Models of tele-reality : updated nomenclatures of docudramatic hyper-genre

El último de los géneros en aparecer en el panorama audiovisual televisivo ha supuesto cambios en la programación y hábitos de las audiencias y ha hecho que se multipliquen las terminologías utilizadas para los mismos conceptos: tele-realidad, reality show, docudrama, infoshow, televigilancia. El objetivo del presente artículo es aunar investigaciones, terminologías y reflexiones en torno a estos relatos televisivos para lograr una taxonomía clara y actualizada. Para ello se han utilizado distintos criterios provenientes de la teoría narrativa obteniendo como resultado una serie de subgéneros fraccionados en formatos y modalidades específicas. La conclusión fundamental hace referencia a cómo el sincretismo, la hibridación y el reciclaje se convierten en los rasgos más sobresalientes de la programación televisiva.The arrival of a new genre has brought changes in television’s scheduling and audience habits. There has been a multiplicity of terminologies that try to designate this type of programs, such as tele-reality, reality show, docudrama, info-show and tele-surveillance. The aim of this article is to combine researches, terminologies and reflections on this TV programs in order to achieve a clear and updated taxonomy. Different criteria from narrative theory, have been used. As a result, a series of subgenres divided in formats and specific modalities have been identified. The main conclusion of this research shows that syncretism, hybridization and recycling have become the most distinctive features of the TV discourse.L’arrivée d’un nouveau genre a apporté des changements dans la programmation de la télévision et des habitudes du public. Il ya eu une multiplicité des terminologies qui tentent de désigner ce type de programmes, tels que la télé-réalité, reality show, docu-fiction, info-spectacle et de télé-surveillance. Le but de cet article est de combiner des recherches, des terminologies et des réflexions sur ce émissions de télévision afin de parvenir à une taxonomie claire et à jour. Différents critères de la théorie narrative, ont été utilisés. En conséquence, une série de sous-genres répartis dans des formats et des modalités spécifiques ont été identifiés. La principale conclusion de cette étude montre que le syncrétisme, l’hybridation et le recyclage sont devenus des traits les plus distinctifs du discours de télévision.O último dos gêneros de dinossauro para aparecer na televisão paisagem audiovisual levou a mudanças nos hábitos de audiência e programação e fez multiplicar terminologias para os mesmos conceitos: reality show, reality show, docudrama, infoshow, telemonitoring. O objetivo deste trabalho é combinar pesquisa, terminologias e reflexões sobre estas histórias de televisão para conseguir uma taxonomia clara e atualizada. Este foi usado a partir de diferentes critérios teoria narrativa resultando em uma série de formatos e subgéneros divididos em termos específicos. A conclusão fundamental refere-se à forma como o sincretismo, hibridização e reciclagem tornar-se as características mais marcantes da programação televisiva

The construction of genre typology of the social media

В статье рассматриваются вопросы развития нового направления в интернет-лингвистике виртуального жанроведения, которое является продолжением реального жанроведения, но уже в коммуникативном пространстве Глобальной паутины. Проблема выявления критериев для упорядочения речевых жанров в коммуникативном пространстве Интернета чрезвычайно сложна и многообразна, что ведет и к многообразию классификаций жанров новой коммуникативной среды, которые возникают под воздействием социальных медий. В статье мы рассматриваем интерактивные модальные сайты или порталы как конвергентный гипержанр 2.0, объединяющий на основе платформ социальных медий несколько жанров 2.0 одновременно. Наиболее яркими примерами таких жанров являются коммуникативные сервисы видеохостингов (Ютуб или Вимео) и социальные сети (Фейсбук или вКонтакте). Основной вывод: бурное развитие интернет-технологий приводит к тому, что в виртуальном жанроведении возникают новые классификации интернет-жанров, которые основаны на трех базовых составляющих – технологическом факторе (веб 1.0 – веб 2.0 – веб 3.0), исходящем из концепции развития интернет-технологий, иерархическом (гипержанр – жанр – субжанр) и коммуникативно-динамическом (традиционные коммуникации, конвергенция, гибридизация, мутация).This article focuses on the development of a new trend in the digital genre theory of the computer-mediated communication (CMC). It is an extension of the offline genres theory but appled to the communicative space of the world wide web. The task of defining criteria for the speech genres in the communicative space of the Internet is extremely complex and many-fold. As a result we observe a diversity of classifications of the new communicative environment which a rise under the influence of social media. In this articlewe consider modal interactive sites or portals as a convergent hyper genre 2.0 combining several genres simultaneously on the social media communicative platforms. The most salient examples of such genres 2.0 are video hosting (YouTube or Vimeo) and social networks (Facebook or Vkontakte). The main conclusion is that a rapid development of Internet technologies triggers emergence of new digital genre classifications basedon three components – technological (web 1.0 – web 2.0– web 3.0), hierarchical (hyper genre – genre – subgenre) and communicative-dynamic (conventional communication, convergence, hybridization, mutation)

