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Journal articles on the topic 'Digital genres'
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Askehave, Inger, and Anne Ellerup Nielsen. "Digital genres: a challenge to traditional genre theory." Information Technology & People 18, no. 2 (June 2005): 120–41. http://dx.doi.org/10.1108/09593840510601504.
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Maurino, Paula San Millan. "Syllabi as Cybergenre." Journal of Educational Technology Systems 34, no. 2 (December 2005): 223–40. http://dx.doi.org/10.2190/4l0m-l64m-jjra-jchj.
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Modern communication technologies continue to spawn new and transformed genres, but in the digital realm, distinctions between form, content, and medium are blurred. Confounding this issue is the fact that genres are usually specific to a particular discourse community of users with learned social and cultural expectations. In the domain of higher education, genres such as lesson plans, reading lists, and tests revolve around the creation of a course syllabus, itself a genre. As a preliminary analysis, a case study of selected syllabi from State University of New York at Farmingdale was conducted. Print syllabi for traditional classes, digital syllabi for traditional classes, and digital syllabi for online classes at the State University of New York at Farmingdale were examined using the genre theory of <content, form functionality> and a 5W1H (who, what, when, where, why, and how) communications framework. The research questions posed were: What are the similarities and differences between print syllabi genres for traditional classes, digital syllabi genres for traditional classes, and digital syllabi genres for online classes? What are some of the factors that account for the degree of uniformity in syllabi genre? Study results indicate that syllabi genres do evolve into replicated variant cybergenres with enhanced functionality, but that this does not always happen. There can be barriers to this evolution. One of those barriers is software. Other barriers may include social, cultural, power, and political issues. It also showed that closer knit communities such as full-time faculty produced more consistent, uniform syllabi genres than isolated adjuncts.
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Mason, C. "Digital documentation of oral discourse genres." Literary and Linguistic Computing 25, no. 3 (April 14, 2010): 321–36. http://dx.doi.org/10.1093/llc/fqq008.
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Britto, Flávia Thaís Alves, and Williany Miranda Da Silva. "Videorresenhas em ambiente digital." Texto Livre: Linguagem e Tecnologia 12, no. 2 (July 15, 2019): 1–29. http://dx.doi.org/10.17851/1983-3652.12.2.1-29.
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RESUMO: As diversificadas formas de interatividade conferidas às redes sociais no ambiente digital têm proporcionado a proliferação de uma variedade de textos cada vez mais híbridos em suas semioses. Muitos deles fruto de uma nova roupagem que os gêneros assumem com novas estruturas e funções, dando origem a novos gêneros. Haja vista esse contexto, o presente estudo tem por objeto de investigação a videorresenha, gênero que se assemelha à resenha, porém apresenta características multimodais que modificam seus aspectos estruturais e funcionais. Assim, objetivamos reconhecer o gênero videorresenha, identificando-o a partir de uma descrição estrutural e funcional em canais do YouTube.PALAVRAS-CHAVE: videorresenha; ambiente Digital; YouTube. ABSTRACT: The diverse forms of interaction granted to the social networks in the digital environment have provided a spread of a variety of increasingly hybrid texts in their semioses. Many of them result from a new guise that the genres assume with new structures and functions giving rise to new genres. Considering this context, this study has as its investigation object the video review, a genre that resembles the review, but contains multimodal characteristics that modify its structural and functional aspects. Thus, we aim at recognizing the video review genre, identifying it from a structural and functional description, especially on YouTube channels.KEYWORDS: video review; digital environment; YouTube.
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Jensen, Klaus Bruhn. "Meta-media and meta-communication - Revisiting the concept of genre in the digital media environment." MedieKultur: Journal of media and communication research 27, no. 51 (August 3, 2011): 14. http://dx.doi.org/10.7146/mediekultur.v27i51.4032.
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<p>As analytical categories, genres have traditionally occupied a middle ground – between media as technologies and institutions, on the one hand, and discourses as material and modal forms of expression and interaction, on the other. With digitalization, the very concept of genre is in doubt: is the world wide web, Facebook, or the writing on its walls the genre? This article situat es genre in relation to the concepts of meta-media and meta-communication. First, I characterize the computer and the internet as metamedia, incorporating previous genres of embodied communication as well as mass communication. Second, I describe genres as a variety of meta-communication, which serves to configure communication in the first place. In conclusion, I discuss whether and how a category of meta-genres might help to account for some distinctive features of the digital media environment.</p>
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Gregersen, Andreas. "Genre, technology and embodied interaction: The evolution of digital game genres and motion gaming." MedieKultur: Journal of media and communication research 27, no. 51 (November 15, 2011): 16. http://dx.doi.org/10.7146/mediekultur.v27i51.4084.
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<p>Technology has been given relatively little attention in genre theory, but this article argues that material technologies can be important components in genre development. The argument is based on a historically informed analysis of digital games, with special attention paid to home console video games and recent genre developments within this domain commonly referred to as motion gaming. The main point is that digital game genres imply structured embodied activity. A constitutive element of digital game mediation is a control interface geared to player embodiment, and I propose the concept of ‘interaction modes’ to describe the coupling of technology and player embodiment and show how this can be integrated with genre theory. The resulting framework allows for increased attention to continuity and change in game and communication genres, material and digital technologies, and the related interaction modes.</p>
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Finnemann, Niels Ole. "Hypertext configurations: Genres in networked digital media." Journal of the Association for Information Science and Technology 68, no. 4 (June 3, 2016): 845–54. http://dx.doi.org/10.1002/asi.23709.
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Tamatjita, Nurmiyati, and Agus Harjoko. "Klasifikasi Lagu Berdasarkan Genre pada Format WAV." IJCCS (Indonesian Journal of Computing and Cybernetics Systems) 10, no. 1 (July 31, 2014): 145. http://dx.doi.org/10.22146/ijccs.6542.
