Celem artykułu jest interpretacja radiowej audycji autorskiej w antropologicznych kategoriach rytuału. Zakładam, że audycja radiowa, zwłaszcza prowadzona przez charyzmatycznego i obdarzonego autorytetem dziennikarza, jest swoistym rytuałem medialnym. Jego struktura i przebieg noszą znamiona działania rytualnego, determinowanego przez specyfikę medium, w jakim do rytuału dochodzi. Działanie rytualne przebiega w kontekście mediów masowych i charakteryzuje się wielokodowością i wielością parametrów, co wynika z faktu, że w procesie komunikacji tworzone są kontekstowe znaczenia na linii radiowi dziennikarze–słuchacze. Kategoria rytuału medialnego zostanie w tekście zilustrowana przykładami z audycji autorskich prowadzonych w Programie Trzecim Polskiego Radia przez Piotra Kaczkowskiego i Marka Niedźwieckiego w latach 80. XX wieku.

Kampania wyborcza toczy się zwykle na wielu polach. Do najważniejszych należą oczywiście media, które stanowią jeden z głównych kanałów komunikacji kandydatów z wyborcami. Wśród wykorzystywanych do tego narzędzi znajdują się materiały emitowane w ramach obligatoryjnych radiowych audycji wyborczych. Autor sprawdza, jakie materiały zaprezentowały dwa główne komitety startujące w kampanii parlamentarnej w 2015 roku – Prawo i Sprawiedliwość oraz Platforma Obywatelska. Analizuje ich przekaz, rekonstruuje ich główne przesłania oraz wykorzystane środki retoryczne.

Considering that the acquisition of culture-specific knowledge through listening to the radio is possible in the era of globalization and media convergence, this article analyses the topic of basic mass media functions and shows them through the prism of their hybridization. In consequence, it demonstrates the cultural role of modern radio but in the context of the edutainment approach. As a key example to discuss this issue serves the long-term cooperation between Fun Kids radio and the Polish Cultural Institute in London that has resulted in three radio series: “Where in the World? Poland!”, “Learn Polish!”, and “Robot’s Polish Power Pack”. Referring to them, the text explores how educational and entertaining functions of radio programmes may be combined to deliver content that inspires and engages young listeners as well as nurtures cultural ties between the UK and Poland, which is especially important nowadays, in the face of Brexit. The methodological framework of this study is mainly a subjective literature review. However, the theoretical analysis is extended with a case study that is based on the radio report provided by the Fun Kids radio manager, observations of contemporary mediasphere as well as a personal examination of episodes of selected radio broadcasts.

The subject of this article is the legal basis of the activity of radio, television and other technical media devices in Sweden. The basis of this activity is freedom of expression guaranteed in the act on the instrument of government (Regeringsformen – RF). There are specific constitutional regulations for some forms of expression. Freedom of the press is regulated in the ordinance on freedom of the press (Tryckfrihetsförordningen – TF) and it includes freedom of expression in writing. The fundamental law on freedom of expression (Yttrandefrihetsgrundlagen – YGL) is applicable to other forms of expression like radio, television and other technical devices: film, video, sound records, CD and DVD. The fundamental law on freedom of expression (YGL) is the youngest of the Swedish constitutions and it is modelled on the ordinance on freedom of the press. The basic principles and their construction are the same in both acts. It applies among others to economic freedom in terms of broadcasting programs, prohibition on censorship, the right to provide information and protection of the source of information, catalogue of crimes, one-person liability, separate procedural provisions with the court with a jury. The author points out the leading principles of the fundamental law on freedom of expression: to ensure free exchange of views, free and comprehensive obtaining of information and free artistic output. Every Swedish citizen is entitled to publicly express their thoughts, views, feelings and other information in any field by means of the radio, television or other similar media devices. As a rule the law is applicable if broadcasting of a program takes place from Sweden. The fundamental law on freedom of expression guarantees for every Swedish citizen the right to provide information in any field with a view to it being made public on the radio or in other recordings as well as the right to obtain information with a view to it being passed or made public. A radio program author is entitled to remain anonymous and is not obliged to disclose their identity. In order to ensure the possibility of establishing the person responsible for violation of the fundamental law on freedom of expression it imposes the obligation to indicate the responsible editor (ansvarig utgivare) and made their identity available to the public. This liability comes on a one person basis; in the first place it applies to the editor, next to the person obliged to indicate the editor and finally to the person disseminating the program. The fundamental law on freedom of expression makes numerous references to other acts of law. For example, in terms of principles on placing advertisements and commercial announcements the applicable law is the act on radio and television, in particular regarding product placement and program sponsoring as well as the act on alcohol and the act on tobacco products. The article also describes regulations of the principles concerning granting licenses by the government (granting frequency) or the Office for radio and television. Independent control over the broadcast programs is exercised by the Office for control (and in terms of advertisements also by the Consumer Advocate). Foreign stations are not embraced by the act on radio and television and for this reason they are not subject to the supervision exercised by the Office for control.