A Fully Convolutional Deep Auditory Model for Musical Chord Recognition

Chord recognition systems depend on robust feature extraction pipelines. While these pipelines are traditionally hand-crafted, recent advances in end-to-end machine learning have begun to inspire researchers to explore data-driven methods for such tasks. In this paper, we present a chord recognition system that uses a fully convolutional deep auditory model for feature extraction. The extracted features are processed by a Conditional Random Field that decodes the final chord sequence. Both processing stages are trained automatically and do not require expert knowledge for optimising parameters. We show that the learned auditory system extracts musically interpretable features, and that the proposed chord recognition system achieves results on par or better than state-of-the-art algorithms.Comment: In Proceedings of the 2016 IEEE 26th International Workshop on Machine Learning for Signal Processing (MLSP), Vietro sul Mare, Ital

Genre In/Exclusion and Recontextualization: Interpreting at the Italian Ministry of Defense

This chapter describes the nature of interpreting in military/diplomatic contexts at the Italian Ministry of Defense (MoD) and it is particularly interested in the role played by genre in this context. In terms of diplomacy-level military discourse, we offer an overview of some important genres that are part of the job profile of MoD staff and freelance interpreters. Specifically, we focus on the “hyper-genre” (Giltrow & Stein 2009) of Memorandum of Understanding (MOU) and some related texts, genres and situations, which are combined in various ways to form “genre chains” (Fairclough 2003). Our main hypothesis is that MoD professionals are involved in genre-building and propagation. This hypothesis is premised on the notion that genre and context awareness are crucial to interpreters’ success. On the basis of empirical data taken from semi-structured interviews with current and former MoD Translators/Interpreters, we argue that interpreters in a militarydiplomatic situation assume varying degrees of responsibilities in genre dissemination and recontextualization (Boyd & Monacelli 2010)

Michel Marcoccia, Analyser la communication numérique écrite

Voici un livre très utile pour tous les linguistes qui se posent des questions sur les nouvelles formes de communication numérique. Un livre clair, bien organisé, avec des explications et des descriptions précises de ce qu’est la « communication numérique écrite » (ou « communication écrite en ligne ») – un hyper-genre sous-tendant des formes émergeant actuellement dans notre environnement verbal sur l’internet. Le volume est destiné aux étudiants en sciences de l’information et de la communi..

Dyskurs konfliktu jako gatunek polityczny

This dissertation approaches the discourse of conflict as a cluster of conventionalized goal-oriented discursive forms, which inherently links it theoretically with the linguistic scholarship on genres in communication and, in particular, with the most recent theoretical developments in this domain that advocate the need to seek perspectives capable of grasping novel and/or constantly evolving structures of political communication (cf. Cap and Okulska 2013). For these purposes, in this research I list and analyze specific and (more or less) stable structural, content-related and functional characteristics of the Israeli PM Benjamin Netanyahu’s speeches discourse about – and in the context of – the Middle East conflict as typical for political genres and, thus, as features that enable to classify, analyze and interpret this discourse as a (potentially new) genre in political communication. Also, this entails that in my study I take these regularities as constitutive of a potentially new generic category in political communication, which is oriented at achieving specific goals in the context of this conflict. In consequence, this research project has strong foundations in Critical Discourse Studies, linguistic pragmatics and cognitive linguistics, and entails a critical perspective on the ‘micro’ considerations of the cognitive-pragmatic properties of the (Israeli political) discourse of conflict, and the ‘macro’ considerations of the larger social motivations and consequences (cf. Fairclough 1995; van Dijk 2001; Wodak and Chilton 2005; Wodak and Meyer 2009) behind producing and negotiating specific conflict-related meanings in various settings.Rozprawa doktorska napisana w ramach projektu "Międzywydziałowe Interdyscyplinarne Humanistyczne Studia Doktoranckie – Kształcenie kadr dla potrzeb rynku flexicurity i gospodarki opartej na wiedzy - Oferta kierunków nauk humanistyczno-społecznych UŁ". Projekt współfinansowany ze środków Unii Europejskiej w ramach Europejskiego Funduszu Społecznego

Жанровые особенности сайта вуза как инструмента позиционирования в образовательном пространстве (на материале сайтов ведущих технических вузов России и США)

Работа направлена на выявление особенностей позиционирования образовательной организации посредством сайта. Речевой жанр "сайт вуза" рассматривается как гипержанр виртуального дискурса, тематическая разновидность жанра "сайт". Исследование выполнено на материале сайтов российских и американских вузов с применением методики анализа речевого жанра, разработанной Т.В. Шмелевой. В результате анализа составлен образ вуза, формируемый образовательными организациями России и США на страницах своих официальных сайтов.The work is aimed at identifying the positioning features of the educational organization through the site. Speech genre "site of the university" is considered as a hyper-genre of virtual discourse, a thematic version of the genre "site". The research was carried out on the material of the sites of Russian and American universities using the method of analysis of the speech genre, developed by T.V. Shmeleva. As a result of the analysis, the image of the university formed by the educational organizations of Russia and the United States on the pages of their official sites is drawn up