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AbstrakDalam dunia yang berkembang pesat, media audio semakin komplek. Karena itulah diperlukan sebuah mekanisme penentuan jenis lagu (genre) yang tepat secara efektif dan efisien. Pencarian secara manual sudah tidak efektif dan efisien lagi karena banyaknya data yang tersimpan. Zero Crossing Rate (ZCR), Average Energy (E) dan Silent Ratio (SR) adalah 3 Feature Extraction yang digunakan untuk klasifikasi pencarian 12 genre.Tiga dimensi adalah bentuk visualisasi pengukuran tingkat kemiripan sebuah data berdasarkan hasil klasifikasi yang diinput oleh user. Dalam penelitian ini pengujian klasifikasi menggunakan metode 3, 6, 9 dan 12 genre melalui jarak terdekat (Euclidean Distance). Hasil pengujian yaitu menunjukkan bahwa 3 genre yaitu Balada, Blues dan Classic menunjukkan = 96,67%, 6 genre yaitu Balada, Blues, Classic, Harmony, Hip Jop dan Jazz menunjukkan = 70% dan 9 genre yaitu Balada, Blues, Classic, Harmony, Hip Hop, Jazz, Keroncong, Latin dan Pop menunjukkan = 53,33% serta 12 genre = 33,33% Kata Kunci— Zero Crossing Rate (ZCR), Average Energy (E), Silent Ratio (SR), Euclidean Distance Abstract Music genre is getting complex from time to time. As the size of digital media grows along with amount of data, manual search of digital audio files according to its genre is considered impractical and inefficient; therefore a classification mechanism is needed to improve searching. Zero Crossing Rate (ZCR), Average Energy (E) and Silent Ratio (SR) are a few of features that can be extracted from digital audio files to classify its genre. This research conducted to classify digital audio (songs) into 12 genres: Ballad, Blues, Classic, Harmony, Hip Hop, Jazz, Keroncong, Latin, Pop, Electronic, Reggae and Rock using above mentioned features, extracted from WAV audio files. Classification is performed several times using selected 3, 6, 9 and 12 genres respectively. The result shows that classification of 3 music genres (Ballad, Blues, Classic) has the highest accuracy (96.67%), followed by 6 genres (Ballad, Blues, Classic, Harmony, Hip Hop, Jazz) with 70%, and 9 genres (Ballad, Blues, Classic, Harmony, Hip Hop, Jazz, Keroncong, Latin, Pop) with 53.33% accuracy. Classification of all 12 music genres yields the lowest accuracy of 33.33%. Keywords— Zero Crossing Rate (ZCR), Average Energy (E), Silent Ratio (SR), Euclidean Distance
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Dževerdanović Pejović, Milena. "Learning technical genres – a blended learning approach." Pomorstvo 34, no. 2 (December 21, 2020): 212–22. http://dx.doi.org/10.31217/p.34.2.2.
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Research studies dedicated to the application of blended learning in modern linguistics are on the rise. With the interdisciplinary nature of science and curricula, researchers are combining traditional methods with contemporary digital sources and text processing tools. Regardless of the many methods and approaches recommended, there is no set methodology widely proven to be successful, due to different student profiles, language competences and the learning environment. This paper presents the results of the blended learning approach taken at the University of Montenegro’s Faculty of Maritime Studies in Kotor. The traditional teaching approach has been combined with genre and discourse knowledge, with the support of digital and internet tools. The goal of the research is to demonstrate that students of the English for Specific Purposes (ESP) course may benefit from genre- and linguistics-based knowledge applied in the technical and digital environment. Moreover, it is argued that a corpus- and genre-based approach to teaching professional genres provides an opportunity to enrich ESP classes. This approach has primarily proved to be beneficial in teaching technical and engineering genres. Language precision is the essence of effective language competence.
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Liu, Tingting. "Video Games as Dating Platforms: Exploring Digital Intimacies through a Chinese Online Dancing Video Game." Television & New Media 20, no. 1 (November 1, 2017): 36–55. http://dx.doi.org/10.1177/1527476417736614.
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In the relatively young field of new media studies, both video games and online dating platforms are identified as being important and popular genres of digital products, which are often discussed separately. This article argues that these two genres of digital products are not so much separate but entangled elements of the same processes of technological shifts in media industry, development of people’s online leisure activities, and the convergence of digital genres. To provide empirical evidence, this article examines a Chinese dancing video game, QQ Dazzling Dance (QQ Xuan Wu), which creatively juxtaposes these two genres of participatory digital culture and recognizes the analytical and critical values in doing so.
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Gumkowska, Anna, and Piotr Toczyski. "Global digital genre-communication forms in the process of flow to local Polish memosphere: the case of Facebook art memes." Studies in Global Ethics and Global Education 5 (August 25, 2016): 39–71. http://dx.doi.org/10.5604/23920890.1215489.
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We analysed the mechanisms generating specific genres in the digital network and described the phenomena which result in shaping new forms of modern communication genres. New digital genre-communication forms are exemplified by Facebook “art memes”, which should be studied from two perspectives: literary research and social studies. The art of painting remediated in digital forms of so-called “memes” illustrates the global flow from the Western centre to the Eastern semi-peripheries of digitalizing Euro-Atlantic civilization. We applied analytical framework consisting of six criteria: sender, recipient, message, code, context and contact. Our conclusion is that the process of global-local flow, as exemplified by Facebook art memes, results in local enrichment of the global medium and content.
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Wu, Min Lun. "Making Sense of Digital Game-Based Learning: A Learning Theory-Based Typology Useful for Teachers." Journal of Studies in Education 8, no. 4 (September 27, 2018): 1. http://dx.doi.org/10.5296/jse.v8i4.13022.
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Digital game-based learning (DGBL) has gained traction on various educational levels in recent years as educators continue to seek best practices and researchers keep conducting studies to investigate the affordances and constraints of such technology-mediated instruction. This paper discusses the intersections between the historical development of educational digital games and contemporary theories of learning. Resultant from the review, a typology of educational digital games consisting of four genres -- edutainment and educational game applications, serious games, commercial off the shelf and massive multiplayer online role-playing games, and educational game design tools--is devised to help teachers interested in digital games better understand the pedagogical processes and cope with challenges involved in implementing DGBL. The paper concludes with the importance that the implementation of different genres of educational digital games in instruction entails teachers’ usage of different pedagogical strategies in accordance with the chosen game genre and opportunities to teach subject area content.
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Chaves Pinheiro, Luciana. "Gêneros orais e normas linguísticas: análise de uma proposta de ensino no contexto digital." Texto Livre: Linguagem e Tecnologia 12, no. 2 (July 22, 2019): 47–61. http://dx.doi.org/10.17851/1983-3652.12.2.47-61.
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RESUMO: Em função da necessidade constante de análise e discussão das práticas que envolvem o processo de ensino e aprendizagem da oralidade e dos gêneros orais em materiais didáticos de Língua Portuguesa, neste artigo procura-se analisar um material didático digital (MDD) em suporte DVD, parte integrante da coleção (versão professor) “Português Linguagens”, de William Roberto Cereja e Thereza Cochar Magalhães, que apresenta uma proposta de ensino com 14 gêneros orais. O foco será um dos aspectos dos gêneros tratado pelos autores: a adequação da linguagem à situação de produção. Nesse caso, evidencia-se a adequação ou não do uso dos termos norma-padrão e norma culta, tendo em vista o espaço discursivo, em que interlocutores, situação e contexto se encontram. Além disso, a partir dos gêneros selecionados na ferramenta digital, discute-se diferenças terminológicas e/ou conceituais de gênero discursivo e tipo de texto, como também a distinção entre gênero oral e oralização de texto escrito. O aporte teórico é constituído, especialmente, por Bakhtin (1997), Bonini (2011), Marcuschi (2008, 2010, 2011), Travaglia (2017), Faraco e Zilles (2017), Bagno (2002) e pelos Parâmetros Curriculares Nacionais (BRASIL, 1998). Os resultados revelam que o material digital analisado, apesar de apresentar a possibilidade de explorar diversos gêneros autenticamente orais, apresenta equívocos quanto à utilização de conceitos e terminologia, como norma-padrão e norma culta, e limitações, considerando os posicionamentos teóricos apresentados neste trabalho, quanto à abordagem do ensino dos gêneros orais.
PALAVRAS-CHAVE: gêneros orais; norma linguística; material didático digital.
