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LEARNING (WITH) ARTIFICIAL INTELLIGENCE. A MEDIA-ARCHAEOLOGICAL APPROACH Abstract The article explores the role and implications of generative artificial intelligence (AI) in the educational context, challenging polarized narratives between apocalyptic and integrated perspectives. Through a historical-cultural analysis and a media-archaeological approach, it examines the dialogic and performative nature of AI, suggesting a critical and mindful approach to its use. Particular attention is given to the relationship between simulation and intelligence, highlighting how designing meaningful learning experiences requires a deep understanding of the underlying cultural frameworks. Finally, it proposes a reinterpretation of the educational challenges posed by AI, advocating for the integration of innovative epistemological and didactic approaches that enhance humanmachine interaction without resorting to instrumental or deterministic simplifications.

Objectives The aim of the article is to draw attention to the need to introduce content devoted to fake news and manifestations of disinformation into media education programs. Material and methods The article, based on the review of the literature presents the changes that the media sphere has been increasingly undergoing in recent years, which is increasingly saturated with low-quality information. This makes it necessary for educators to update media education programs with content related to dealing with such an information environment. Results The article indicates basic issues and concepts in the field of counteracting disinformation, which should be the basis for preparing educational programs in the field of modern media education, preparing its recipients for the challenges related to the development of the modern mediasphere. Conclusions Three groups of such content were proposed as a form of recommendation: competences related to knowledge of specific tools, critical thinking skills and awareness of the need to constantly update one's knowledge.

Objectives Acquiring and selecting information are key skills in today's world. According to researchers, information retrieval is among the four so-called basic skills - alongside writing, reading, and arithmetic. Information competencies enable effective learning, significantly impacting the efficiency of the learning process and research exploration. It constitutes a crucial element of adaptation to changing conditions in the information environment and facilitates continuous learning. These competencies should already be possessed by students. Therefore, it was decided to examine first-year media studies students Material and methods In December 2023, students from the fields of journalism and social communication, as well as media design and image marketing, at the University of Lower Silesia (DSW) in Wrocław, received survey questionnaires. These were distributed electronically, created, and made available through the Microsoft Forms application. The questionnaire consisted of 30 closed-ended questions, including 3 allowing for multiple choice among the provided answers. In total, 283 individuals were surveyed. The study indicated that students are aware of the importance of possessing competencies. Results The study revealed that students are aware of the importance of possessing information literacy, but they are not aware of the difficulties associated with the thorough assessment of sources. The sources they use most often are social media, rather than scientific sources supported by authoritative, peer-reviewed expertise. Conclusions The vast majority of students do not acquire information competencies in school. Therefore, it seems justified to include content related to seeking reliable sources, selection and critical assessment of information in higher education curricula.

The author addresses the public use of history starting with a preliminary reflection on audiovisual media. The case of the television series Briganti, produced by Netflix, is then proposed. The author analyses the narrative model adopted and the debate triggered by the launch of the series. The scriptwriters' choice to use the format of the Italian western is proposed as a counter-narrative of the war on brigandage. Fiction stages the reversed perspective of the history of the "vanquished" following in the wake of neo-Bourbon publications. [ABSTRACT FROM AUTHOR]

This research analyses the circulation of a rumour in Cameroonian media, namely the fake news about the death of Paul Biya, the President of the Republic of Cameroon, who did not appear publicly at the start of the Covid19 pandemic, casting doubt on his state of health. We propose to use the biological model of virality to interpret the rumour as an expression of the immunity of the ‘social body’ that resists the ‘political body’, which has enjoyed absolute immunity since 2008. The Head of State is heavily criticised, among other things, for the armed repression that has been going on since 2017 in the country’s English-speaking minority territories. Therefore, this rumour seems to be paving the way for the visibility of an event unknown to international public opinion. While the spreaders of the rumour use enunciative erasure to protect themselves, the Head of State pursues his ‘strategy of silence’ by expressing himself by proxy.

This paper investigates the "cult of the Self" pervading contemporary mediatised cultures, adopting a semiotic approach. More specifically, it draws on the analysis of the fictional case of Ionismo, ironically represented by director Alessandro Aronadio in the movie Just Believe (orig. IO C'È, 2018), to shed new light on the figure of the "influencer", which has become fundamental in contemporary mediascapes. Thus it problematises the bodies, as well as the sacred objects, and more generally the figures, of today's cult of the Self, with specific reference to the "generative model" suggested by Just Believe, as well as to the understanding of the sacred in the "postsecular" era.

