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Photographic image as a communicative resource in contemporary Russian drama

100%
Maliutina N.
Świat i Słowo
|
2020
|
vol. 34(1)
254-267
EN
The article analyses photographic discourse in contemporary Russian dramatic texts as a specific way of perceiving and constructing the reality, as a means of communication, and as a metalanguage. The conceptualization of photographic images in the dramatic text enabled the scrutiny of specific artistic ploys and photographic techniques applied. The article reveals the nature of correlation between the visual perception of a photograph incorporated in the dramatic text, the characters’ utterances and the author’s remarks. The photographic image fosters the rejection or the “appropriation” (recognition in oneself) of the Other by the characters. It also allows for the implementation of the communicative mechanisms used to create the hyperreality of the photo universum. The performative potential of the photographic discourse of the dramatic text materializes itself in such a hyperreality.
2

Authenticity, Reception and Media Reality

86%
Kosmály P.
Creative and Knowledge Society
|
2012
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vol. 2
|
issue 1
118-128
EN
This article deals with the reception of media reality, which is meant to be an alternative mode of consciousness, and with the phenomenon of authenticity and its understanding within media reality. It is also pointed out the distortion in the reception of media reality. As an unifying concept for media education and for the treatment of reception defects it is mentioned media anthropology - an interdisciplinary, respectively trans-disciplinary science, which can provide more consistent re-analyzing of the relationship between man and media as tools for improving his skills. From the methodological point of view the method of epistemological anarchism, Paul Feyerabend's "anything goes" is explained as an epistemological translation tool for developing reviewing competences and reception skills as a whole (organic reception). We propose to deal the distortion of media reception in different therapeutic ways: from sensory deprivation, through media substitution, organic reception, to transcendence of the observer and imitation of media - meta-creation. In the sense of organic, systemic reception we in fact propose to "copy" the communication strategy of media system(s) in order to extend or set appropriate "epistemic" competences. In the related illustration of this mechanism, the theory of A. Weinstock is applied for setting a research indifference point in the middle of a fictive reception continuum of polarities sympathy and antipathy with media. This paper represents a part of activities, which summarize author's dissertation thesis Reception instruction in the media reality, where there are presented not only analyses and attempted typology of reception instructions, but also case studies with specific proposals for teaching and researching within areas of media ethics and media education.
3
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Rzeczywistość medialna w przekładzie: między ekwiwalencją przekładową a strefą nieprzekładu

72%
Pstyga A.
Media Biznes Kultura
|
2017
|
issue 1(2)
109-118
EN
The interlingual and intercultural differences between the linguistic world images appear in the translation process of media texts. Media reality becomes an additional problem in this particular case, because during the translation process it is also transformed heavily. This is caused not only by the nature of equivalence-related problems, but also by the selection proces of the source material and by summarising the translated texts. As a result, parts of the original text are missing. The final, translated texts are aimed at another target audience, who reads them with a diverse attitude. They often present, following the process of selecting and structuring of information, a different (modified or deformed) textual media reality.
PL
Różnice międzyjęzykowe i kulturowe odmienności obrazów świata ujawniają się w przekładzie tekstów prasowych. W tym wypadku dodatkowym problemem staje się sama rzeczywistość medialna, która w tekście przełożonym z reguły ulega znaczącej transformacji. Fakt ten nie wynika wyłącznie z problemów ekwiwalencji przekładowej, ale w równym stopniu z selekcji materiału, dokonywanych skrótów przekładanych tekstów, a w konsekwencji pomijania fragmentów tekstów oryginału. Teksty przekładu, skierowane do innego odbiorcy, który czyta je już z innym nastawieniem, niejednokrotnie przedstawiają – jako rezultat doboru informacji i sposobu jej ustrukturyzowania – inną (zmodyfikowaną bądź zniekształconą) tekstową rzeczywistość medialną.
4
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Typology of Game Principles in Digital Games: A Case Study of Mafia III

51%
Bučková Z.
Acta Ludologica
|
2019
|
vol. 2
|
issue 1
42-54
EN
The presented study dwells on the issue of game theory by Roger Caillois to be applied to the contemporary dimension of digital games. The actual attempt is to find out the extent to which the game principle categories apply to media products, i.e. digital games. The paradigms by authors engaged in cultural anthropology, philosophy, psychology, and sociology, besides others, served as key theoretical groundwork for the present paper. Nevertheless, the theories concluded within media study addressing the game and game principles in contemporary society have not been excluded either. In essence, the theoretical reflection introduces the basic terminology axis creating an apt platform for the game variants in use, to perform within the forms of new reality, i. e. virtual reality. The primary aim is to define elementary concepts like “game”, “game principles”, “media or virtual space”, “digital game”, and “game genres”. Secondary is then to explicate certain game principles designated by Roger Caillois present in the particular game. Material to be applied for this study ranks among the genre of action games. “Action game” particularly is a digital genre that belongs to frequent genre types as well as RPG games, strategy and others. Drawing from this fact, one of the actual digital games called Mafia III was chosen for empirical study. The main purpose of the paper is through logical analysis to illustrate the issue of games, and subsequently point out the cases of their occurrence in the media space. Theoretical postulates by Roger Caillois are by author assumed to be potentially applicable to the current media reality of digital games that come under action genres.
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