ABSTRACT: Due to the constant need for analysis and discussion of practices involving teaching and learning process of orality and oral genres in didactic material of Portuguese Language, in this article we analyse a digital didactic material in DVD support, an integral part of the collection (teacher’s version) "Português Linguagens", written by William Roberto Cereja and Thereza Cochar Magalhães, which presents a teaching proposal with 14 oral genres. The focus is one of the aspects of the genres treated by the authors: the adequacy of the language to the context of production. In this case, the adequacy or not of the use of the terms standard-norm and culture-standard is evident, in view of the discursive space, where interlocutors, situation and context take place. In addition, from the selected genres in the digital tool, terminological and/or conceptual differences of discursive genre and type of text are discussed, as well as the distinction between oral genres and oralization of written text. The theoretical contribution is made by Bakhtin (1997), Bonini (2011), Marcuschi (2008, 2010, 2011), Travaglia (2017), Faraco and Zilles (2017), Bagno (2002) and the Parâmetros Curriculares Nacionais (BRASIL, 1998). The results show that the digital material analysed, despite presenting the possibility of exploring several authentically oral genres, presents misunderstandings regarding the use of concepts and terminology, as standard norm and cultured norm, and limitations, considering the theoretical positions presented in this paper, concerning the approach of teaching oral genres.
KEYWORDS: oral genres; language norm; digital didactic material.
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Poliakova, T. L., and V. V. Samarina. "Traditional and digital genres – problems and prospects of research." Science and Education a New Dimension VII(191), no. 57 (February 20, 2019): 40–43. http://dx.doi.org/10.31174/send-ph2019-191vii57-09.
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POZHARYTSKA, Olena. "Generative poetry and remixed poetry as digital poetry genres." Humanities science current issues 4, no. 35 (2021): 145–54. http://dx.doi.org/10.24919/2308-4863/35-4-21.
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Torjesen, Aleksander. "The genre repertoires of Norwegian beauty and lifestyle influencers on YouTube." Nordicom Review 42, no. 2 (July 1, 2021): 168–84. http://dx.doi.org/10.2478/nor-2021-0036.
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Abstract YouTube represents an increasingly popular cultural phenomenon in the contemporary Norwegian media landscape. Since the inception of the digital video platform over 15 years ago, personal videoblogging has emerged as one of its dominant types of user-generated content. In this article, I draw from New Rhetoric genre theory and netnographic approaches to explore the beauty and lifestyle sphere on YouTube, in which several emergent genres are situated within a new media ecosystem. Through a qualitative content analysis of seven established Norwegian YouTube channels, a total of 17 individual genres were identified. Furthermore, I elaborate upon how informational, instructional, and confessional communicative functions are utilised in audiovisual publications through conventionalised digital media production practices.
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Gutierrez, Alessandra Pires, and Letícia Jovelina Storto. "Gêneros Textuais Digitais em Livros Didáticos de Espanhol." Revista de Ensino, Educação e Ciências Humanas 19, no. 1 (April 18, 2018): 44. http://dx.doi.org/10.17921/2447-8733.2018v19n1p44-51.
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Este estudo analisa as duas coleções de livros didáticos de língua espanhola voltadas ao Ensino Médio indicadas pelo Plano Nacional do Livro Didático. O objetivo foi identifcar se os livros abordam os gêneros digitais e, se sim, de que maneira eles são trabalhados. Para embasar a investigação foram utilizados vários teóricos que discutem os conceitos de gêneros textuais/digitais e de letramento digital, entre eles Mikhail Bakhtin, Luiz Antônio Marcuschi, Antônio Carlos dos Santos Xavier e outros. Após a elaboração da fundamentação teórica, são feitas análises quantitativas e descritivas das coleções escolhidas. A quantitativa consiste em observar a incidência dos gêneros nos livros das coleções, e as descritivas buscam evidenciar as principais características dos gêneros digitais encontrados na coleção Enlaces, a partir de vários estudiosos dos gêneros discursivos e comparar com a maneira que são propostos nos livros. Ficou claro que a abordagem dos gêneros digitais ainda é recente e alguns livros não os mencionam. Quando isso é feito, abordam de maneira descontextualizada. Porém, observou-se um avanço em relação ao trabalho com os chamados gêneros tradicionais, pois todos os volumes buscam discuti-los quanto à composição, à temática, ao estilo e às condições de produção e circulação.Palavras-chave: Gêneros Digitais. Gêneros Textuais. Letramento Digital.AbstractThis study analyzes the two collections of Spanish-language textbooks directed to high school indicated by PNLD 2015. It aims at identifying whether the books approach digital genres and, if so, how they are applied. In order to support the research, several theoretical frameworks were used to discuss the concepts of textual / digital genres and digital literacy, among them Mikhail Bakhtin, Luiz Antônio Marcuschi, AntônioCarlos dos Santos Xavier and others. After the elaboration of the theoretical basis, it is made a quantitative and descriptive analysis of the chosen collections. The quantitative approach consists of observing the incidence of the genres in the books, and the descriptive ones aim at evidencing the main characteristics of the digital genres found in the Enlaces collection, from several scholars of the discursive genres and compare with the way they are proposed in the books. It has become clear that the approach of digital genres is still recent and some books do not mention them. When this is done, they approach them in a decontextualized way. However, an advance was observed in relation to the work with the socalled traditional genres, since all volumes seek to discuss them as to composition, theme, style and conditions of production and circulation.Keywords: Digital Genres. Textual Genres. Digital Literacy.
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Dillon, Andrew, and Barbara A. Gushrowski. "Genres and the WEB: Is the personal home page the first uniquely digital genre?" Journal of the American Society for Information Science 51, no. 2 (2000): 202–5. http://dx.doi.org/10.1002/(sici)1097-4571(2000)51:2<202::aid-asi11>3.0.co;2-r.
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Taylor, Claire. "Entre "Born Digital" y herencia literaria: el diálogo entre formatos literarios y tecnología digital en la poética electrónica hispanoamericana." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 27 (January 3, 2017): 79. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017271541.
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Este artículo propone analizar la poética electrónica en un contexto latinoamericano y dentro de una tradición literaria hispánica. El artículo parte de la hipótesis de que los nuevos géneros ciberliterarios existen en constante diálogo con una tradición arraigada de experimentación literaria en América Latina: varios de los géneros ciberliterarios emergentes, tales como la poesía-twitter, la novela-hipertexto, o el blog literario, dialogan con movimientos literarios precursores como la poesía concretista, los caligramas, el testimonio, la crónica, y muchos otros. El artículo ofrece un análisis comparativo de dos obras de poética electrónica hispanoamericana que dialogan con movimientos literarios precursores. Se enfoca en particular en la obra colaborativa Women: Memory of Repression in Argentina (2003) y en Radikal Karaoke de Belén Gache (2011), y propone entender estas obras como parte de un continuum de posibles negociaciones entre tecnologías digitales y géneros literarios establecidos. This article aims to analyse electronic poetry in a Latin American context, and as part of a Hispanic literary tradition. The article starts off from the premise that new digital literary genres exist in a constant dialogue with a long-standing tradition of literary experimentation in Latin America. It argues that many of the emerging digital literary genres, such as twitter-poetry, hypertext novels, or literary blogs, dialogue with prior literary movements or genres such as concrete poetry, caligrammes, testimonios, crónicas, and much more. Within this context, the article offers a comparative analysis of two works of electronic poetry from Latin American which dialogue with prior literary movements. It focuses in particular on the collective piece, Women: Memory of Repression in Argentina (2003) and Radikal Karaoke by Belén Gache, and aims to understand both of these works as on a continuum of possible negotiations between digital technologies and established literary genres.
