Abstract

This work is part of an I+D project involving thirteen Spanish universities in which needs and wants in the field of media education in higher education are studied in the areas of Communication (Communication Studies, Journalism and Advertising) and Education (Teaching, Pedagogy, Psychology and Social Education). The objective of this study focuses on analysing the college textbooks directly related to Media Education most used in Education and Communication,. The report has been developed based on six educational competence dimensions: language, technology, interaction processes, production and distribution processes, ideology and values and aesthetics. Using each of these parameters the scope of the analysis and the scope of the expression were taken into account, based on guidelines set by Ferrés and Piscitelli in their well-known proposal of indicators for defining new media competence and which is structured around two areas of work: the production of own messages and interaction with others. The results were obtained by applying a quantitative methodology through a content analysis of semantic fields. The main conclusions point to a greater presence of the «Ideology and Values» dimension, and almost non-existent representation of the «Aesthetics» indicator.

Abstract

The changes occurring in the media environment over the last decade force us to revise the parameters from which media education is to be implemented today, in a new age of communications. This article seeks to provide some criteria that media education or media literacy should follow, and especially a coordinated proposal of dimensions and indicators to define the new media competence. The proposal has been made by the authors of this article from the contributions made by 50 renowned Spanish and foreign experts in Media Literacy. The proposal focuses on six major dimensions: languages; technology; interaction processes; production and dissemination processes; ideology and values, and the aesthetic dimension. And it is structured around two areas of work in every dimension: the production of their own messages and the interaction with outside messages. We propose to develop this media education in the context of participatory culture, combining critical and aesthetic thinking with the expressive capacity; the development of personal autonomy with social and cultural commitment. Finally, we propose to combine technological revolution with neurobiological revolution, assuming changes produced in the conception of the human mind, especially as regards the importance of emotions and unconscious processes over reasoned and conscious ones.

Abstract

We can´t only be consumers, we must be citizens. This essay argues how audiences should become producers of messages that represent a culture of resistance, from its narrative and aesthetics needs, in order to find a place of sense in a world of screens. Hence, new audiences stop being just consumers to get the status of producers of their own screens. This is a contemporary, political, cultural, technological and communicative possibility. Today, we all have to become producers.

Abstract

Since the introduction of mental disorders as networks of causally interacting symptoms, this novel framework has received considerable attention. The past years have resulted in over 40 scientific publications and numerous conference symposia and workshops. Now is an excellent moment to take stock of the network approach: What are its most fundamental challenges, and what are potential ways forward in addressing them? After a brief conceptual introduction, we first discuss challenges to network theory: (1) What is the validity of the network approach beyond some commonly investigated disorders such as major depression? (2) How do we best define psychopathological networks and their constituent elements? And (3) how can we gain a better understanding of the causal nature and real-life underpinnings of associations among symptoms? Next, after a short technical introduction to network modeling, we discuss challenges to network methodology: (4) heterogeneity of samples studied with network analytic models, and (5) a lurking replicability crisis in this strongly data-driven and exploratory field. Addressing these challenges may propel the network approach from its adolescence into adulthood and promises advances in understanding psychopathology both at the nomothetic and idiographic level. Keywords: clinical psychology; dynamic systems; mental disorders; networks; personalized medicine; psychiatry; reproducibility Document type: Part of book or chapter of book

Abstract

This chapter sets out the volume’s critical approach to the dominant discourse on modern slavery and its impulse to question the assumptions and the politics behind that discourse. It explores the limits of the modern slavery rhetoric for understanding the complicated logics of agency, freedom and belonging, and of past, present and future, for those who are constituted as slaves. Document type: Part of book or chapter of book

Abstract

In recent years, Wattpad has become the leading collaborative reading and writing platform allowing young writers to publish their works, some of which belong to the tradition of fan fiction, including stories derived from a source text from popular culture. The main objective of this article is to explore how teenagers reading and writing fan fiction on Wattpad apply transmedia skills related to production and narrative and esthetic reflection. Using a theoretical framework that integrates transmedia literacy, fan fiction communities as affinity spaces, and Wattpad as a tool to promote transmedia reading, we carry out a qualitative study using data collected from workshops, media newspapers, and interviews with adolescents in five different Spanish regions. The results highlight identity-play in the production of the stories, in which fanfics about real-life celebrities from the teenagers’ media universes coexist with original stories inspired by the authors’ personal lives and interests. Likewise, there is a trend toward the hybridization of fan fiction with languages and formats more typical of social media platforms, such as Instagram, with a superficial application of narrative and esthetic transmedia skills related to fan fiction practices.