Сторителлинг о "реальных преступлениях" в аудио-подкастах: способы взаимодействия авторов и аудитории
The article explores the realization of “true crime” genre in digital media. The object of this research is the podcast “My Favorite Murder” (USA, 2016–present day). The author aims to answer the question: what possibilities for interaction between the creators of “true crime” narratives and their audience do audio-podcasts offer? Henry Jenkins’s theory about “participatory culture” is crucial for this study. The independent status of the hosts of the podcast and their selfidentification as fans of “true crime” genre allows them to participate in circulation and production of popular culture and to create a virtual community.
Structures of social inequality and new forms of power inevitably arise inside the social space within the modern Internet despite the idea that Internet is a means of free communication based on the equality of users. The influence of traditional social inequality forms is absorbed and reduced within computer-mediated communication, so we suggest a hypothesis about emergence of radically new social resource. The paper presents the approach to study a virtual community as a social field (in terms of Bourdieu theory). The aim of this study is to measure and evaluate the contribution of different types of capital to unequal distribution of power within community. The author has developed the analytical matrix of social integration types provided by different web technologies, formulated the concept of communicative capital, operationalized different types of capital in cyberspace. Finally, the author presents the results of his empirical research showing and interpreting the distribution of different types of capital between two groups of users - moderators and ordinary users.
This article combines Media Studies' and Fan Studies' approaches to such phenomenon as global manga spread, highlighing the role of participatory cultures and fan communities in the distribution, translation and interpretation of manga in Russia. The first part of the article is dedicated to participatory cultures as a concept and cultural reality in Russia, to differences between such notions as "otaku" (manga and anime fans), fan practices, fan cultures and participatory cultures. The article stresses the productive transformative potential of participatory cultures as cultural agents, their ability to cross national and cultural borders on their own terms and to influence the development of global phenomena within local contexts, even when national cultural industries, including the mass market, are not capable for some reasons to fulfil this task properly. The second part of the article is dedicated to the international reception of a controversial manga and anime title "Made in Abyss". This case demonstrates the ability of participatory cultures to become a space for open discussions of problematic questions, for production of knowledge and thinking about Japan as well as about local cultures.
I welcome you to an event for exchanging experiences and expertise on the topic “Learning with stories in education and business”. I also welcome you to an afternoon which is hopefully going to be rich of new ideas and discussions. My personal aim for these four upcoming hours is rather simple: I wish that today at half past five pm, each of you can take away at least one thing from this conference, which is useful, new, inspiring but first of all meaningful to him or her. For a smooth start into this afternoon let me tell you ... a story. Of course, to start a storytelling conference not with a story is like going to a McDonald and ordering a diet coke ... there would be something missing. I invite you to come with me to Amsterdam, to the Prinsengracht 263 and to join me for a little time journey. I am pretty sure that many of you have already been to the Prinsengracht in Amsterdam, arriving in front of an old building, rather well kept and renewed, normally with a rather long queue in front of the entrance. Well, you stand in front of the Anne Frank house, the home of that little Jewish girl, who became a symbol for the suffering of a whole nation during the Second World War. Entering this house means entering history and it means becoming part of a life story which is symbolic for thousands of others in those days. There is for example this phone, in the middle of one of the rooms and by picking up the receiver you can hear Anne herself talking to you. She tells you about her life, captured as a prisoner for years in this house, always waiting in fear to be discovered and to be taken to a concentration camp. And while you keep on walking through each room of this house, you have the impression that you can still feel not only this fear but also the hopes and dreams of Anne and her family. Each room is somehow flooded by a special spirit until today. It is as if each room in this building would tell you its stories, sharing with you what it has felt and heard during all those years. And so you end up in the living room of the family Frank, observing some strange strokes on the wall; and at that moment when you realize that these strokes were made by Anne's father in order to record the growth of his two daughters, you really become part of this family, a family who was just looking for a little portion of daily life within the war. And finally, at the very end of your visit, you find yourself in that room where all big dreams of a little girl had their home; you can even touch the original postcards – Anne loved so much and which are still hanging on the wall above her desk. And everything in this room tells you the story about a little girl who just wanted to live, who wanted to become a famous author, a girl that was claiming not more than being allowed to get a piece of the world out there ... beyond the chestnut tree. Well, we all know that Anne's story is not a fairy tale, and unfortunately it doesn't have a happy end. Anne's family is betrayed in 1944, prisoned and finally taken to a concentration camp where Anne dies at the age of fifteen. And as a visitor, well you remain in front of the exit in front of this building with the strong impression that something has changed, that somehow you are no longer the person that entered this house twenty minutes ago. And in fact you see many people crying in front of the exit. I am convinced, that this is exactly what Anne's father meant when he said: "We have to know the past to build up the future". And I guess we all agree with Otto Frank. Stories are a fundamental key to learning and that is true throughout all ages, not only for kids. And the Anne Frank house is a great example, how learning with stories may work. For my part as I am working for a distance university I am convinced that stories should become more and more part of learning, part of education, especially also of higher education. Thereby I am facing every day the challenge how to facilitate the learning of our students by making use of new technologies. And that is in fact what brought us to the idea for this conference, as stories deserve to be part of every learning, from the cradle to old age. This e-book is freely accessible as conference proceedings and includes all conference contributions in written form, transcribed from the speakers’ oral presentations. (From: VIS 2013. Proceedings of the 1st online conference on virtual and digital storytelling. Ed. by Nicole Bittel, Marco Bettoni, Willi Bernard. http://seedlearn.org/wp-content/uploads/2014/08/140826_VIS-2013_proceedings_fin.pdf , Introduction)
This book examines shifts in the meaning of montage in different historical situations and in various artistic media, including literature, cinema, theater, and visual arts. Its scope includes literature and art of Soviet Russia (both official and unofficial), Germany, France, and the United States from 1910 to the 2010s. While this book does not provide a cohesive historical sketch, it delivers comparative studies on artists whose works problematize common understandings of the avant-garde in art history.