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Uchôa, José Mauro Souza, and Aline Kieling Juliano Honorato Santos. "O SCRATCH e suas possibilidades pedagógicas no ensino de língua inglesa pela abordagem dos gêneros do discurso." Cadernos de Educação Tecnologia e Sociedade 11, no. 4 (December 29, 2018): 554. http://dx.doi.org/10.14571/brajets.v11.n4.554-563.
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Language permeates all fields of human activity. Its use can be observed in the most ancient symbolic manifestations. With the rise of information and communication technologies, new language practices are experienced. They are types of statements organized by genres of discourse that have configurations according to the supports and the different fields of human activity. From a conception of language such as social practice and the notion of genre of Bakhtin’s circle, this article aims to present the multimodal elements that constitute Scratch, a digital tool used in the programming of narratives, games and multimedia animations, evidencing their pedagogical possibilities in the field of language teaching. For this, it dialogues with theoretical and methodological assumptions that guide the didactic modeling from genres as instruments of teaching, able to promote the development of action and linguistic-discursive capacities. The adoption of Scratch as a pedagogical resource motivates the authorship of content in digital environments and allows the development of digital literacy through language in practices.
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Xia, Sichen Ada, and Christoph A. Hafner. "Engaging the online audience in the digital era: A multimodal analysis of engagement strategies in TED talk videos." Ibérica, no. 42 (December 31, 2021): 33–58. http://dx.doi.org/10.17398/2340-2784.42.33.
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Scientific popularization genres have attracted the attention of researchers in esp. Authors of such genres have been found to employ a variety of strategies to engage the readers. However, most studies of engagement in scientific popularization tend to focus on written genres. For this reason, they have mostly examined only the linguistic mode and rarely gone beyond this to take multimodal resources into consideration. the present study investigates how multimodal semiotic resources are combined in digital media to engage the online audience in an influential online scientific popularization genre, that is, TED talks. drawing on a corpus of 28 highly viewed TED talks from the area of biology, this study provides an in-depth analysis of multimodal engagement strategies in one of those talks. the analysis shows that the engagement of online viewers in a digitally mediated scientific popularization genre like TED talks tends to be achieved by the combination of multiple semiotic resources afforded by digital technologies, such as speech, gestures, gaze, visuals, distance of shot, perspective of shot and angle of shot. the study also reveals five strategic multimodal configurations employed to achieve viewer engagement, with the focus variously on engagement through visual aids, a long shot, gaze, questions and reference to personal emotions.
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Hu, Yifeng, and Gabriela Mogos. "Music genres classification by deep learning." Indonesian Journal of Electrical Engineering and Computer Science 25, no. 2 (February 1, 2022): 1186. http://dx.doi.org/10.11591/ijeecs.v25.i2.pp1186-1198.
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<p>Since musical genre is one of the most common ways used by people for managing digital music databases, music-genre-classification is a crucial task. There are many scenarios for its use, and the main one explored here is eventually being placed on Spotify, or Netease music, as an external component to recommend songs to users. This paper provides various deep neural networks developed based on python, together with the effect of these models on music genres classification. In addition, the paper illustrates the technologies for audio feature extraction in industrial environment by mel frequency cepstral coefficients (MFCC), audio data augmentation in</p>
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Pereira, Daniervelin Renata Marques. "O estilo do gênero blog educacional (The blog gender educational style)." Estudos da Língua(gem) 13, no. 2 (December 30, 2015): 91. http://dx.doi.org/10.22481/el.v13i2.1303.
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Com o objetivo de avançar na definição do estilo dos gêneros digitais na educação, continuamos nossa pesquisa – iniciada com a análise dos chats e fóruns – no estudo do gênero blog, muito utilizado também em contextos de ensino-aprendizagem. As análises são feitas pelo viés da teoria Semiótica Francesa, aliada à teoria dos gêneros de Bakhtin (2010) e aos estudos sobre o estilo (DISCINI, 2004). Compreendemos, nesse estudo de práticas educativas, os mecanismos de produção de sentido vinculados a ajustamentos sensíveis necessários à adaptação dos sujeitos ao mundo digital. No recorte de três blogs de interações realizadas em 2014, propomos uma análise do estilo do gênero blog.PALAVRAS-CHAVE: Blogs. Gêneros digitais. Práticas Educativas. Semiótica Discursiva. Estilo.
ABSTRACTIn order to advance in the digital genres in education style definition, we continue our research – which began with the analysis of chats and forums – In the study of genre blog, widely used also in teaching and learning contexts. We do analyses by the bias of the French Semiotics theory, combined with genre theory of Bakhtin (2010) and studies on the style (DISCINI, 2004). We understand, in this study of educational practices, meaning production mechanisms linked to sensitive adjustments necessary to adapt the subject to the digital world. In cut three blogs of interactions carried out in 2014, we propose an analysis of the blog genre style.KEYWORDS: Blogs. Digital genres. Educational Practices. Discourse Semiotics. Style.
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Omar, Abdulfattah. "Classifying literary genres." Texto Livre: Linguagem e Tecnologia 13, no. 2 (July 24, 2020): 83–101. http://dx.doi.org/10.35699/1983-3652.2020.24396.
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Classifying literary genres has always been methodologically confined to philological methods and what is commonly known as Vector Space Clustering (VSC). The problem has been exasperated with the widening gap between computational theory and traditional analysis of literary texts. Towards finding a solution to this problem, the current study utilizes a synergetic approach that brings together two established methods. First, a computational model of genre classification is drawn upon for identifying concept-based, rather than word-bound, topics, where the representation of texts is secured via the ‘bag of concepts’ (BOC) model as well as the sense-restricted knowledge and meaningful links holding between and among concepts; relatedly, the two model strands of explicit semantic analysis (ESA) and ConceptNet have enacted text classification. Second, a contextual lexical semantic approach (CRUSE, 1986, 2000) is employed so that the contextual variability of word meanings and concepts can be tackled within the confines of the target literary genres classified. The findings of present study have shown that the current composite approach of computational and semantic models has resulted in improved performance in classifying literary genres, especially with respect to delineating the links between each cluster’s document-members and generalizing about their unifying genre. Further implications have emerged from the present study, namely, the benefits reserved for digital libraries and the process of archiving, where literary-text classification has proven problematic to both users and readers in many cases.
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Taylor, Claire. "From the Baroque to Twitter: Tracing the Literary Heritage of Digital Genres." Comparative Critical Studies 13, no. 3 (October 2016): 307–29. http://dx.doi.org/10.3366/ccs.2016.0208.
