作者：Emily Edwards, Bowling Green State University
Robin Hershkowitz, Bowling Green State University
转载来源：Digital Humanities Quarterly, 2021, Volume 15 Number 1, http://www.digitalhumanities.org/dhq/vol/15/1/000527/000527.html
This article is part of a special issue, AudioVisual Data in DH at DHQ, produced by editors Taylor Arnold, Jasmijn van Gorp, Stefania Scagliola, and Lauren Tilton.
这篇文章探讨了播客媒介作为一种音频技术是如何促进学术出版和女权主义实践的重新想象的。在这个案例研究中，我们将播客“书还没死”(BAD)置于数字人文学术研究的更大背景下，以及该领域利用音频技术实现女权主义方法的潜力。BAD，作为一个播客，作为一个开放获取的媒介，将作者和评论者聚集在一个协作的环境中。有声书评允许作者和采访者之间进行对话，作者可以将作品置于更广泛的学术和当代背景中，并积极参与建设性的批评和问题。其结果是一种动态的学术交流，而不是一篇书评的静态文本产品。我们从表演研究和档案的角度讨论了音频技术在知识生产过程中的独特作用。此外，本着BAD项目的精神，我们还提供了文本讨论的补充，包括一个播客，我们作为联合制作人、研究生和年轻学者讨论这些主题，探索音频技术如何打破出版和作者障碍。
作者简介：
Emily Edwards
Emily Edwards is a doctoral student in Bowling Green State University’s American Culture Studies Program and serves as co-producer of the Fembot Collective podcast, Books Aren’t Dead. She received her Master’s of Arts from New York University’s Center for European and Mediterranean Studies where she served as the Max Weber Research Assistant. She is concerned with topics of nationalism, race, and digital media and has most recently explored these issues in Germany as a Deutscher Akademischer Austauschdienst (DAAD) visiting researcher at the University of Leipzig’s Department of Sociology.
Robin Hershkowitz
Robin Hershkowitz is a doctoral student in Bowling Green State University’s American Culture Studies Program and serves as co-producer of the Fembot Collective podcast Books Aren’t Dead. She received her Masters of Arts from Bowling Green State University in Popular Culture. Her dissertation research is about performance rituals in comedy roasts.