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The text is composed of four analyses, prepared as course assignments for the “Interactive story and combined storytelling” course, part of the “Digital media and videogames” Master’s program at FJMC. The object of the analyses are the following works: Prison Valley, 2010, Pirate Fishing – an interactive investigation, 2012, Universe Within: Digital Lives in the Global Highrise”, 2015, Bury Me, My Love, 2017.
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The main goal of the article is to describe and analyse the artistic practice of the American artist Sharon Lockhart as well as her works created with the participation of children and young adults. The materials studied herein are the documentation of her activities, interviews, and texts accompanying exhibitions. A particular attention is paid to the projects made in Poland, especially those created with Milena, a teenage girl from a poor area of Łódź, and her friends from the Youth Sociotherapy Centre in Rudzienko. In the article, the artist’s statements are confronted with a formal analysis of her projects. With the use of such secondary sources as cultural, anthropological, art, and childhood studies literature, Lockhart’s artworks are described and interpreted in the context of creating the child’s image, of the young girls’ participation in art projects, and of the author’s method of work itself, which she calls ‘etnographic.’ The precise and interdisciplinary research shows superficiality of this pedagogical and emancipatory method, including using the girls to evoke a specific mood in the audience. From the perspective of art studies, Lockhart’s works, however, may be interpreted as an aesthetic story about a meeting with and an attempt to get to know the Other.
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Using content analysis, this report researches texts about the new social movements „Me Too” and „Time’s Up”, which are published on BBC’s website, bbc.com, between October 5th 2017 and December 31st 2018 (which marks the first anniversary of both campaigns). The aim is to study the methods through which both initiatives are presented in this British medium. Important tasks of this report are to analyze whether this website’s authors express an attitude towards the movements and to check whether there is any connection between the two campaigns and the existing calls for changes in the social roles of sexes in modern society.
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The aim of this text is to encompass and analyze how the Bulgarian national television and the Bulgarian national radio use different social media platforms. The main thesis is that the two media are working hard on their active digital presence to stand out as information leaders with high public trust not only on television and radio but also online. BNT and BNR as the largest public media in our country also give a good perspective on how the Bulgarian media environment is developing online. For a long time now, this has included not only the media's websites, but also its full adaptation in the field of social networks where the user and his interests are most important.
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The study aims to identify university practices for creating a student podcast. The hypothesis is that there is a paradigm shift, but not a rejection, regarding the first steps of students in journalism and they rather attempt producing podcasts than creating a newspaper. The knowledge for creating print media products is upgraded through all media elements and digital communication strategies. This results in a real multimedia practice consisting of generating ideas, teamwork, script writing, editing, recording, publishing in online platforms and social media promotion. Empirical material has been collected from American, Australian, Western European, and Bulgarian universities. The case studies seek to discover the reasons for the increased interest in podcasts as a modern audio format. The study aims to outline the main characteristics of a successful student podcast and to examine the tendencies for production and listening to podcasts among the younger audience.