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This article explores contemporary digital literary genres and the complex negotiations they undertake with earlier moments of literary experimentation. Exploring digital literary genres as works on a continuum, the article addresses in particular the ways in which authors of digital works in the Hispanic world speak back to rich Hispanic tradition of literary experimentation. In order to do so, the article takes three case studies from different countries: firstly, the hypermedia novela negra of Colombian author Jaime Alejandro Rodríguez; secondly, the blog aphorisms of US-Salvadoran artist and writer Eduardo Navas; and the electronic poetry of Spanish-Argentine author Belén Gache. The article traces their response to prior literary experimentation, and their engagement – often critical – with the discourses of contemporary digital technologies. In their different ways, these three authors make sustained intertextual references to prior generations of literary experimentation at the same time as making frequent metatextual references to the process of their works’ own (digital) creation. The article argues that, in so doing, their overt references to digital technologies themselves often play with, and yet question or thwart, key notions of interactive literature.
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Luzón, María José. "Connecting Genres and Languages in Online Scholarly Communication: An Analysis of Research Group Blogs." Written Communication 34, no. 4 (September 12, 2017): 441–71. http://dx.doi.org/10.1177/0741088317726298.
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Blogs provide an open space for scholars to share information, communicate about their research, and reach a diversified audience. Posts in academic blogs are usually hybrid texts where various genres are connected and recontextualized; yet little research has examined how these genres function together to support scholars’ activity. The purpose of this article is to analyze how the affordances of new media enable the integration of different genres and different languages in research group blogs written by multilingual scholars and to explore how various genres are coordinated in these blogs to accomplish specific tasks. The study reported in this article shows that the functionalities of the digital medium allow research groups to incorporate myriad genres into their genre ecology and interconnect these genres in opportunistic ways to accomplish complex objectives: specifically, to publicize the group’s research and activities, make the work of the group members available to the disciplinary community, strengthen social links within their community and connect with the interested public, and raise social awareness. Findings from this study provide insights into the ways in which scholars write networked, multimedia, multigenre texts to support the group’s social and work activity.
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Zavadskaya, Anastasiya. "Epatage as a Characteristic Feature of Digital Media." Scientific Research and Development. Modern Communication Studies 10, no. 2 (April 20, 2021): 87–92. http://dx.doi.org/10.12737/2587-9103-2021-10-2-87-92.
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The article discusses the features of modern digital communication, which the author understands as social interaction of communicants aimed at informing the addressee and influencing him/her. Digital media genres have a set of features that allow them to be distinguished from many other media genres (intertextuality, hypertextuality, creolization). Competing with each other, the creators of digital texts try to make their texts more vivid, interesting, and memorable. It is for this purpose that many of them turn to such a phenomenon as outrage. After analyzing the texts of digital media (tweet reports, instagram texts and texts posted on the social network Facebook), the author concludes about the ways to create epatage at the lexical level. They included the use of reduced vocabulary, the use of words in a figurative meaning that is not fixed by explanatory dictionaries, the use of occasional and emotive vocabulary.
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Conway, Steven. "Hyper-Ludicity, Contra-Ludicity, and the Digital Game." Eludamos: Journal for Computer Game Culture 4, no. 2 (November 4, 2010): 135–47. http://dx.doi.org/10.7557/23.6040.
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This article identifies and interrogates a primary design principle that exists across digital game genres and formats, articulated as ludicity. The article uses specific examples across videogame genres to communicate a spectrum of ludicity with two opposing poles, hyper-ludicity and contra-ludicity. Hyper-ludicity describes instances where the game mechanics inflate, expand, or enable the player to perform actions either beyond their usual effectance, providing a sense of empowerment, or provide new actions previously outside the boundaries of the game mechanics. Contra-ludicity is the opposing principle, where the game mechanics deflate, contract, or disempower the player, where tried and tested mechanics become less effective or have no effect at all, and in some instances where entire mechanics are wholly removed from the system. Though this would seem contrary to the pleasure of play, this article investigates how this design principle also maintains its own form of pleasure.
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Norowi, N. M., S. Doraisamy, and R. Wirza. "TRADITIONAL MALAYSIAN MUSICAL GENRES CLASSIFICATION BASED ON THE ANALYSIS OF BEAT FEATURE IN AUDIO." Journal of IT in Asia 2, no. 1 (April 26, 2016): 95–109. http://dx.doi.org/10.33736/jita.57.2007.
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Interest on automated genre classification systems is growing following the increase in the number of musical digital data collections. Many of these systems have been researched and developed to classify Western musical genres such as pop, rock or classical. However, adapting these systems for the classification of Traditional Malay Musical (TMM) genres which includes Gamelan, Inang and Zapin, is difficult due to the differences in musical structures and modes. This study investigates the effects of various factors and audio feature set combinations towards the classification of TMM genres. Results from experiments conducted in several phases show that factors such as dataset size, track length and location¸ together with various combinations of audio feature sets comprising Short Time Fourier Transform (STFT), Mel-Frequency Cepstral Coefficients (MFCCs) and Beat Features affect classification. Based on parameters optimized for TMM genres, classification performances were evaluated against three groups of human subjects: experts, trained and untrained. Performances of both machine and human were shown to be comparable.
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Meier-Vieracker, Simon. "Wutreden und andere invektive Gattungen zwischen Rekonstruktion und Aneignung." Kulturwissenschaftliche Zeitschrift 6, no. 1 (December 1, 2021): 63–78. http://dx.doi.org/10.2478/kwg-2021-0012.
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Abstract This paper deals with ‘Wutreden’ (rants) as an invective genre in digital media. It is argued that the generic aspects of rants are not due to the formal and functional features of the speech events alone, but should be described as the result of the practices of doing genre. Digital media with its affordances to recontextualization and serialization allow to reframe disparate speech events as instances of one generic scheme. As a result, the emerging concept of rants as a genre enables the production of new instances. In order to grasp this genre in the making, a discursive concept of genre is needed, which then can also be applied to other invective genres such as shitstorms and hate facts.
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Volkova, Yana A. "Transformations of Eastern Orthodox Religious Discourse in Digital Society." Religions 12, no. 2 (February 22, 2021): 143. http://dx.doi.org/10.3390/rel12020143.
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Digital technologies have exerted a profound influence on every aspect of human life including religion. Religious discourse, like no other type of social-communicative interaction, responds to the slightest shifts in the concepts of life, identity, time, and space caused by digitalization. The purpose of this study was to reveal the digitalization-associated transformations that have taken place in the eastern orthodox religious discourse over more than quarter of a century. This discussion focuses on the attitude of the Russian Orthodox Church towards digital technologies as reflected in the interviews of its official spokespeople. On the basis of extensive empirical material, it is shown that two major factors determine new tendencies in eastern orthodox religious discourse: the necessity to adapt to modern digital environment and benefit from organizing the internet space in order to influence large numbers of “digitally educated” non-religious people, and, at the same time, a distrust of these new digital technologies. The study is based on the theory of discourse, with discourse analysis being the main research method along with the descriptive analytical method. The article also analyzed the changes in traditional genres of eastern orthodox religious discourse (the sermon), as well as the rapid development of new religious discourse genres (the commented liturgy and call-in show) and para-religious discourse genres. It is concluded that with the help of digital technologies, religious discourse penetrates into everyday life of people, regardless of their social status and religious affiliation, eliminating the borderline between the church and society in modern Russia.