This study argues that different types of artistic montage correspond to different conceptions of history, dividing the history of montage aesthetics and techniques into three periods: (1) constructing, (2) post-utopian, and (3) historicizing or analytic montage. This book intends to demonstrate how the revolutionary montage aesthetics of the 1920s was reinterpreted and adapted for critical analysis of utopian consciousness in unofficial literature and art of the 1960s and 1970s. This change became possible because unofficial art, unlike Soviet socialist realism, was connected with the experiments of European and American radical modernism and postmodernism.
To date, Russian cosplay community has thousand members from all over the country, and the word "cosplay" is widely used in media. Despite its prominence, cosplay remains a fan practice or, using Henry Jenkins’ term, participatory practice. In participatory culture (or cultures) fans not only consume media content but actively interpret it and make their own. This article attempts to restore the history of Russian cosplay – its development and its perception. Using media publications from newspapers and magazines that are not directly related to mass culture, we gain a view from outside the community and analyze different context of the usage of the word "cosplay". In sum, we try to answer the question if russian cosplay community and cosplay itself are stigmatized as a part of participatory culture or not.
Authors present the results of cyberethographic research of touristic community “Forum Vinskogo”. Basing on previous experience of researchers, authors are working on detailed categorical instrument associated with the concept of virtual community — what is the virtual community today? How is it organized from within? The empirical part of the article is a thick analytical description of the virtual community “Forum Vinskogo.” Exposing findings of their study, authors estimate the possibility of virtual touristic community to be a form of modern market services.
The article considers the Views of L. N. Tolstoy not only as a representative, but also as a accomplisher of the Enlightenment. A comparison of his philosophy with the ideas of Spinoza and Diderot made it possible to clarify some aspects of the transition to the unique Tolstoy’s religious and philosophical doctrine. The comparison of General and specific features of the three philosophers was subjected to a special analysis. Special attention is paid to the way of thinking, the relation to science and the specifics of the worldview by Tolstoy and Diderot. An important aspect is researched the contradiction between the way of thinking and the way of life of the three philosophers.
Tolstoy's transition from rational perception of life to its religious and existential bases is shown. Tolstoy gradually moves away from the idea of a natural man to the idea of a man, who living the commandments of Christ. Starting from the educational worldview, Tolstoy ended by creation of religious and philosophical doctrine, which were relevant for the 20th century.
This important new book offers the first full-length interpretation of the thought of Martin Heidegger with respect to irony. In a radical reading of Heidegger's major works (from Being and Time through the ‘Rector's Address' and the ‘Letter on Humanism' to ‘The Origin of the Work of Art' and the Spiegel interview), Andrew Haas does not claim that Heidegger is simply being ironic. Rather he argues that Heidegger's writings make such an interpretation possible - perhaps even necessary.
Heidegger begins Being and Time with a quote from Plato, a thinker famous for his insistence upon Socratic irony. The Irony of Heidegger takes seriously the apparently curious decision to introduce the threat of irony even as philosophy begins in earnest to raise the question of the meaning of being. Through a detailed and thorough reading of Heidegger's major texts and the fundamental questions they raise, Haas reveals that one of the most important philosophers of the 20th century can be read with as much irony as earnestness. The Irony of Heidegger attempts to show that the essence of this irony lies in uncertainty, and that the entire project of onto-heno-chrono-phenomenology, therefore needs to be called into question.
The article is concerned with the notions of technology in essays of Ernst and Friedrich Georg Jünger. The special problem of the connection between technology and freedom is discussed in the broader context of the criticism of culture and technocracy discussion in the German intellectual history of the first half of the 20th century.