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Review of: Boris Beck - Valentina Gulin Zrnić i Nevena Škrbić Alempijević, Grad kao susret. Etnografija zagrebačkih trgova, Hrvatsko etnološko društvo i Institut za etnologiju i folkloristiku, Zagreb 2019., 419 str. Drago Župarić-Iljić - Jasna Čapo, Dva doma. Hrvatska radna migracija u Njemačku kao transnacionalni fenomen, Duriex, Zagreb 2019., 416 str. Aljoša Pužar - Andrea Matošević, Doći u Pulu, dospjeti u tapiju. Etno-filozofska studija lokalnog fenomena, Durieux i Institut za etnologiju i folkloristiku, Zagreb 2019., 178 str. Miroslav Artić - Naracije straha, ur. Natka Badurina, Una Bauer i Jelena Marković, Leykam International i Institut za etnologiju i folkloristiku, Zagreb 2019., 328 str. Miroslav Artić - Ajla Demiragić, Ratni kontranarativi bosanskohercegovačkih spisateljica, Institut za etnologiju i folkloristiku, Zagreb 2018., 263 str. Smiljana Đorđević Belić - Charms and Charming. Studies on Magic in Everyday Life, ur. Éva Pócs, Zbirka Studia Mythologica Slavica. Supplementa 15, Znanstveno-raziskovalni center SAZU, Založba ZRC, ZRC SAZU, Ljubljana 2019., 312 str. Jelena Seferović - Olga Orlić, Antropologija solidarnosti u Hrvatskoj. Poljoprivreda potpomognuta zajednicom, Hrvatsko etnološko društvo, Zagreb 2019., 137 str. Jelena Bulić - Vedrana Veličković, Eastern Europeans in Contemporary Literature and Culture. Imagining New Europe, Palgrave Macmillan, London 2019., 219 str., elektronička knjiga Andrej Ivan Nuredinović - Goran Pavel Šantek, Dinamo – to smo mi! Antropološki ogledi o Dinamu i njegovim navijačima, Filozofski fakultet Sveučilišta u Zagrebu, FF-press, Zagreb 2017., 91 str. Marko Dragić - Adnan Čirgić, Natprirodna bića u tradicijskoj kulturi Crnogoraca, Fakultet za crnogorski jezik i književnost, Cetinje 2018., 267 str. Dragana Đurić - Milan Dvornić, Narodni običaji Srba u Baranji, Veće srpske nacionalne manjine Grada Belog Manastira, Beli Manastir 2019., 350 str. Ivana Katarinčić - Kretanja. Časopis za plesnu umjetnost, Movements. Dance Magazine br. 30, Zlatne šezdesete ili kako se stvarala suvremena plesna scena u Hrvatskoj, The Golden Sixties or How Contemporary Dance Scene in Croatia Was Created, Maja Đurinović, ur. Hrvatski centar ITI, Zagreb 2018., 87 str. Mia Felić - Journal of Folklore Research. An International Journal of Folklore and Ethnomusicology. Posebno izdanje, tematski broj: An (Unlikely) Intersection of Folklore and Science, The Aesop’s Fable Paradigm 56/2–3, svibanj – prosinac 2019., Indiana University Press, 291 str. Monika Bregović - Konferencija “Beastly Modernisms”, Glasgow, 11. – 13. rujna 2019., Sveučilište u Glasgowu uz podršku Britanskog društva za književnost i znanost i Veganskog društva Anita Lunić - Dani kulturne animalistike: “Životinja – drug ili drugi?”, Split, 28. – 31. listopada 2019. Maja Flajsig - Umjetničko-znanstveni skup “Land Art, Earth Art, Earthworks: z/Zemlja i antropocen”, Zagreb, 10. listopada 2019., Muzej suvremene umjetnosti, organizatori: Akademija likovne umjetnosti, Muzej suvremene umjetnosti i Institut za etnologiju i folkloristiku Ivona Orlić - Izložba “Čega se bojiš? Strah u našoj svakodnevici”, autor izložbe: Mario Buletić, Pazin, 13. prosinca 2019., Etnografski muzej Istre/Museo etnografico dell Istria Goran Đurđević - Adnan Kaljanac, Historija arheologije. U potrazi za prošlošću, Univerzitet u Sarajevu, Sarajevo 2014., 242 str. Goran Đurđević - Predrag Novaković, Historija arheologije u novim zemljama jugoistočne Evrope, Univerzitet u Sarajevu, Sarajevo 2014., 302 str. Goran Đurđević - Staša Babić, Metaarheologija. Ogledi o uslovima znanja o prošlosti, Clio, Beograd 2018., 188 str.
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The present paper investigates the biographies of actors published in the periodical press of Greece and Greek communities abroad, from the independence of the nation state (1830) to the 1930’s. One of the main bibliographical and historiographical problems a researcher of the history of Greek Modern Theatre has to face is the insufficient –almost non-existent– information about the fleeting work of actors. The current research aims at contributing to the history of acting and finding answers to questions such as: how the profession of the actor in Greece and in Europe evolves during the 19th century and how this significant change is reflected in the Greek periodical press.