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Blaagaard, Bolette, Mette Mortensen, and Christina Neumayer. "Digital images and globalized conflict." Media, Culture & Society 39, no. 8 (August 25, 2017): 1111–21. http://dx.doi.org/10.1177/0163443717725573.
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As the number of digital images of globalized conflicts online grow, critical examination of their impact and consequence is timely. This editorial provides an overview of digital images and globalized conflict as a field of study by discussing regimes of visibility and invisibility, proximity and distance, and the multiplicity of images. It engages critically with these interlinking themes as they are addressed in the contributing articles to the Special Issue as well as beyond, asking how genres and tropes are reproduced, how power plays a role in access to images, and how the sheer quantity of conflict-related images raise issues of knowledge production and research.
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Balanzategui, Jessica. "Creepypasta, ‘Candle Cove’, and the digital gothic." Journal of Visual Culture 18, no. 2 (August 2019): 187–208. http://dx.doi.org/10.1177/1470412919841018.
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Throughout the past decade, a multimodal type of internet storytelling has developed that extends upon the early Web 2.0 viral narrative practices of chain emails as well as pre-digital folkloric storytelling traditions such as the ghost story and urban legend. This popular mode of digital storytelling, known broadly as ‘Creepypasta’, is produced and consumed according to folkloric practices that in turn shape its form and aesthetics. The author suggests that a precise genre has emerged out of the originally wide-ranging terrain of Creepypasta, a generic mode constituted of specific thematic preoccupations and aesthetics that she refers to as ‘the digital gothic’. Through analysis of the foundational story ‘Candle Cove’, the article outlines the digital gothic’s anxious preoccupation with dead and residual media, and with the interface between technological and personal change. She demonstrates how ‘Candle Cove’ deconstructs nostalgia in its tense negotiation of the relationship between analogue and digital cultures. The author’s analysis thus illuminates how vernacular online genres such as the digital gothic productively work through the aesthetic and conceptual tensions underpinning technological change in the networked digital era.
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Hartley, Jannie Møller. "‘It’s Something Posh People Do’: Digital Distinction in Young People’s Cross-Media News Engagement." Media and Communication 6, no. 2 (May 25, 2018): 46–55. http://dx.doi.org/10.17645/mac.v6i2.1322.
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In this article, I analyse digital distinction mechanisms in young people’s cross media engagement with news. Using a combination of open online diaries and qualitative interviews with young Danes aged 15 to 18 who differ in social background and education, and with Bourdieu’s field theory as an analytical framework, the article investigates how cultural capital (CC) operates in specific tastes and distastes for news genres, platforms and providers. The article argues that distinction mechanism not only works on the level of news providers and news genres but also on the level of engagement practices—the ways in which people enact and describe their own news engagement practices. Among those rich in CC, physical, analogue objects in the form of newspapers and physical conversations about news are seen as ‘better’ that digital ones, resulting in a feeling of guilt when they mostly engage with news on social media. Secondly, young people with lower CC discard legacy news, which they see as elitist and irrelevant. Thirdly, those rich in CC are media and news genre savvy in the sense that it makes them able to critically evaluate the news they engage with across platforms and sites.
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Aranha, Simone Dália de Gusmão, and Olivia Rodrigues Borborema. "A interatividade na poesia digital: palavra, imagem e som em movimento / Interactivity in digital poetry: word, image and sound in movement." Texto Livre: Linguagem e Tecnologia 9, no. 2 (December 9, 2016): 46–63. http://dx.doi.org/10.17851/1983-3652.9.2.46-63.
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RESUMO:A partir de um processo natural, os gêneros discursivos acompanham os diversos usos da linguagem nas esferas sociais. Em se tratando do ambiente virtual, percebe-se, cada vez mais, o surgimento de novos gêneros. É nesse contexto que emerge a poesia digital, um gênero discursivo relativamente pouco explorado, mas bastante rico na sua composição e na sua construção de sentidos. Denominado, geralmente, de ciberpoesia, poesia animada ou clippoema, esse tipo de poesia ganha uma dinâmica diferente no ambiente virtual, configurando-se, simultaneamente, pelo uso da palavra, do som e da imagem, e permitindo, ao hiperleitor, uma participação passiva ou mais ativa, ou seja, um grau baixo ou mais elevado de interação com o texto. Considerando esses aspectos, o presente estudo tem como objetivo analisar a interatividade em poesias digitais. Para tanto, foram coletadas para análise quatro poesias, adotando, ainda, como arcabouço teórico-metodológico as contribuições de Bakhtin (2003), Marcuschi (2003, 2004, 2007), Souza (2007), Antonio (2008), Maués (2010), Primo (2000, 2005) e Silva (2001), entre outros estudiosos do tema. Após a análise, contatamos três graus diferentes de interatividade: um grau baixo, um grau médio e um grau alto, que permitiram diferentes possibilidades de participação ao hiperleitor e definiram, respectivamente, a interatividade de maneira passiva, ativa ou colaborativa no ambiente virtual.PALAVRAS-CHAVE: gêneros discursivos; poesia digital; interatividade. ABSTRACT:Discourse genres accompany the diverse uses of language in social spheres, as part of a natural process. In dealing with the virtual environment, the emergence of new genres can be increasingly perceived. It is in this context that digital poetry emerges, being a discourse genre that has, relatively speaking, not been much explored. It is however, quite rich in composition and in the construction of meaning. Called, usually, cyber poetry, animated poetry or clip poem, this type of poetry has acquired a different kind of dynamics in the virtual environment, through the simultaneous configuration of the use of words, sound and images. This permits the hyper-reader to participate both passively and actively, in other words, to have a lower or higher degree of interaction with the text. Considering these aspects, the objective of this study is the analysis of interactivity in digital poems. Four poems were chosen for analysis with this end in view. The contributions of Bakhtin (2003), Marcuschi (2003, 2004, 2007), Souza (2007), Antonio (2008), Maués (2010), Primo (2000, 2005), Silva (2001) and other scholars have served as the theoretical and methodological framework of this work. After analysis, we contacted three different degrees of interactivity: a low grade, a medium grade and a high degree, which allowed different possibilities of participation to the hyper-reader and defined, respectively, the interactivity of passive, active or collaborative way in the virtual environment.KEYWORDS: discourse genres; digital poetry; interactivity.
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Silva, Bruna Daniele de Oliveira, and Deise Maria Antonio Sabbag. "A expressão de singularidades em gêneros narrativos análise da classificação de fanfictions." Páginas a&b Arquivos & Bibliotecas 16 (2021): 44–63. http://dx.doi.org/10.21747/21836671/pag16a3.