MEDIA E CONTESTO DELL’EDUCAZIONE SCIENTIFICA IN TPACK: UNA REVISIONE SISTEMATICA Abstract The development of media and context within the framework of Technological Pedagogical and Content Knowledge (TPACK) is important in science education. The purpose of the systematic review is to find out the media and context used in the TPACK framework for the development of science learning. Media is related to learning technology such as technology in communication, collaboration, assessment, visualization, and online learning. The use of science learning media in developing TPACK consists of two types, the first using a single type of media and the second using multiple types of learning technology media. The learning context includes micro in the form of classes, meso in the form of schools, and macro in the form of the wider community, as well as the context of teachers and pre-service teachers. The context of science education in TPACK relates to the type of research such as micro-level using mixed research methods, experimental, qualitative, research and development, and macro level usually using survey research. The TPACK framework is an approach to explaining effectiveness, evaluation, and reflection in the use of learning technology.

Introduction to the special issue "Taboo in Language, Media, and Audiovisual Translation", edited by Chiara Bucaria, Anthony Dion Mitzel, and Angela Sileo. Taboo, by its very nature, is deeply rooted in language and culture, constantly evolving as the social boundaries of what is acceptable shift – sometimes slowly, sometimes almost imperceptibly. What we mean today by taboo needs careful examination, in order to investigate how the boundaries have been redrawn over the years and how these boundaries are constantly negotiated, for example when it comes to intercultural communication. Without any pretense of being exhaustive, this contribution offers some contextualization for the study of taboo(s) in the fields of language, media, and audiovisual translation across themes such as sex, religion, death, disability, homo/transphobia, and racism. It includes discussion on present and future directions in taboo research and it also introduces and contextualizes the contributions included in the special issue Taboo in Language, Media, and Audiovisual Translation.

La comunicazione, esigenza fondamentale per l’uomo, è questione che rientra a pieno titolo nelle dinamiche formative. I media classici e i nuovi media, in una società in cui si comunica tanto, ma al tempo stesso si è meno informati, si attestano quali luoghi in cui l’educativo non è marginale ma ha una certa rilevanza. Il linguaggio diventa anch’esso strumento per formare, le cui caratteristiche richiamano a gran voce i processi neuronali e, dunque, la neurolinguistica. Comunicando e, quindi, formando l’uomo, non si può non coinvolgere la dimensione politica, quella dell’impegno per la propria comunità. Quando la comunicazione dei grandi e tanti media si traduce in formazione, la ricerca di un senso rispetto alla realtà circostante e alla vita di comunità diventa un’esigenza per il cittadino.

Between 1819 and 1822, painter Pierre Prévost exhibited in Paris his panoramas of Jerusalem and Athens, in a lively cultural and political climate. The article analyzes the double exhibition event by considering it as a catalyst for media flows related to renewals of the travel imaginary, the aesthetic and commercial implications of ephemeral spectacles, and, finally, the practices and forms of public sociability. From such an angle, on the other hand, emerge the political fallout of a far from neutral choice, that of «transporting» to the epicenter of European Restoration two highly symbolic places identifiable as the cradle of Christianity and civilization, subject, however, to the Ottoman Empire. The connections with the Eastern question make the exhibitions a key moment in the fortunes of the panoramas and the spectacularization of the Nineteenth-century «new politics». [ABSTRACT FROM AUTHOR]

The text is a commentary on the article by Ewa Mazierska “Roman Polanski (and Others) on Trial.” Using Baudrillard’s concept of simulation, the author shows that discussions on Polanski’s personal conduct do not lead to finding meaning.

A cento anni dalla nascita di Italo Calvino non si può non ricordare il suo sguardo visionario, proiettato verso il futuro, che ha perfettamente prefigurato il contesto tecnologico attuale caratterizzato dai frenetici cambiamenti sociali e culturali determinati dallo sviluppo vertiginoso delle tecnologie informatiche. Il presente saggio mira a dimostrare come la sua vasta e versatile produzione letteraria si sia evoluta parallelamente alle trasformazioni della società riflettendo lucidamente i suoi valori con grande anticipo sul contesto globalizzato del Terzo Millennio. Nella narrativa di fantascienza, soprattutto nelle Cosmicomiche vecchie e nuove, l’autore rivela il suo crescente interesse verso la scienza con uno sguardo estraniato, ironico, a tratti persino paradossale. La Memoria del Mondo è forse in tal senso il racconto più emblematico che ha anticipato le applicazioni più recenti dei new media in grado di pervenire ad una sorta di “intelligenza connettiva”, a forme insospettate di “memoria collettiva” ed “intelligenza artificiale” odierna.

Crisis has a strong hermeneutical power, a potential to shape collective imaginaries and to provoke panic. In this article, I examine how the debates around the oil crisis of 1973 and the consequent recruitment halt in West Germany were framed in the Greek printed and audiovisual media. The Greek migrant workers are the focus group of this investigation and the questions asked are how the crisis impacted their status in the host country and how this disruption influenced their decision-making regarding settlement and return. The different stakeholders involved in the Greek Gastarbeiter migration, namely politicians, media, trade unions and migrants articulated their hopes, anxieties and critique, shaped and challenged the actual policymaking in the framework of the Cold War and the European enlargement project.

