Wyznaczniki tabloidyzacji popularnonaukowego dyskursu historycznego w kanale serwisu YouTube „Historia bez Cenzury”
The determinants of the tabloidisation of popular scientific historical discourse on the YouTube channel, “Historia bez Cenzury” [History without Censorship]

Summary/Abstract: Although many studies have been carried out regarding the tabloidisation of opinion forming media, it has not yet been examined whether the tabloidisation process applies to popular scientific discourse on historical topics on YouTube and, if so, which determinants of this process can be identified. This article pursues this objective by reviewing the content and style of the Historia bez Cenzury [History without Censorship] channel. The main analytical categories used were personalisation and sensationalism. The analysis of the content made it possible to see to what extent personalisation and sensationalism are present within the subject matter of, Historia bez Cenzury [History without Censorship], while the analysis of the style identified the stylistic determinants of the two identified mechanisms of tabloidisation. The results allow us to conclude that, in terms of the subject matter, the potential for personalisation and sensationalism is exploited equally on the channel. In terms of stylistic solutions, personalisation is achieved by depicting the privacy of historical figures using lexis typical of this human sphere. In addition, politics is portrayed through the prism of human relationships, which is served by saturating the text with names, surnames, and names of professions or positions. Simplifications are also applied (narrative, colloquialisms, dialogicality in the youtuber-viewer relationship). Sensationalism is mainly materialised at the level of content, whereas within the style, it is executed by means of an emotionally charged and highly evaluative lexis. Comparison of the determinants of tabloidisation with the characteristics of historical discourse on YouTube and with those of popular science discourse indicates mutual influences, evident at the level of content and style. The means specific to tabloidisation and atypical of the other discourses discussed emerge as the exposure of the privacy of historical figures and the dialogicality used in their description. The process of tabloidisation is thus evident in, Historia bez Cenzury [History without Censorship].

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