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The objective was to understand how fanfiction narrative genres are classified in repositories, describing the users perceptions and motivations to accomplishthe indexing. The research is descriptive and exploratory, with the Intensive Direct Observation method in virtual groups of fans who write and consume fanfictions;the data supported a qualitative analysis of the fanfictions narrative genres used in theirindexingin digital repositories. The analysis demonstrated that many of narrative genres used in the repositories express concern with the representation of gender, sexual and physical aspects. Furthermore, natural language words, neologisms and other foreignwords are re-semantized to represent narrative genres. It was concluded that narrative genres are used to classify the stories, to express singularities andtogive representation to demands of marginalized groups of the publishing market.
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Kreß, Beatrix, and Kathrin Schweiger. "Video presentations, video conferences, seminar discourse or oral student presentation? - Are "traditional" academic genres changing or even disappearing?" SHS Web of Conferences 99 (2021): 01047. http://dx.doi.org/10.1051/shsconf/20219901047.
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The pandemic situation caused a transfer of teaching and learning into digital surroundings. This contribution shows adaptions and changes, caused by this, in different scientific communicative genres in the written and in the oral form, accompanied by shifts and modifications in the teaching and learning communication as a whole. Starting from the well-known scientific genres and forms of academic teaching and the targeted learning outcomes, coping strategies in the digital setting are described and reflected and certain consequences are pointed out. The advantages and disadvantages of this development can be discussed only after a longer-term observation, but some effects are indicated in this contribution.
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Dosso, Dennis, Stefano Ferilli, Paolo Manghi, Antonella Poggi, Giuseppe Serra, and Gianmaria Silvello. "Information and Research Science connecting to Digital and Library Science." ACM SIGMOD Record 50, no. 2 (August 24, 2021): 44–47. http://dx.doi.org/10.1145/3484622.3484635.
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Since 2005 the Italian Research Conference on Digital Libraries is a yearly date for researchers on Digital Libraries and related topics, organized by the Italian Research Community. Over the years, IRCDL has become an essential national forum focused on digital libraries and associated technical, practical, and social issues. IRCDL encompasses the many meanings of the term digital libraries, including new forms of information institutions; operational information systems with all manner of digital content; new means of selecting, collecting, organizing, and distributing digital content; and theoretical models of information media, including document genres and electronic publishing.
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Азєєв, Сергій. "Transmedia storytelling as a synergy of genres, digital content and multimedia platforms." Dialog: media studios, no. 25 (February 17, 2020): 8–17. http://dx.doi.org/10.18524/2308-3255.2019.25.195600.
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Shi, Yen-Ru, and Ju-Ling Shih. "Game Factors and Game-Based Learning Design Model." International Journal of Computer Games Technology 2015 (2015): 1–11. http://dx.doi.org/10.1155/2015/549684.
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How to design useful digital game-based learning is a topic worthy of discussion. Past research focused on specific game genres design, but it is difficult to use when the target game genre differs from the default genres used in the research. This study presents macrodesign concepts that elucidates 11 crucial game-design factors, including game goals, game mechanism, game fantasy, game value, interaction, freedom, narrative, sensation, challenges, sociality, and mystery. We clearly define each factor and analyze the relationships among the 11 factors to construct a game-based learning design model. Two application examples are analyzed to verify the usability of the model and the performance of these factors. It can assist educational game designers in developing interesting games.
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Sołodki, Paweł. "Digital docu-games, czyli cyfrowe gry dokumentalne." Panoptikum, no. 24 (October 20, 2020): 10–27. http://dx.doi.org/10.26881/pan.2020.24.06.
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In this paper, I would like to take a closer look at the hybrid genre of digital documentary (“docu-game”), which is part of a larger group, the so-called “serious games”. Documentary games are both game-specific (rules, levels, opponents, measurable progress, rewards, etc.), and are also strongly based on the facts, playing educational and activist roles. They can be available through browsers, similar to hypertext websites, but are often designed for stationary or mobile consoles. In terms of genres, a significant range can also be observed: platform games, like Never Alone (2014, E-Line Media), adventure games: Valiant Hearts: the Great War (2014: Ubisoft) or 1979 Revolution (2014, N-Fusion), strategic games: This War of Mine (2014, 11bit studios), RPG (educational mode in Assassin’s Creed: Origins [2017] and Assassin’s Creed: Odyssey [2018]), or even survival horror: Kholat (2015, IMGN.PRO). The titles I describe present different approach to factual sources: they add documentary footage as cutscenes (Never Alone), they build narration around real events and characters, and make the player’s avatar a fictional character (1979 Revolution), they base the game mechanics on the logic of events in well-defined real circumstances (This War of Mine). Since the works based on a genre-specific hybrid strategy occupy an important place in today’s audiovisual landscape, I think it would be worth further examining this “incompatible” area: a documentary, traditionally combined with truth and seriousness, and digital games, usually associated with fiction and entertainment.
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Ackermann, Edith K. "Growing up in the digital age." Tecnologias, Sociedade e Conhecimento 1, no. 1 (November 27, 2013): 119–32. http://dx.doi.org/10.20396/tsc.v1i1.14442.
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Many new tools and mediations are at today’s children’s avail that we couldn’t dream of when we were growing up. And yet, the millennium generation is also facing new challenges, which call for creative solutions. Today’s youngsters are growing up in a world increasingly shielded from nature; of ever more busy work and entertainment schedules; longer commutes; disappearing or reorganizing neighborhoods; and recomposed families. And yet the children are extraordinarily resourceful. They invent their own surprising ways of navigating rough seas and seizing opportunities. Much can be learned from their interests and genres of engagement. This chapter identifies six areas of change that seem to inform how today’s kids play and learn.
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Haworth, Christopher. "‘All the Musics Which Computers Make Possible’: Questions of genre at the Prix Ars Electronica." Organised Sound 21, no. 1 (March 3, 2016): 15–29. http://dx.doi.org/10.1017/s1355771815000345.
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This article explores the workings of genre in experimental electronic musics. Predominantly sociological in orientation, it has three main foci. First, it addresses practitioners’ and theorists’ resistances to the concept of genre in experimental musics. Drawing on recent developments in genre theory, it discusses the problems of agency, mediation and scale that any discussion of genre calls forth, pitting them alongside theories that emphasise genre’s necessity and inevitability in communication. The second section examines the politics of genre as they play out in practice, focusing on the Prix Ars Electronica festival and the controversy that ensued from the decision to change the name of the Computer Music category in 1999. The analysis focuses on issues of institutional mediation, historicity, genre emergence and the politics of labelling as they come into view when two broad spheres – electroacoustic art music and ‘popular’ electronic music – are brought into the same field together in competition. The third section deepens the analysis of Ars Electronica by zooming in on one of the represented genres, microsound, to examine how it is shaped and negotiated in practice. Using digital methods tools developed in the context of Actor-Network Theory, I present a view of the genre as fundamentally promiscuous, overlapping liberally with adjacent genres. Fusing Derrida’s principle of ‘participation over belonging’ with ANT’s insistence on the agency of ‘non-human actors’ in social assemblages, the map provides a means to analyse the genre through its mediations – through the varied industries, institutions and social networks that support and maintain it.
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Homan, Shane. "Classic Hits in a Digital Era: Music Radio and the Australian Music Industry." Media International Australia 123, no. 1 (May 2007): 95–108. http://dx.doi.org/10.1177/1329878x0712300110.