CEL NAUKOWY: Celem artykułu jest zaprezentowanie zastosowań sztucznej inteligencji w mediach i ich wpływu na edukację PROBLEM I METODY BADAWCZE: Problem badawczy artykułu dotyczył odpowiedzi na pytanie: Jaki wpływ na edukację mają media z zastosowaniem w nich sztucznej inteligencji? Użytą metodą była analiza danych zastanych desk research oraz przeprowadzono analizę literatury przedmiotu. PROCES WYWODU: W artykule krótko scharakteryzowano teoretyczne podstawy nowych mediów i sztucznej inteligencji, uwzględniając dane z raportów. Opisano również zastosowanie sztucznej inteligencji w dziennikarstwie, a następnie rolę mediów w edukacji. WYNIKI ANALIZY NAUKOWEJ: Analiza dotyczyła oddziaływania na odbiorców mediów z zastosowaniem w nich sztucznej inteligencji. Wskazane zostały wielorakie korzyści i liczne zagrożenia mające wpływ na ich aspekt edukacyjny. WNIOSKI, REKOMENDACJE I APLIKACYJNE ZNACZENIE WPŁYWU BADAŃ: W kontekście stałej obecności mediów cyfrowych w społeczeństwie niezbędna jest edukacja medialna odbiorców. W celu uzyskania jak najlepszych rezultatów w procesach dydaktycznych i wychowawczych używając mediów z zastosowaniem w nich sztucznej inteligencji, należy podkreślić znaczenie kształtowania świadomych i odpowiedzialnych postaw użytkowników mediów szczególnie wobec nowych technologii.

By means of a close reading of Edgar Allan Poe's The Man of the Crowd and The Murders of the Rue Morgue, this paper reconstructs the figure of the detective, showing his centrality within the following sociological problems: (a) the relationship between metropolis and identity, an identity caught in its fragmentation and disintegration; (b) the implications of nervous life, a state which is associated with both the advent of technologies and the modern oscillations between sensitivity and insensitivity; (c) the functions and value assumed by the media, now understood as instruments of survival and as places of social bonding; d) the conflicts between talent and habituation, as well as between creativity and protocols, in a founding dialectic between distinction and uniformity; e) the methods and procedures of media knowledge, suspended between the dispersion of minutiae and the affirmation of successive states of consciousness. [ABSTRACT FROM AUTHOR]

This article aims to investigate Marshall McLuhan's reflections on the university in relation to the evolution of the different media eco-systems and, in particular, its transformation in the era of electronic communication. McLuhan had occasionally dealt with the University system in some passages of The Gutenberg Galaxy (1962) and Understanding Media (1964). However, it is especially in The Laws of Media: The New Science (1988) that we find the foundations of an interpretation of university history inspired by the heuristic model of the tetrad, concerning the hypothesis that every cultural innovation fuels a complex dynamic made of "enhancement, obsolescence, retrieval, reversal". McLuhan did not elaborate the specific tetrad he had planned. Our analysis on this topic starts from where he stopped. What does the mass university of the XX century enhance? What does it make obsolete? What does the university retrieve that had been obsolete earlier? And, finally, what does it tend to turn into? In line with McLuhan's media paradigm, these key words inspired the interpretation of the changes that the university institution have undergone in the recent past in accordance with the student movements and the tecno-cultural shifts of the global village society. [ABSTRACT FROM AUTHOR]

This paper contributes to an in-depth reflection on the topic of the ‘roots of writing’ through a review of theories that have given it a definition or scientific framing. The aim of this essay is to demonstrate how different epistemological assumptions or systems of thought correspond to different definitions of the object ‘writing’, entailing different analytical consequences. Therefore, an attempt will be made to briefly illustrate some of the possible philosophical and semiotic perspectives on the subject, trying to relate them to the field of Media Studies. Thus, the work aims to fit within an interdisciplinary study of writing. Indeed, the comparison between different approaches will allow the inter-definition of some cross-disciplinary matters. On the one hand, our relationship with the materiality of the media that enable its realization; on the other, how writing brings out subjectivity as not transcendent and separate from the world, but deeply rooted in it.

Since the late 19th century, the legend of Napoleon has spread in China, carrying with it the epic of the French Revolution and images of a romantic Paris, and has always inspired patriotic passion and political imagination among Chinese audience. In the mid-1910s, widely portrayed by fiction, photography, film and drama, Napoleon aroused popular sensation again in Shanghai. No longer interested in his militant talent and imperial glory, the media were obsessed with his private life, all about his marriages and lovers. In the context of sentimental ethos and political disillusion in the early Republican period, this anti-heroic proclivity both refracted colorful urban mentality and popular desire. In a series of stories, women were depicted as superior to Napoleon, signifying the rise of feminine consciousness at the time. On the other hand, due to Yuan Shikai’s dictatorship, the representations of a demonized Napoleon implied a democratic demand. This Napoleonic episode, a hundred years ago, will bring us new perspectives on the issues of media and politics in global China.

