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1
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Fanowskie praktyki autorskie. Rewolucja autorstwa zbiorowego

100%
Kobus A.
Artes Humanae
|
2018
|
vol. 3
EN
The present article analyses contemporary approaches to authorship in fandom studies, focusing on authorship in the context of fanworks. It recognises the collaborative and intertextual dimension of fan authorship, which may be perceived as an alternative to the dominant commercial model of authorship, depicted as the work performed by a lone creator, labouring to create a unique text. Consequently, this model undermines the dominant position of thus construed notion of authorship. In addition, such an approach reveals the subversive potential of fanworks as enabling a re-formulation of post-Romantic notion of authorship (and thus potentially leads to a re-interpretation of the resultant expansiveness of intellectual copyright).
PL
Artykuł analizuje dotychczasowe ujęcia autorstwa w badaniach nad fandomem. Następnie skupia się na autorstwie w ramach twórczości fanowskiej. Rozpoznaje tutaj zbiorowy i intertekstualny wymiar fanowskiego autorstwa, który uznać można za model alternatywny wobec dominującego rynkowego określania autorstwa jako samotnej praktyki prowadzącej do powstania unikatowego tekstu. W efekcie podważona zostaje dominująca pozycja tak ustrukturowanego autorstwa. Ujawniony zostaje także subwersywny potencjał fanowskich praktyk twórczych jako umożliwiających przeformułowanie postromantycznego autorstwa i opartego na nim ekspansywnego prawa autorskiego.
2
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Ewaluacja fantropologii. O raczkującej samoświadomości dyscypliny [Fan Culture: Theory/Practice, ed. K. Larsen, L. Zubernis, Newcastle upon Tyne 2012, ss. 252]

100%
Kobus A.
Literatura Ludowa
|
2016
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issue 3
3
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Rola i funkcjonowanie analizatorni. Żmudna praca internetowego redaktora

100%
Kobus A.
Barbarzyńca. Pismo Antropologiczne
|
2017
8-35
EN
The article discusses the issue of fan “sporking” as a phenomenon existing on the border of fanfiction, review and online hating. It focuses on the institutional dimension of Polish sporking websites and their input into the online circulation of Polish language fanfiction, exploring, in particular, the entertainment qualities of fan sporking, whose sources can be traced to a controlled use of elements of online hating. The reflections on the popularity of Polish sporking websites are then applied to online reception of criticism, as well as functioning of criticism within popular culture, where it has been transformed into another form of entertainment.
4
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Oceniam innych po tym, jak myją ręce. Mechanizmy przystosowawcze oraz doświadczenie pandemii, społecznego dystansu i izolacji w podcaście Our Plague Year (2020) Josepha Finka

100%
Kobus A.
Dyskurs & Dialog
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2020
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vol. II
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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.
5
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I Am in Eskew: Soundscape, Cityscape and Mindscape of Hostile Architecture

100%
Kobus A.
Literatura Ludowa
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2022
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vol. 66
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issue 2
45-63
EN
Am in Eskew is the epitome of an independent podcast, written, produced and performed by two people – Jon Ware and Muna Hussen. It tells the story of David Ward (Jon Ware), a man trapped in the city of Eskew, where nightmares become real. The story offers manifold answers and interpretations, depending which genre and mode of reception we choose to follow. On a literal level it is a fantasy horror story about a cursed city that tortures its entrapped residents by creating cityscapes full of monsters, spatial and body horror (Eskew as a landscape); on a metaphorical level I Am in Eskew is a representation of mental illness and mental disorders (Eskew as a mindscape). The present article discusses the use of medium in I Am in Eskew and the capabilities of podcasts in creating an immersive horror story (Eskew as a soundscape) as well as possible interpretations of the podcast, focusing on the concept of hostile architecture as an expression of the late capitalist inclination to dehumanize various aspects of human life (space, relationships etc.). The article discusses hostile architecture as a form of narration and narration as a form of hostile architecture through the lense of Derridian hauntology.
6
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Introduction: Podcasting as the Marker of Cultural Shift in Media

100%
Kobus A.
Literatura Ludowa
|
2022
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vol. 66
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issue 2
7-9
7
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Fan jako marka. O użyteczności fana dla przemysłu kulturowego

100%
Kobus A.
Literatura Ludowa
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2021
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vol. 65
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issue 2
133-137
8
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„Mroczne strony” fandomu i „mroczne fandomy”. Przełamywanie wewnętrznych tabu fantropologii

100%
Kobus A.
Literatura Ludowa
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2021
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vol. 65
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issue 2
7-13
9
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Jak nawiedzają lesbijki. Homo-spektralność, tożsamość i trauma w niezależnych podcastach Midnight Radio (2018) i Weaver (2021)

100%
Kobus A.
Przegląd Kulturoznawczy
|
2024
|
issue 1 (59) Pop queer / queer pop. Taktyki, subwersje, narracje
77-98
EN
The article presents the spectralisation of lesbian desire, i.e., the discursive production of the social invisibility of lesbians, through its presentation in two podcasts: Midnight Radio (2018) by Bobbie Parker and Weaver (2021) written and performed by Newton Sweeney. The issue of spectralisation combines uncanny studies with queer theory, developing the concept of the queer subject as a phantom emerging in heteronormative culture through the social repression of queerness (the process known as homo-spectrality). In this context, the podcast format is particularly interesting as a derivative of radio, a medium historically predisposed to telling ghost stories (or conveying the voice of a ghost). The analyzed titles illustrate the social mechanism of spectralisation and offer a significant reinterpretation, as they base the production of the spectre not on the psychological mechanism of repression but on the desire for preservation, maintenance, and love.
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