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Badanie napisów jest młodą dyscypliną naukową. Nie ma wielu publikacji analizujących i prezentujących kwestię tłumaczenia audiowizualnego, w szczególności napisów filmowych/teatralnych. Dlatego nie ma wielu źródeł istotnych informacji dotyczących problemu. Przykłady zawarte w tym tekście pochodzą z autorskiej obserwacji filmów i spektakli teatralnych. Autor odwołuje się do badań przeprowadzonych wśród kinomanów podzielonych na trzy grupy – osoby z wykształceniem filologicznym, osoby z wykształceniem uniwersyteckim oraz osoby bez wykształcenia uniwersyteckiego. Tekst dotyczy także napisów z przedstawień teatralnych (Teatr Dramatyczny, Teatr Studio, Nowy Teatr). Wybrano następujące spektakle. Kabaret J. Kandera, Rosyjski kontrakt Andrieja Płatonowa. Ciekawy przypadek psa wieczorową porą Simona Stephensa, Biedny Ja, Suka i Jej nowy koleś Michała Walczaka, Nasza klasa autorstwa Tadeusza Słobodzianka oraz Bent Martina Shermana. W kolejnych częściach artykułu autor przedstawia realia dotyczące etapów tworzenia napisów filmowych lub przygotowania nadtytułów teatralnych i ich weryfikacji. Odpowiada na pytanie, kto, kiedy i jak ocenia te napisy. // Subtitles research is a young discipline in the field of science. There are not many publications analyzing and presenting the issue of audiovisual translation, in particular film/ theatre subtitles. Therefore, there are not many sources of relevant information concerning the issue. Examples included in this text come from the author’s observation of films and theatre performances. The author makes reference to the research conducted among moviegoers divided into three groups – people with philological educational background, people with university background, and people without any university education. The text also relates to subtitles from theatre performances (Teatr Dramatyczny, Teatr Studio, Nowy Teatr). The following performances were chosen: Cabaret by J. Kander, The Russian Contract, by Andrei Platonov, The Curious Incident of the Dog in the Night-Time by Simom Stephens, Poor Me, the Bitch, and Her New Guy by Michał Walczak, Our Class by Tadeusz Słobodzianek and Bent by Martin Sherman. In the following sections of the paper, the author presents realia concerning the stages of film subtitles or theatrical supertitles preparation and their verification. He addresses the question who, when and how evaluates these subtitles.
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This article studies the development of painting skills in preschool children by studying the works of impressionist artists. Artistic perception is an important part of visual arts education that creates prerequisites for the formation of aesthetic personal qualities and creativity. The study offers methodological ideas for developing a sense of colour and colour ombination by studying the artworks of the Impressionists
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The narrative pattern and discursive strategies of stand-up comedy in Nigeria reveal sometropes and motifs that are contemporary to the socio-political realities of the country. Thesenarrative/discursive strategies demonstrate three discourse types: salutation/greetingdiscourse, reporting discourse, and informing discourse. With these discourse types, stand-upcomedians use themselves as the victims of the jokes in order to evoke laughter in the audience.The performances of stand-up comedy, however, have not been accorded due recognition ofthe functional arts that can be used to critique the failure of the ruling elite in the NigerianState. This is because stand-up comedy is class-selective and occasion-driven. To evokelaughter in the audience and to comment on the reality of existence, stand-up comediansdeploy language aesthetics, kinesics, and atmosphere. The modal transition from pure oralstage to the technological phase of performance informs the conceptualisation of mediamediated performance (MMP) through recorded VCDs/DVDs and social media. Data on thestand-up comedy of AY and Elenu are collected through media mediated performances (MMP)on VCD. Data on the subject matter, topicality, and discursive strategies of AY and Elenu’s(who are among ace stand-up comedians in Nigeria) jokes are analysed and discussed. Withthe subject matter and topicality of the jokes, this paper suggests that stand-up comedyperforms the utilitarian functions of literary and performing arts. It entertains, moralises,satirises, and educates members of heterogeneous audiences on some values and ethos of thecontemporary Nigerian society.