The paper aims to reflect on the crisis of the capacity of media and cultural industries to participate in the construction of a shared memory, which is constituted as the basis of a collective imaginary capable of activating a common cultural identity. The reflection starts from the observation that the radical evolutions of an increasingly hybrid media system, in the direction of convergence, transmedia and platformization, have contributed to erode, to the point of erasing in some traits, the construction of a shared imaginary that can act as a bridge not only between individuals and communities belonging to different generational intervals, but also to those belonging to the same generation. Starting from Alberto Abruzzese's reflection on the relationship between art, society and the cultural industry in the light of the evolution of technology, the paper aims to analyse the impact of the evolution of media and the crisis of educational agencies on the ability to activate cultural innovations, merely representing them. The paper then proposes the results of the first phases of a research aimed at understanding the approach of new generations to cultural consumption from the perspectives of access to and selection of media content; practices of sharing, enjoyment and participation with respect to such content; and finally knowledge and consumption/non-consumption. As a result, a model of approaching cultural objects, products and consumption seems to be taking shape that is increasingly disconnected from the roots of narratives and, as a paradoxical consequence, increasingly linked to their representations, deprived of meaning. A mass imaginary that evolves in a mass of imaginaries, linked together in a "long tail" of volatile consumption, which makes it improbable to reaffirm a shared memory that can give rise to a shared imagination capable of delineating a new model of intellectual and social formation. [ABSTRACT FROM AUTHOR]

In recent decades, the so-called "digital revolution" has massively driven individuals to move the main activities they perform in their daily lives within entirely digital spaces. This is obviously leading to significant cultural and social consequences, and mass culture is one of the areas that has been most affected by these consequences. It is therefore relevant to wonder how the arrival of the digital world has changed the nature and functioning of mass culture. It is difficult to develop a detailed analysis of the changes that have taken place within the framework of a (necessarily short) journal article, but it is nevertheless possible to try to summarily "map" these changes. Furthermore, it is also possible to attempt to focus on the most relevant characteristics to mass culture in the current digital age. The article also attempts to consider two particularly important features of mass culture in the digital age. The first concerns the progressive lowering of the quality of the expressive aspects of languages, while the second relates to the growth of what sociologist Franois Jost (2013) called the "cult of the trivial" a few years ago. [ABSTRACT FROM AUTHOR]

As any social movement, feminism finds its reflection in the media. Media are a full-fledged institution capable of shaping public consciousness, targeting particular social groups, setting standards of mass behavior, and determining the main directions of social development. This research featured Russian news about feminism in terms of event structure. It covered news headlines published in Russian media in 2014-2021 and retrieved via the Smi2.ru media aggregator. Feminism-related headlines were automatically extracted from a dataset of 8,954 headlines. The subcorpus was analyzed in the Semograph Information System, which made it possible to classify texts, obtain frequency data on certain classes, and establish connections between them. The frequency data analysis was represented as a graphical model of the news space in the field of feminism using the SciVi visualizer. The event and thematic analyses revealed a three-level classification. The media usually informed about events where participants belonged to various social groups that protested against something, e.g., people or performances. The news informed about the actions and reactions of media people and about art sphere. The article introduces a graphical model that shows the links between event components in the headlines. It demonstrated three main areas of action in the field of feminism: art, media, and feminist movements. Each of these fields has its own core and structure. The media sphere appeared to be closed on itself; the art-related news agenda focused mostly on social matters; the field of feminist movements was associated with counteracting and involved descriptions of radical actions. When informing about feminism, the media construct an alternative reality that differs from the real issues that feminism aims at resolving.

This collaborative essay addresses COVID-19 communication, focussing on the linguistic strategies and discursive constructions that were adopted, first to cope with the unprecedented crisis scenarios of the pandemic and later to hail the post-pandemic times. It recapitulates the unfolding of COVID-19 communication from 2020 to 2022, espousing a linguistic and discursive perspective. To that purpose, it elaborates on a few keywords and key phrases that consistently identify the different pandemic and post-pandemic phases in the public domain. i.e. ‘recovery and resilience’, ‘smart’ and ‘virtual’, and the ‘new normal’, to finish with a few reflections on the challenges of legal communication faced with mounting social intolerance and the exacerbation of hate speech and xenophobia. The overview privileges the European Union and the UK, the latter launching the first mass vaccination campaign in December 2020, although with the awareness of the global nature of the phenomenon and its present repercussions. The aim of the essay is to frame the nine research articles in this issue as attempts to interpret an exceptionally difficult time span and as a form of intellectual resilience.

This paper briefly outlines the problem of the crisis of true dialogue and communication in the era of globalization, which is conditioned by lightning-fast technical-technological progress, and thus the dromological experience of reality. In the shortest terms, it indicates the neuralgic points and causes of the crisis itself and indicates its possible development in the near future. The interpretation of the term of communication by Karl Jaspers was taken as the theoretical basis of the work.

