound culture,” a culture gathered around the bodily trauma. Thus, the paper will consider the role serial killer victims’ bodies have on the cultural perception of narratives surrounding death, violence, and the cult of the perpetrator.
EN
The emergence of podcasts in an English foreign language (EFL) setting is seen as a helpful aid to foreign language learning. Using podcasts might help improve language learning efficiency. This research addresses how podcasts can be an alternative means of improving English listening comprehension for university students. The study was carried out at Nizhyn Gogol State University, Ukraine, using quantitative and qualitative methods of analyzing data. To collect the data, research tools such as a questionnaire, initial and final testing, and observation were used. The procedure was introduced for a group of first-year students and implemented for six weeks. Special BBC Learning English podcast activities were designed and offered to the students. The main stages have been specified in the process of developing students’ listening skills. In the pre-listening stage, students do preparation activities to prepare for the podcast using their background knowledge. The while-listening stage is aimed at listening for gist, listening for details, making inferences, and summarizing. In the post-listening stage, the listeners are taken beyond the podcast content and set tasks which contribute to integrating other language skills. Samples of activities which correspond to these three stages are provided. A balanced approach to choosing top-down or bottom-up processing within the stages improves the process of forming competencies in listening of first-year students. Hence, based on the positive results of this study, BBC Learning English podcasts with meaningful, appropriate, and interesting activities attract the students’ attention, increase their motivation, and improve their listening comprehension.
EN
For the past decade or so, internet radio, podcasts, mobile sound apps, and digital libraries of audio content have enjoyed increasing popularity among researchers and receivers of culture. Radio, similarly to other traditional media, often experiments with the opportunities offered by the new media technologies enabling the emergence of new communicational practices. As a starting point, I consider the contemporary audiosphere, which constitutes the auditory part of the audio-visual culture, and the influence of technological changes on radio communications, artists, and receivers. I attempt to answer the question, what happens at genre fringes? What are the characteristic features of the emerging forms? How, when one is faced with new technology, the multimedia world, and virtual reality, can one reach a reflection on the fiction and non-fiction genres on the radio? The expansive character of new technologies is often the source of inspiration for that which is traditional, thus renewing the object of its study. The inclusion of new phenomena within the widely understood auditoriness has a rescuing nature for traditional forms, and, at the same time, offers new opportunities for creators, and thus an area of research for literary scientists, media scientists and literary critics.
Dyskurs & Dialog
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2020
|
vol. II
|
issue 4 (6)
55-77
EN
The aim of the article is to present the reception and personal experience of the pandemic in the creators of the podcast Our Plague Year, as well as in its audience. Numerous statements collected from March to August 2020 make it possible to follow the emotional reactions of the community created around the podcast to the changing social reality during the pandemic in, so to say, real time. The recurring themes and motifs are considered as topoi of the plague, and the production of the podcast as such is presented as an adaptive mechanism. In turn, the result of the podcast is the creation of a melancholy subject of the pandemic, defined by the loss of the sense of normalcy.
PL
Artykuł ma na celu przedstawienie odbioru i osobistego doświadczenia pandemii przez twórców i odbiorców podcastu Our Plague Year. Liczne wypowiedzi zebrane od marca do sierpnia 2020 roku pozwalają na bieżąco śledzić emocjonalne reakcje społeczności wytworzonej wokół podcastu na zmieniającą się rzeczywistość społeczną w okresie pandemii. Powracające tematy i motywu zostają ujęte jako toposy plagi, a sama produkcja podcastu przedstawiona jako mechanizm przystosowawczy. Efektem podcastu jest z kolei wytworzenie melancholijnego podmiotu pandemii, zdefiniowanego przez utratę poczucia normalności.
EN
The article reveals the introduction of podcasts in English teacher training as a part and necessity of modern technocratic society. In regard of new technical and computer approaches to learning and mastering the English language methodology and technical side of the question are described. The paper also analyzes the benefits of using online audio files: free access, a variety of available topics, a stimulating effect, an expert opinion and exchange, options to change/modify or create any educational material, the possibilities of individual and group work. The basic principles, guidelines and stages of introducing and organizing the students’ work with audio material are characterized. Podcasts are regarded as a free source of knowledge and as a self-made product which the students and their instructor can create and post online at the same time. Such material can be used both in class and in extra curriculum activity. Before starting work with an episode the students should be thoroughly taught the basic principles of applying podcasts and special software (iTunes, Audacity etc). As soon as the students are adjusted they can be offered a number of tasks that stimulate creativity, cognition, partnership. Firstly they use ready-made files from the web learning or mastering phonological, lexical or grammatical items in a definite situation – context. At the second stage they can be involved into a communicative game based on the example of the audio. Only then the learners can develop their own episodes revealing the aspects of the topic they are interested in. (The article illustrates a few tasks which correspond to different levels of work with podcasts). At this stage co-editing is extremely important. It means that the instructor and the group mates turn to be one productive team. Mutual support and cooperation guarantee students’ outstanding achievements. More over the materials can be posted online and listened to by native speakers or an expert from a definite sphere. So the students’ work can be objectively evaluated via feedback. This very fact can urge the class to be more responsible while preparing the material. Thus academic work with authentic audio files meets modern requirements to English teacher training. It greatly contributes to the development of professional linguistic skills and competence.
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