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Masking is a phenomenon that is traced to almost all human ages, from its prehistoric andprimitive narratives in Africa, its dramatic beginnings in ancient Greece and Rome, to its useas forms of character delineation in the commedia dell’Arte of the 16th and 18th centuryEurope, as well as its age long association with carnivals due largely to its analogous relationto humour and entertainment. Masking, as comic as it may seem, has been critical ofhumanity’s social dispositions from time past. As humans, the façade of the mask is a leewayto speak truth to power and also an opportunity for the performance of self in ways that are atvariant with the real self. As topical as the activities of the masquerade are to the society, noacademic quest has been directed to investigate how humour and satire have always beenassociated with the masquerade. Following the social criticism, humour and entertainmentwhich have become evidently inherent in the emergent stand-up comedy, scholars havedirected their critical attention towards this new live theatre without considering thehumorous functions of the masquerade for an academic enquiry. It is against this backdropthat this paper has decided to investigate and re-establish historically the humorouscontributions of the masking art in almost all facets of human conditions. The resources forthe paper are a combination of library and historical research. The paper establishes thatsatire and humour, as enjoyed in all venues of stand-up comedy acts in Nigeria, are just acontemporary addition to what masks had done in the past but for dearth of properdocumentation of these contributions. The masking tradition has been a source of humour andsarcasm to issues bordering on human relations all over the world.
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Studies in stand-up comedy in Nigeria have recently begun to gain serious attention. Several articles that describe the psychological and socio-cultural contexts of joke texts of stand-up comedy in Nigeria have appeared within the last few years (Orhiunu 2007; Imo 2010;Adetunji 2013; Filani 2015, 2016, among others.). However, one aspect of the phenomenon that is yet to be explored is the function of a multimodal generic framework and its contributions to the humorous content of the genre. While it is important to maintain the spoken text as many writers have done, the “multiple embodied modes” (Norris 2008: 13) that amplify the spoken text must be given due consideration. This study, therefore, examines the Nigerian stand-up comedy from the perspective of a multimodal-ESP theory to genre analysis.This theory takes cognisance not only of joke-texts, but also of the visual features that enhance the performance. The material for analysis is videoed data of a popular stand-up comedy show in Nigeria, A Nite of a Thousand Laughs. The study demonstrates that stage management, nonverbal cues (e.g. gesture, movements, and gaze), speeches, body postures, and music/sounds contribute to the communicative value and the production of the genre. Also, it shows how plausible multimodal-ESP approach to genre is in the description of stand-up comedy in the Nigerian context.
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Various studies exist on the social functions of humour and such studies have been carried outin diverse fields that range from the humanities to the sciences. In linguistics, specifically,research shows that humour has been studied from the perspectives of syntax, pragmatics, andsemantics; moreover, there is a dearth of studies on the creation of humour throughphonological processes. Therefore, this study aims to investigate humour and how it isachieved using phonological processes. The study engages mainly qualitative methods ofanalysis. Five comedy skits were purposively selected from Folarin Falana’s (Falz the BahdGuy) eleven collections. These were chosen on the basis of their internet popularity amongNigerians; this popularity was determined on the basis of the rates of downloading the skits.McGraw & Warren’s (2010) Benign Violation Theory was used to account for thephonological violations in the comedies. The various phonological processes that wereviolated include liaison, deletion, insertion, monophthongisation, coalescence, and vowelstrengthening. It is argued that the phonological distortions are deliberately made to achievehumour in these Nigerian comedies, especially when the high educational level of the artist isconsidered. Also, there anti-Anglicism and pro-Nigerianism in the data as the artist identifieshimself with Nigeria(ns) and creates a niche for himself in the entertainment industry usingthe phonological peculiarities among Nigerians’ language use, especially the Yoruba tribe. Healso creates different personalities to project different messages which are not only peculiar toNigeria but to the world, using these personalities to portray people’s feelings and views ofthe world and how these influence their attitudes.