James Ivory's film adaptation of E.M. Forster's novel A Room with a View serves as a potent critique of the prevailing norms in 1980s British society. It delves into themes of individualism and cultural diversity, while also shedding light on the intricate relationship between nations and the media's role in shaping identity and civilization perceptions. Forster's works and philosophical reflections are shown to embody a profound resistance to the homogeneity, extreme chauvinism, and hegemonic imperialism that characterized British foreign policy during that period. Furthermore, this research demonstrates how Forster positioned himself as a literary activist advocating resistance against the negative aspects of globalization, using his literary creations to challenge the dominance of British culture and values. Thus, Italy is portrayed in his novels as a symbolic battleground where English identity is forged in opposition to the Italian "Other". Through Ivory's adept filmmaking, this paper highlights how English tourists in Italy exercised influence over the Italian cities while harboring biases and a sense of superiority. However, Italy also offered transformative experiences and fresh perspectives, particularly to the central character, Lucy. Her journey in Italy represents personal transformation and self-discovery, freeing her from English moral constraints and prejudices. Italy becomes a crucible for her awakening, exposing her to the beauty of the landscape, her burgeoning sensuality, and a stark reality that fosters openness and receptivity to her surroundings. This experience compels Lucy to reevaluate her societal roles and responsibilities, fostering a thirst for knowledge and empathy and ultimately leading to her newfound receptivity to diverse perspectives and cultures.

This paper analyses one of the most successful historical shows broadcasted on the Italian networks, Passato e presente. The essay focuses on how this broadcast declines historical narration and how it constructs, through the language of television, its dimension as an enunciative vector. By outlining the characteristics of its mise-en-scene and narrative, the essay demonstrates the degree of sophistication and innovation of Passato e presente in the Italian panorama, but also the persisting limitations in understanding the specificities of the audiovisual medium for the dissemination of history.

The Italian song, as a media device for restitution and re-elaboration on a formal, cultural, and social level, dedicates some space to war. After the Second World War, is privileged a dimension not more choral, but aesthetic, carried on by both by committed songwriters and by those deemed disengaged, as Claudio Baglioni. He activates different modes of media restitution of the war experience, through a mediatizing machine that represents war not as a contextual experience, but universal (filtered by the wars of the twentieth century), and the fruit of guilt of a few, but that many suffer. In songs like Ninna nanna, nanna ninna (1974), Loro sono là (1978) and, above all, Requiem (2003), the Baglionian machine refines its semiotic tools to restore emotionally the war imaginary: that's demonstrates that the songform, through its triple semiotic status, is configured in the Italian mediascape as a medialaesthetic element to avoid the presence of wars at a time when they appear distant. [ABSTRACT FROM AUTHOR]

The image displayed in the church during the funeral of Raffaella Carrà - chosen by herself and then bounced across all media - was a photograph taken on the set of a television promo directed by photographer Oliviero Toscani to advertise the 2006 variety show Amore (Raiuno), which had the goal of promoting long-distance adoptions. The now famous photo portrayed Raffaella Carrà surrounded by infant children of different ethnic groups. Previously, in 1997 Raffaella Carrà returned to star in a TV mini-series for Rai - Mamma per caso (Sergio Martino, Raiuno) - after many years from her last involvement in an acting job. In it, she played a character that resembled her actual personality: a career-driven woman, the host of a popular and mainstream daytime television talk-show, who found herself having to look after the children of her sister (Carla Signoris) who suddenly left for Spain in an attempt to win back her cheating husband (Maurizio Crozza). These two television shows represent an example of how Raffaella Carrà's relationship with motherhood has developed in the media, both in television series and variety shows, and as a topic of interest for popular press and gossip that have explored her private life. Many interviews, along the course of her career and even in recent years, often return to the theme of missed motherhood, allowing the diva to advocate social causes such as adoptions by single parents. Carrà depicts herself as an atypical mother for the role she played in the lives of the daughters of her partners and of her nephews after the death of her brother Enzo. She thus appears to be a forerunner of a narrative of motherhood as a set of experiences and exploded meanings difficult to reassemble. Raffaella Carrà's public image passed from representing a sensual and revolutionary icon in the Seventies to a strong and independent woman in the Eighties, eventually becoming a cathodic priestess of family reunifications in the Nineties. Her familiar presence on the small screen mirrored the evolution of female representation in the Italian media landscape under the lens of an extended concept of family and motherhood. However, these topics are at the centre of an often-contradictory narrative, supported over the years both by the presenter's declarations of regret and by the awareness of being able to claim a maternal role instead, even outside the traditional context, thus offering her personal experience in support of progressive causes. The story of Raffaella Carrà as it unravels on and through the Italian media therefore becomes emblematic of the contradictory drives that intersect motherhood and its representation. [ABSTRACT FROM AUTHOR]

