Hramatychni formy zvertanʹ u komunikatyvnomu prostori ukrayinsʹkoho suspilʹnoho radio

This article focuses on the study of various forms of the vocative case of nouns in the communicative space of Ukrainian public radio. The variety of forms of address is interpreted as a result of expansion of unofficial communication of authors and presenters with politicians, experts, independent experts, ordinary citizens. The paper proves the extensive use of etiquette words "pane", "pani" with proper names (personal names or surnames) and common nouns – names of persons by position, military or academic rank, other characteristics. The author analyses difficulties and typical errors in the use of forms of the vocative case of some male and female personal names or two proper names – personal name and patronymic. The obtained results indicate the new tendency to consistently distinguish the forms of the vocative case of common nouns depending on the sex of the person. The author concludes that the morphological norm, which is the grammatical specificity of the Ukrainian language, returns to the communicative space of the Ukrainian public radio.

Battle for the Airwaves during the First Indochina War

The VOV proudly proclaims September 7, 1945 as the foundational date for Vietnamese public radio, when the Declaration of Independence was read out on wireless for the first time. Vietnamese technicians who had been trained by the French set up a station in Hanoi to support the Viet Minh’s independence coalition. In December 1946, the French seized control of Hanoi again and established a new station, Radio Hanoi, at Rue Richaud (now Quán Sứ street). In contrast to the exclusive European radio clubs of the 1920s and 1930s, Radio Hanoi hired a troupe of Vietnamese musicians and actors who performed live on air and at popular venues in the capital between 1948 and the early 1950s. Their programming of entertainment and news in several languages appealed to Vietnamese and non-Vietnamese alike. Meanwhile the Viet Minh resumed their broadcasts of anti-colonial rhetoric from a discrete mountain location, but they struggled to sustain the attention of their listeners. To reengage with the public and draw listeners away from Radio Hanoi, they began to program communist-themed entertainment (music, poetry, stories, and short plays) alongside political news and information. Chapter 2 draws on oral histories, archival records, and historical broadcasts to reconstruct the sonic ambience of this creative conflict. The research investigates how composers, musicians, singers, and voice actors at both stations battled to nurture a resilient and attentive radio listenership with attractive artistic outputs that were often imbued with implicit (Radio Hanoi) and explicit (Viet Minh Radio) political ideologies.

“Their accent is just too much”: Tracing the sonic color line in public radio production

How does the sonic color line manifest in the public radio production process? In this paper, I analyze how voices are evaluated as (in)appropriate for broadcast in a public radio story. Using 75 interviews with public radio employees of color, I identify two main points in the production process where public radio standards disproportionately exclude voices marked as nonwhite: in sourcing stories and in voicing stories. Further, these evaluations place a burden on public radio employees of color that seek to deviate from these exclusionary standards. Tracing this industry’s production process reveals the sonic color line at work in evaluating voices as (in)appropriate for the airwaves.

Radio Ambulante e a tradição do podcast narrativo no radiojornalismo norte-americano

Este artigo apresenta uma discussão sobre podcasts narrativos por meio da análise de Radio Ambulante, programa em língua espanhola criado nos Estados Unidos, em 2011. A pesquisa pretende demonstrar que o surgimento do podcast narrativo está fortemente vinculado à tradição da National Public Radio (NPR), a rede de emissoras públicas norte-americana fundada em 1970. O texto apresenta um pouco da história e exemplos de produções da NPR que se tornaram fundamentais no desenvolvimento da tradição jornalística do podcast. A seguir, destaca o projeto de Radio Ambulante como um dos mais importantes representantes dessa tradição fora do idioma inglês. Na sequência, são analisados dois episódios desse podcast: “Las Hijas de Maria Señorina” e “Mais Médicos”, produções de 2018 que, por serem dedicadas total ou parcialmente ao Brasil, tiveram seus áudios transcritos em português.

When the “Blank Slate” Is a White One: White Institutional Isomorphism in the Birth of National Public Radio

A burgeoning literature at the intersection of the sociology of race and organizations explores the organization’s role in (re)producing racial inequalities. The present article builds from this growing literature in its analysis of the formation of National Public Radio (NPR), to better understand how organizational actors translate racialized practices into new organizations at their foundation, even when they seek greater racial inclusivity. I coin a new analytical concept, white institutional isomorphism, to analyze how organizations that embrace a mission of diversity may end up reproducing racially exclusionary practices. White institutional isomorphic pressures are racialized norms that shape the standards and practices adopted across organizations within a given field. Using organizational meeting minutes, external reports, oral histories, and founder memoirs, I show that early implementation of station membership criteria, hiring practices, and programming priorities, while considered race-neutral decisions by the founders that shared a white habitus, inhibited the inclusion of nonwhite voices into NPR’s workforce, station membership, and programming.

Das Protestlied „Le déserteur“ von Boris Vian: Wahrnehmung und Aneignung in Frankreich und in der Bundesrepublik Deutschland der 1960er Jahre

There is hardly any other politically committed chanson from France which received as much response worldwide as “Le déserteur” by Boris Vian. “Le déserteur” was censored by French public radio and caused great unrest during the already heated period of the Indochinese and Algerian wars of independence. With the pacifist Easter March movement in Germany and a few years later with the increasing protest against the Vietnam War, the war resister became a symbol of various political struggles that allied a generation. From a transnational perspective, this essay examines the reception and appropriation of this subversive protest song that conveyed war resistance and disobedience.