http://hdl.handle.net/11089/22072 Medium radiowe w oczach współczesnych badaczy. Prace ofiarowane Profesor Elżbiecie Pleszkun-Olejniczakowej, red. Joanna Bachura-Wojtasik, Paulina Czarnek-Wnuk Fri, 03 Apr 2026 22:21:28 GMT 2026-04-03T22:21:28Z https://dspace.uni.lodz.pl:443/xmlui/bitstream/id/dbd40dc3-63b6-4874-a7a2-4da777d5a4b8/ http://hdl.handle.net/11089/22072 http://hdl.handle.net/11089/22181 O narracyjności reportażu radiowego Sygizman, Kinga The author takes up the question of the narrativity of the artistic radio message that is radio documentary. It looks at documenatry from the perspective of psychological research on storytelling. Hence it considers the radio documentary as a large-scale narration composed of smaller aural forms, constituting small narrations. The author examines numerous levels of the in-depth news report, lexical, prosodic and also phonic features. It also shows how the theory of radio documentary connects to narrative identity. Sun, 01 Jan 2017 00:00:00 GMT http://hdl.handle.net/11089/22181 2017-01-01T00:00:00Z http://hdl.handle.net/11089/22179 Perspektywy badania współczesnej genologii radiowej Stachyra, Grażyna Despite the already widespread constatations on the subject of the blurring of genres in the new media [or “new new media”, as Paul Levinson has it], despite attempts to find a nomenclature able to cope with the transformations in media products [megagenre, hypergenre, hybrid genre, subgenre, minigenre], despite abandoning genre identification in favour of typological criteria or using ad hoc and temporary categories, such as folksonomy, it seems reasonable to suggest that the systematic genre identification of radio is still a fresh issue. Several causes can be enumerated. Firstly, the topic of radio genres is not a popular one among media experts, secondly, those attempts at classification that have appeared have not, unfortunately, been verified by broader academic discourse, and thirdly, contemporary radio is “dematerialising”; in the common understanding, the aural impressions reaching us in the form of waves processed by the aural apparatus ceases to be associated with a radio receiver and more with an app on an iPod, a webpage, a fragment heard on YouTube or a podcast. Naturally, a broader approach to genre becomes popular, in which not only the analysis of the contents of messages is significant but also the habits and experience of the actual users of media. Radio genres seen in the context of new media lose their traditional labels in favour of new ones, most usually typical of online ones. It is important, though, that the concept of the genre as a collection of genre-making forms is capacious enough to take into account the intermedia specifics of the creation of genres. This article describes the main problems of radio genre research taking into account the convergence and evolution of broadcaster-recipient relations. Sun, 01 Jan 2017 00:00:00 GMT http://hdl.handle.net/11089/22179 2017-01-01T00:00:00Z http://hdl.handle.net/11089/22180 Reportaż radiowy – problemy z współczesną terminologią genologiczną Białek, Monika Looking at the various definitions of radio documentary found in academic literature, several common elements can be found which typify the genre. These are: sound as the main constructional element, authentic events constituting the starting point, stress on the aesthetic quality of the relation, the considered authorial concept and its functioning through the medium of radio. In the last two decades, alongside the hitherto functioning and recognised terms applied in relations to radio news reporting, have appeared new ones: the feature; documentary programme/documentary radio broadcast/fictional radio broadcast/docudrama; radionovel; news blogs. In the age of new media, convergent forms have also appeared, among which we should mention: photocasts; multireports; sound maps. This situation means that it’s worth thinking about the hitherto genres, because they seem to be insufficient in the current media situation. Hence, the article presents a proposal for a typology of artistic aural forms. It presents a division based on the channel used to deliver the message, the means of production and governing function. Sun, 01 Jan 2017 00:00:00 GMT http://hdl.handle.net/11089/22180 2017-01-01T00:00:00Z http://hdl.handle.net/11089/22178 Radio i oralność – z perspektywy językoznawczej Kita, Małgorzata Radio as a sound medium, as elaborated in the typical definition of it, constitutes an integral component of the human audiosphere. Human culture is, at source, oral in nature. Orality, a huge category that operates outside of individual academic disciplines, is that which links in a synergy the human being, culture and language, as well as linguistic communication. The author, starting from these ruminations, shows how the theory of orality created by Walter J. Ong may constitute a stable instrument for the description of language and linguistic-communicative behaviours on radio, and enable us to interpret numerous phenomena of radio discourse. Sun, 01 Jan 2017 00:00:00 GMT http://hdl.handle.net/11089/22178 2017-01-01T00:00:00Z