This paper considers the 1934 experimental radio work In Linea by Livio Castiglioni and Renato Castellani. A sound-collage characterized by an abstract approach to combining music and noise, In Linea nevertheless offered listeners a clear metaphor for fascist political education. The play’s three sections move from a dark, noisy chaos, within which arises an anxious, belligerent crowd that can be calmed only by a clear, authoritative voice offering a new path forward. At the heart of In Linea is a fervent belief in the power of the authoritative radiophonic voice. This paper examines the nature of this voice on the radio, asking what it meant to represent the most controversial and powerful radio voice of all – the voice of Mussolini himself. The stakes of such a representation cannot be overstated, given that radio broadcasts of the Duce’s speeches were the primary way that most Italians listened to and engaged with their heroic leader. This paper argues that the persistent focus on Mussolini’s image has led scholars to disregard the symbolic power held by the dictator’s voice, a voice that was both magnified and transformed through its transmission over the radio.

CEL NAUKOWY: Celem artykułu jest poznanie aktualnych obszarów pasji, a także opinii na temat posiadania tychże (oceny ich ważności, przeznaczanej ilości czasu na realizowanie pasji, weryfikacji w kontekście emocjonalnym) w percepcji młodzieży. PROBLEM I METODY BADAWCZE: Problemem badawczym jest pytanie o obszary zainteresowań i pasji współczesnej młodzieży w kontekście intensywnego rozwoju oraz rozpowszechniania technologii. Badanie przeprowadzono metodą sondażu diagnostycznego na podstawie autorskiego kwestionariusza ankiety. W prezentowanym artykule analizie poddano wypowiedzi młodzieży w wieku od 18 do 26 lat, odnoszące się do własnych zainteresowań i pasji. Wykonano analizę dostępnych raportów i publikacji, jak również przeprowadzono badania własne (ankietowe). PROCES WYWODU: Zdefiniowano kluczowe dla analizy pojęcia oraz przedstawiono wyniki badań ankietowych. WYNIKI ANALIZY NAUKOWEJ: Przeprowadzona analiza wykazała nie tylko ogniskowanie zainteresowań i pasji dwóch głównych obszarów, tj. muzyki i filmu, ale także wskazała konkretne przesłanki mówiące o pozytywnym wpływie posiadania pasji na samopoczucie, a także zarysowała wyzwania związane z brakiem wystarczającej ilości czasu na realizowanie pasji czy niskim udziałem szkół w procesie rozwijania pasji. WNIOSKI, INNOWACJE, REKOMENDACJE: Przedstawione w pracy wyniki badań nie potwierdzają tezy o dominacji zainteresowań i pasji współczesnej młodzieży w obszarach związanych z nowoczesnymi Internetem czy telewizją. Wyniki badań dostarczają informacji o najpopularniejszych obszarach pasji wśród młodych ludzi, nakreślają wyzwania, jakie stoją m.in. przed palcówkami oświatowymi w kontekście pobudzania i rozwijania pasji.

Kolejny numer czasopisma, który oddajemy w Państwa ręce poświęcony został bardzo szeroko pojętej problematyce edukacji medialnej. Ciągle wzrastające znaczenie, pozycja i wpływ mediów cyfrowych na kształtowanie naszej codzienności sprawia, że kluczem do zrozumienia tej dynamicznie zmieniającej się przestrzeni staje się właśnie edukacja. Umiejętność korzystania z narzędzi i zasobów medialnych, czyli zdolność do pozyskania, analizy, oceny i tworzenia przekazów medialnych w różnych formach, stała się w ostatnich dekadach coraz bardziej złożona. Przy tak olbrzymiej liczbie informacji, które do nas docierają dzięki sieci internetowej i urządzeniom mobilnym musimy się nauczyć być skuteczni w filtrowaniu i dokonywaniu rzetelnych i trafnych ocen. Z tego względu uczenie umiejętności prawidłowego, bezpiecznego i krytycznego korzystania z mediów już od najmłodszych lat staje się bardzo ważnym elementem całego procesu edukacji.

Television is a dominant medium that can influence one’s attitude and social ideologies formation since it reflects sociolinguistic reality and maintains language ideologies and existing social stereotypes. For that reason, we can mention so-called female and male language patterns and their main characteristics, which are to a great extent associated with social power, i.e. the role that an individual has in his social community or community of practice. This paper aims to examine whether the Greek media and more specifically, the Greek TV series promote so-called male and female language patterns, as well as social stereotypes directed towards women. In this paper, we analysed the linguistic behaviour of the protagonists of the Greek series Mην αρχίζεις την μουρμούρα. Qualitative non-experimental research based on the analysis of linguistic behaviour at the level of the characters‘ lexical choice, Vaso and Charis showed that their choice of language patterns is proportional to their social or professional status. In addition, we noticed the presence of certain social stereotypes, while it is evident that the use of stereotypical-female language patterns is associated with a hierarchically lower social position.

