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The first half of the 1990s brought the phenomenon of private radio stations into the Czech environment. These were prevalently focused on foreign music. While the existing academic reflections on this topic focused especially on the legislative and institutional contexts, the present study primarily addresses the music dramaturgy and its development. The topic is presented through a case study concerning the Radio Faktor from České Budějovice - one of the oldest and also most successful private radio stations in the Czech Republic. Based on archive documents, interviews with witnesses, and analysis of periodicals, the study documents the links to specific phenomena of previous decades ("discotheque", the educational function of the radio), as well as the process of adaptation to the new market conditions of the post-communist era (the format of radio broadcasting, investigation concerning the audience). The study analyses the chart Hitparáda Radia Faktor to point out the particular contemporary trends in music dramaturgy and listener preferences. [ABSTRACT FROM AUTHOR]

Tribunelyd er ein essensiell faktor i vår tids fotballarkitektur. Lyden av dagens publikum er prega av lange kulturelle tradisjonar, men også av krefter som prøver å regissere og profittere økonomisk på arven. Dette medfører omfattande diskusjonar om identitet, motkultur og kommersialisering, og kva som er akseptable verkemiddel i forvaltinga av ei kulturell uttrykksform. Denne teksten går inn i desse diskusjonane i lys av arkitekturfagleg forsking på fotballstadion kombinert med sosiologiske og antropologiske studie av publikumskultur. Han drøftar også kva som kjenneteiknar lyd som kulturarv i denne spesifikke konteksten, og utfordrar den verneteoretiske tendensen til å klassifisere lyd som ei immateriell kulturarv.

Copyright of Theatralia is the property of Masaryk University, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sammendrag NRK har de siste årene fått mye oppmerksomhet rundt sine sakte-TV-sendinger, også kalt «minutt for minutt». Seertallene viser at flere av programmene har hatt høy oppslutning, spesielt reiseprogrammene, som blant annet Hurtigruten og Sommerbåten. Disse seertallene sier imidlertid lite om hvem som ser, hvorfor man ser og hvordan man opplever programmene. Denne artikkelen baserer seg på empirisk materiale fra to ulike studier – én kvantitativ og én kvalitativ. Disse ble gjennomført hver for seg og uavhengig av hverandre, men resultatene er interessante sett i sammenheng da de utfyller hverandre. Studiene viser blant annet at naturen og de nasjonale sentimentene er de viktigste elementene i seererfaringene. Det kommer også frem at seerne opplever sakte-TV på ulik måte. Der de fleste fint kan gå til og fra uten at de føler de går glipp av noe, kan andre bli så oppslukt at de bare må se hva som skjer.

Copyright of Zeitschrift für Soziologie is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Denne artikkelen er basert på publikums egne minner og opplevelser fra fortidige kinobesøk. Siktemålet er å belyse hvilken viktighet kinoinstitusjonen hadde, sosialt og kulturelt, ved å la publikum selv sette ord på sine erfaringer. Artikkelen fokuserer på stumfilmperioden, og det empiriske materialet som presenteres er utdrag fra nasjonale minneinnsamlinger fra hverdagslivet i Norge samlet inn i 1964 og 1981. Minnene er forfattet av «vanlige folk» født i årene rundt 1900. Artikkelen diskuterer ulike filmhistoriske perspektiver på kinopublikum, så vel som minner som historisk kildekategori. Om lag 15 prosent av det innsamlede minnematerialet inneholder omtaler av film og kino; de beskriver ulike holdninger til det å gå på kino, bestemte minner om kinobesøk og filmer, filmscener og skuespillere, samt ulike visnings- og programpraksiser. Artikkelen studerer særlig minner fra to regioner, Oslo og Hedmark. Det konkluderes med at minnesamlingene er en rik kilde som tilbyr unik innsikt i en avansert kinokultur i filmens første årtier. Materialet åpenbarer «kinogjengeren» ikke som en abstrakt størrelse, men som faktiske personer, individer som til sammen danner det vi betegner som «kinopublikum». This article is based on the audience's own memories and experiences from past cinema-going practices. The aim is to illuminate the importance of the cinema institution, socially and culturally, by allowing audiences to put into words their own experiences. The article focuses on the silent film era, and the empirical material consists of extracts from nationwide collections of memories from everyday life in Norway collected in 1964 and 1981. Common people born in the years around 1900 author these memories. The article discusses different perspectives on the audience, as well as memories as a historical source. About 15 percent of the total nationwide memory collection contains mentions of different attitudes towards the cinema, as well as memories of cinema-going in general, exhibition practices, specific films, scenes and actors. The article further explores the empirical material from two regions, Oslo and Hedmark, finding that these memories are a rich source that offers unique insight into an advanced cinema culture in the early years of cinema history. In this material, we meet «the cinema goers» not as abstract constructions, but as actual people and individuals who constitute what we denote as the «cinema audience».

Copyright of Zeitschrift für Kulturmanagement is the property of Transcript Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zeitschrift für Kulturmanagement is the property of Transcript Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We believe that medical lectures can be improved by considering techniques from comedy. Foremost, lecturers should educate their audiences. This works well, if lecturers have fun and entertain. In preparing the presentation, they should develop a storyline, try to surprise their audience, prepare to employ unexpected objects and carry out several test runs. During the presentation, lecturers should dare to use self-irony, appeal to students' emotions, be factual and precise, serve the audience, keep it short and provide memorable opening and closing statements. Medical lectures should be both informative and entertaining. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Megatrends & Media is the property of University of SS. Cyril & Methodius in Trnava, Faculty of Mass Media Communication and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Nordlit is the property of Universitetet i Tromsoe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)