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Often the ‘forgotten’ form in media and cultural studies, contemporary music radio remains a significant presence in the daily pleasures of Australians. This paper briefly explores the current regulatory, technological and cultural challenges confronting the local music radio industry. The music format is taken as the key source of engagement between station, advertiser and audience, at the intersection of relationships with the music industry. As the music radio industry is forced to question its traditional modes of delivery and reception, it is argued that a re-examination of the role of contemporary music formats within wider local music infrastructure is needed, particularly in the development and presentation of new artists and music genres, and radio's role in the maintenance of ‘heritage’/canonical artists and genres.
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Kabil Khan, Abdul, and Anna Shnaider. "The development trends and features of online news websites in Bangladesh." EUREKA: Social and Humanities, no. 3 (May 31, 2021): 41–58. http://dx.doi.org/10.21303/2504-5571.2021.001858.
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This article refers to the brief history of the development of online media in Bangladesh starting from the beginnings of the Internet to the contemporary stage.
Since 2006 Bangladeshi news organizations have been reshaping their strategy towards being a digital-only news outlet. News organizations are now using different features of mobile devices and social media to tell stories and engage with their target audiences. Today both the digital-only news outlets and mainstream media use QR codes, messengers, social media platforms, which enable them to reach a wider area of audiences. By using yet inexpensive digital tools journalists can easily create and distribute content for digital-only platforms.
We consider digital-only platforms as new media, social media, and convergence media platforms. Social media platforms have provided the opportunity for traditional journalists to share news quickly, get feedback from the audience, and have two-way communication with the reader.
Previous studies have looked at the genres of online journalism from a western perspective. Little has been done on the topic from the context of Bangladesh.
In this article, we analyze the basic features of online news media that exist in contemporary Bangladesh and provide an account of the development trends. We outline the new genres, techniques, and use as a sample two most famous online news platforms: The Daily Star and bdnews24. A series of semi-structured interviews were conducted with 5 different professionals from Journalism and mass media. This study is based on both primary and secondary sources of qualitative data to understand the new genres of online news media, challenges, and opportunities to work in the ever-changing media landscape.
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Demshina, Anna Yu. "Digital Humanities: humanities and media culture." Vestnik of Saint Petersburg State University of Culture, no. 1 (46) (March 2021): 21–27. http://dx.doi.org/10.30725/2619-0303-2021-1-21-27.
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The article examines the achievements and problems that exist in the digital research in the context of the development of media culture, today virtual reality has ceased to be a situational option. Media culture turns out to be a two-way phenomenon: on the one hand, it is a product of our civilization, on the other hand, it transforms our culture. Digital Humanities focus on different ways of processing and presenting information, at the same time, any data selection work presupposes the presence of an angle of view, ethical and ideological grounds for the selection itself and the context for the presentation of research results. Criticism of Digital Humanities can be viewed from the standpoint of the «remove culture» by R. Barth. The removal of culture presupposes the development of the postmodern idea of the need to reveal how much our ideas about the world are predetermined by certain cultural schemes, languages and genres, including how non-neutral media culture in general and digital research is. In the absence of criticism, lack of agreements on ethical norms, social responsibility, the risks are that we allow media culture and digital research tools in a sense to dictate to us the type of society in which we live
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Pascual, Daniel. "Learning English With Travel Blogs: A Genre-Based Process-Writing Teaching Proposal." Profile: Issues in Teachers´ Professional Development 21, no. 1 (January 1, 2019): 157–72. http://dx.doi.org/10.15446/profile.v21n1.71253.
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Current communication is increasingly computer-mediated, dynamic, dialogic, and global, so students should master new information, communication technologies, and digital genres, as well as acknowledge the global role of the English language. Thus, this paper aims to offer a teaching proposal, to be ideally implemented in the secondary education English as a foreign language classroom, on how to develop students’ communicative and digital competences based on a digital genre like the travel blog. First, a corpus of travel blogs was compiled, and the blogs’ communicative purposes and prominent linguistic and discursive features were identified. Next, different lesson plans were designed on the principles of communicative language teaching and task-based learning, together with the corpus-based results. Overall, students are expected to follow a process-writing approach that enables them to interact digitally in travel blogs.
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Garritano, Carmela. "The Materiality of Genre: Analog and Digital Ghosts in Video Movies from Ghana." Cambridge Journal of Postcolonial Literary Inquiry 4, no. 2 (April 2017): 191–206. http://dx.doi.org/10.1017/pli.2017.12.
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AbstractThis article discusses three representative examples of one particular genre, the Ghanaian ghost movie, to look closely at the creation and evolution of the figure of the ghost in analog and digital video environments. The larger aim is to expand our understanding of African movie genres by accounting for their technological and material dimensions. In Ghana, the earliest ghost movies, here represented byGhost Tears(Socrate Safo, 1992) andSuzzy(Veronica Cudjoe, 1993), relied on analog visual effects to render the ghost as a visual trace of violence. Appearing almost a decade later,The Chase(Jon Gil, 2011) is noteworthy because it stretches the boundaries of the genre considerably. Jon Gil, the director and producer of the film, exploits digital tools to transform the ghost into a horrifying, multisensory experience; the ghost is felt as a disembodied, affective shock. In both cases, the ghost reflects back on its technological context in unanticipated ways.
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Pascual, Daniel. "Analysing digital communication: discursive features, rhetorical structure and the use of English as a lingua franca in travel blog posts." Journal of English Studies 16 (December 18, 2018): 255. http://dx.doi.org/10.18172/jes.3556.
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The digital world is currently offering new modes of communication that allow multiple opportunities for a more immediate and dialogical interaction. Within it, the blog shows up as a very resourceful and sophisticated genre where different sub-genres converge and where speakers from distinct linguacultural backgrounds can communicate through English, which is used as a lingua franca (ELF). Thus, to start comprehending the rationale of the blog, an analysis of the sub-genre of posts and, more specifically, those hosted in travel blogs, is provided in this paper. The linguistic and discursive prominent features encapsulated in travel blog posts will be explored through a data-driven approach, and their rhetorical structure will be identified via a functional analysis. This will allow to understand better how the ELF blogosphere makes use of such a digital sub-genre and what the readership may expect when communicating digitally through it.
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Kim, Yunhyong, and Seamus Ross. "“The Naming of Cats”: Automated Genre Classification." International Journal of Digital Curation 2, no. 1 (December 2, 2008): 49–61. http://dx.doi.org/10.2218/ijdc.v2i1.13.
Full textAbstract:
This paper builds on the work presented at the ECDL 2006 in automated genre classification as a step toward automating metadata extraction from digital documents for ingest into digital repositories such as those run by archives, libraries and eprint services (Kim & Ross, 2006b). We have previously proposed dividing features of a document into five types (features for visual layout, language model features, stylometric features, features for semantic structure, and contextual features as an object linked to previously classified objects and other external sources) and have examined visual and language model features. The current paper compares results from testing classifiers based on image and stylometric features in a binary classification to show that certain genres have strong image features which enable effective separation of documents belonging to the genre from a large pool of other documents.