In No Logo, Naomi Klein states: “It is not to sponsor culture but to be the culture”, referring to world-famous brands that started approaching new and experimental marketing techniques. Yet, as early as 1974, Pierre Bourdieu argued that the discourse on haute couture was already a discourse on haute culture, undoing the exquisitely philosophical prejudice that collocated fashion among small and frivolous things, unworthy of observation. This paper returns to this question through investigating the case of Gucci Aria, which used famous books of philosophy and critical theory as props. Even if this is not a novelty in the fashion world – from Miuccia Prada’s “radical chic-ism” to Martin Margiela’s deconstruction – what is new is that fashion has found itself having to study and incorporate knowledge that comes from the so-called high culture usually aimed at a niche audience of intellectuals. This is more than the attempt of lifestyle branding to address social and political movements’ vindications as part of the social corporate responsibility strategy. What is the purpose behind selling theory itself? How can this exploitation carried out by fashion brands be read as a way of popularizing high culture? Are fashion designers playing at being organic intellectuals and is conspicuous consumption finding its new goal?

The long history of mass communication theories is full of metaphors, from Shannon and Weaver’s ‘transmission channel’ to Noelle-Neumann’s ‘spiral of silence’. The objective of the chapter is to give an overview of the use of metaphors and models in mediatized communication studies. Special attention is given to the metaphors that support the representations of digital and interactive communication practices; in this context, the chapter deals with the metaphors of the Internet, the World Wide Web, and new platforms and introduces the main metaphors of media change. The chapter concludes with a series of reflections on the risks and benefits of metaphorical reasoning and includes a call for ‘metaphorical experimentation’.

Influencerstwo jest obecnie popularną formą medialnego oddziaływania, a influencerzy, jako twórcy treści medialnych, ciesząc się autorytetem i zaufaniem odbiorców, przyjmują rolę liderów cyfrowych społeczności. Coraz częściej poruszają tematy związane z religią, Bogiem, Kościołem oraz kwestiami dotyczącymi wiary i moralności katolickiej. Ta nowa forma przekazu nauki Kościoła stanowi przedmiot niniejszych analiz. Po nakreśleniu kontekstu i ukazaniu punktu wyjścia oraz przedstawieniu założeń metodologicznych opisywanych badań zaprezentowano status influencera we współczesnej nauce. Scharakteryzowano tożsamość influencera i stosowany przez niego model komunikacji. Ukazano efekty zestawienia wiedzy o influencerze z misją Kościoła, co prowadzi do odpowiedzi na pytanie, czy aktywność influencerska może być realizacją działalności ewangelizacyjnej oraz wspólnototwórczej. Wśród rezultatów i konkluzji podano definicję influencera katolickiego jako człowieka utożsamiającego się z Kościołem i gromadzącego grupę followersów nie wokół siebie, ale Chrystusa żyjącego we wspólnocie eklezjalnej. Wskazano też konkretne zadania i miejsce influencera katolickiego w strukturze kościelnej, a także nawiązano do typowej dla influencera promocji marki, która tu oznacza „markę eklezjalną”. Kościół, który chce spełnić swoją misję we współczesnym zmediatyzowanym świecie i społeczeństwie informacyjnym, to Kościół otwarty na nowe rozwiązania z obszaru nowoczesnych mediów i komunikacji, a jednocześnie nieprzyjmujący nowych trendów bezkrytycznie, lecz rozpatrujący je w ramach interdyscypinarnej eklezjologiczno-medioznawczej refleksji naukowej.

The work intends to reflect on the role of the media in communicating gender violence and how they contribute to the construction of public opinion and the collective imagination. An analysis that, between women's rights and the socio-cultural dynamics of violence contexts, analyzes the stereotypes and prejudices that permeate the communication of the phenomenon. [ABSTRACT FROM AUTHOR]

Drawing on a reflection on Islam and Muslims in Italy, and adopting a gendered perspective, the essay provides a contribution to the analysis of media representations of Islam. Examining the way Islam is represented in the press allows us to identify the permanence of colonial Orientalism in the contemporary narratives, in the forms of neo-Orientalism and Islamophobia. Through research conducted between 2020 and 2022 on the major Italian women's magazines, an attempt was made to understand how Italian Muslim women are represented and narrated in the mainstream women's press. Through the tools of critical discourse analysis, the essay interrogates the apparent intersectional approach adopted by these magazines. [ABSTRACT FROM AUTHOR]