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This article explores the deployment of humour in Wole Soyinka’s new and full-length play Alápatà Apátà. The emergence of Moses Olaiya (otherwise known as Baba Sala) on the Nigerian theatre scene at a time it was dominated by such colossuses as Hubert Ogunde, Duro Ladipo, and Kola Ogunmola, as a popular jester and comic actor has elevated the phenomenon called Zd to a popular form of art. The idea of serious theatre involving mostly tragedy had dominated the Nigerian theatrical scene to an extent that little attention is devoted to the less popular form of comedy until it was given impetus by the dexterity of Moses Olaiya. In the dramatic literary circle, Wole Soyinka bestrides the Nigerian space with his biting and humorous satire in such plays as The Lion and the JeZel, The Jero Plays, Childe International amongst others. With a great mastery of satire and humour, in his most recent play Alpat Apt, we witnessed a reincarnation of Moses Olaiya. However, Soyinka does not focus only on the character of Moses Olaiya (whom he dedicates the play to), he explores the misapplication of Yoruba language’s accent resulting in semantic oddity. The incongruity that can arise from the misunderstanding of language and its nuances is brought to the fore in our understanding of the theoretical exploration of the phenomenon called Zd. This article thus situates Wole Soyinka’s Alpat Apt within the literary and theatrical explication of humour in the Nigerian context showing that ‘that which is comic’ resonates as a universal human phenomenon irrespective of language.
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The main goal of the article is to inscribe the formation, at the turn of the 18th century, of the melodrama in a broader context in order to show that the creation of this dramatic genre was not a result of one man’s talent or pure coincidence but actually a result of the historical process and numerous social and aesthetic tendencies that had been influencing the French theatre over previous decades. All these transformations that would eventually get compounded into melodrama, appearing throughout the century, have been observed and commented on, demonstrating once again that theatre is a never-ending story of making and becoming.
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A clown travels through times and identities. A personage is handed over to different creators and audiences. A voice changes its purpose. This article observes the metamorphoses of Pierrot from Commedia dell’arte through the romantic malheureux, the decadent Dandy to the perpetual loser and peace-seeker of the turn of the century, following the works of three authors: Giraud, Hartleben, and Schönberg. When and where is this journey going to end? – We don’t know.
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In How to Do Things with Words (1962), the philosopher John Austin claimed that we use words to do things in the world, not merely to express a state of affairs. This proposal introduced speech acts, and essentially initiated the study of linguistic pragmatics. Speech acts in everyday communication include persuading, apologizing, criticizing, humiliating, complimenting and a host of other intended behaviours. Austin accentuated the idea of speaker intention, on one hand, and hearer’s response to that intention if successfully conveyed, on the other. We consider some of the speech acts used in the work of selected standup comedians to analyse the way they determine the relationship of performer and audience. We argue that there is a reciprocal relationship between the licensing of certain speech acts in standup comedy, and the success of these speech acts in shaping the social lives of the audience. We show that this relationship is at the forefront of standup comedy’s social impact and that it can generate heightened consciousness of the social and political environment of the time. Finally, we consider the question of whether socially critical standup can have any noticeable effect on the attitudes or behaviour of both live and digitally mediated audiences.
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This article is the first study that researches the combination of three components: humour, food and fashion. It is based on an analysis of three unique fashion shows whose designer is the American Jeremy Scott; two under his brand, and the third as an art director for the Italian brand Moschino. The three shows connect these three components, while presenting the culmination of a food-humour theme in contemporary fashion, which had started with Moschino’s brand founder, Franco Moschino, in the nineties. Combining food and fashion is relevant in contemporary culture as it compares consumption of fast food to that of fast fashion. The link between laughter and food is ancient. A few days after birth, there are buds of a smile on a baby’s face, expressing its satisfaction with food. Smiles and even laughter often occur throughout a person’s life in the context of delicious food. The uniqueness of the above-mentioned fashion shows is not humour in itself, but rather its combination with food and fashion, the two seemingly different. The combination of these three components creates a cognitive challenge for the fashion spectators. We thus argue that this threesome constitutes an important, creative breakthrough in fashion. One of humour’s important functions is to challenge social, cultural and aesthetic norms. As thus it has been infiltrated into fashion shows since the 1980s, as a norm-breaker, but also as a marketing strategy. This article discusses the cultural function of food and humour in fashion shows, from a cultural semiotic methodology.
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List of publications on Wadowice and the surrounding area, which appeared in 2020.
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