The scientific literature on hate speech is extensive and composite: one can identify contributions that explore specific fields (legal, linguistic, ethnological, sociological, psychological, neurological, political), but also many works that combine different approaches and have the character of interdisciplinarity. By means of a wide-ranging exploration of the main scientific literature on the subject, focusing on the production - in the fields of linguistics, sociolinguistics and philosophy - of the last ten years, it was possible to see how, in all the selected examples - even when analysing "sub-themes" or specific subjects (e.g. hate speech towards homosexuals hate speech linked to genocides or the Holocaust, ethnic discrimination or violence against women) -, the premises and conclusions reached represent a step forward in terms of understanding and, consequently, limiting one of the phenomena that dramatically characterise our contemporary world and whose social effects can no longer be underestimated. [ABSTRACT FROM AUTHOR]

Taking a cause célèbre in 18th-century Naples as its starting point, Pasquale Palmieri's book takes an in-depth look at communication and at the political implications of narratives of justice. Due to the overwhelming circulation of news today, the field of communication has inspired interest among social scientists and historians in recent decades. This article reflects on media and crime in the public arena of the ancien régime. [ABSTRACT FROM AUTHOR]

The essay focuses on Don DeLillo’s novel White Noise with the aim to understand its author’s reaction to the advent of the ‘civilization of appearance’. This analysis shows how DeLillo’s view is ambivalent: despite being indeed fascinated by the coming of the new world, he is still deeply interested in real-life events that can be concretely experienced in opposition to their representations and simulations. What strikes him most is individual death, namely a problem that cannot be subsumed within the symbolic order of the new society. In a certain sense, the novel depicts a ‘return of the repressed’ built on a disturbing ‘return of reality’. The novel oscillates between a sense of tragedy and a sense of irony (if not of the ridiculous). Therefore, on one side, it testifies to the arrival of what will be called ‘postmodernity’; on another side, it criticizes postmodernity by showing how its ideologists might be silly, trivial and grotesque. [ABSTRACT FROM AUTHOR]

The Repertoire and the Reception of Tartini's (1692–1770) Music in Slovenia brings a detailed survey and an analysis of the archived sonorous material of Tartini's opus: concerts, sonatas, trio sonatas etc. The main source of the mentioned research starting-points and archives was the Sound Archive of RTV Slovenija. However, there are some additional sources, including concert programs, museums, libraries, discographies, electronic media networks, soloists, ensembles, orchestras as well as other relevant sources. On the basis of the scientific results the presence of (all) Tartini’s works at concerts, recordings and discography was established. Several comparisons were made with the analysis: what is the relation between domestic (Slovene) and foreign such presence of Tartini’s music?

Introduzione al numero monografico di Enthymema su La letteratura e la rete. Alleanze, antagonismi, strategie. .

This paper takes as its starting point the conceptual metaphor “crime is disease” as suggested by George Lakoff in order to advance a new reading of the BBC crime drama television series Sherlock (2010- ) based on Sir Arthur Conan Doyle’s Sherlock Holmes detective stories. Among over 200 film versions of Sherlock Holmes, the 2010 Masterpiece version, created by Steven Moffat and Mark Gatiss, remediated the Victorian detective stories visualising Sherlock’s deductive reasoning on screen. Defined as “flagrantly unfaithful to the original in some respects” and “wonderfully loyal to [the original]” (Sutcliffe 2010), Sherlock appears to be the perfect depiction of Holmes for our times. I intend to track through these references and look at the issues – the remediation of Victorian crime from page to screen, the metamorphosis of Holmes’s character, adapting techniques in crime scenes, etc – which they raise. But my central purpose will be to re-read Sherlock from a subtitling perspective. I will analyse the linguistics of subtitling and text-reduction shifts from a cognitive perspective in order to demonstrate that crime may be conceptualised in subtitling and that Doyle’s detective stories are reproduced faithfully by audio-visual media. Through dialogues, I suggest, subtitling may be considered as a form of deduction in audio-visual crime fiction.

The autofiction is often defined as a false biography. However, considering how the authors today are used to mediatize their selves, trying to make themselves look like their own character, we can think of autofiction as a true biography of a fictional author. In fact, analyzing the different versions of the of a single author in these kinds of novels, we can see that each has their own biography, and their proper style. Therefore, it is possible to think of them as heteronym of the author, having the same name, giving the result of a quadratic heteronomy which changes the approach that the reader should have to the text.

The essay focuses on Don DeLillo’s novel White Noise with the aim to understand its author’s reaction to the advent of the ‘civilization of appearance’. This analysis shows how DeLillo’s view is ambivalent: despite being indeed fascinated by the coming of the new world, he still is deeply interested in real-life events that can be concretely experienced in opposition to their representations and simulations. What strikes him the most is individual death, namely a problem that cannot be subsumed within the symbolic order of new society. In a certain sense, the novel depicts a ‘return of the repressed’ built on a disturbing ‘return of reality’. The novel oscillates between a sense of tragedy and a sense of irony (if not of ridiculous). Therefore, from one side, it testifies the arrival of what will be called ‘postmodernity’; from another side, it criticizes postmodernity by showing how its ideologists are silly, trivial and grotesque.