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Introduction. The Multilevel EDucational and MOtivational intervention in patients after myocardial infarcTION (MED-MOTION) project has been designed to test the comprehensive strategy of treatment after acute coronary syndrome. The aim of MEDMOTION is to improve the efficacy of secondary prevention, complementing patients' education with motivational interventions. Material and methods. Individualised motivation and complex health education, started during hospitalisation and continued after discharge, explaining the pathophysiology and symptoms of the disease, elucidating goals and potential benefits of treatment, and highlighting the risk of premature termination of therapy, with the use of additional methods helping patients to remember the treatment schedule, will be applied to enhance adherence to treatment, resulting in improved clinical outcomes. Interventions targeting the attitudes and knowledge of nurses and physicians form part of the MEDMOTION project, including analysis of the strengths and weaknesses of medical staff in the context of motivation and therapeutic education, workshops on interpersonal (medical staff and patient) communication, motivational and educational strategies. Conclusion. We believe that motivational actions, complementing educational interventions, are essential for successful secondary prevention after ACS.

Zarys treści: W artykule omówiono wyniki badań ilościowych dotyczących przekładu form adresatywnych w apelatywie, z języka angielskiego na język polski, w dwóch nieprofesjonalnych tłumaczeniach filmu What Women Want ("Czego pragną kobiety"). Porównano trzy przekłady amatorskie (tzw. wersje fansubbing) oraz trzy przekłady studentów filologii angielskiej. Wyniki analizy wykazały, że 1. amatorzy częściej niż studenci pozostawiali w napisach imię głównego bohatera, zarówno w dialogach, jak i polilogach, 2. pod pewnymi względami przekład amatorski przypomina tekst oryginalny, 3. studenci pozostawiali apelatywy głównie w polilogach, zarówno w przypadku imienia głównego bohatera, jak i postaci drugo-i trzecioplanowych. W artykule przedstawiono również najważniejsze aspekty polskich form adresatywnych.Słowa kluczowe: napisy filmowe; przekład audiowizualny; formy adresatywne; apelatywy; tłumaczenia nieprofesjonalne 1. Formy adresatywne i apelatywne F ormy adresatywne to "formy zwracania się do drugiej osoby, drugich osób" (Tomiczek 1983: 25). Definiując formy adresatywne bardziej szczegółowo, można je określić następująco: są to "te wszystkie wypowiedzi performatywne, które za pomocą wyrażeń pronominalnych (…), nominalnych (…) atrybutywnych oraz ich potencjalnych kombinacji wytwarzają określony,

This paper aims at providing a survey of the most popular online educational platforms and mobile apps for language learning. It gives an overview of the development and current trends in what is generally labelled computer-assisted language learning (CALL) with reference to select pedagogical theories; in particular, those embedded in the theoretical framework of broadly defined constructivism, as well as select learning processes, including self-regulation, self-directed learning, personal knowledge management and the concept of learner autonomy. Following this theoretical backdrop, the analysis of 30 educational platforms for language learning is presented, which were evaluated against several criteria, such as accessibility, revised Bloom et al.’s taxonomy of learning outcomes, language levels, typology of exercises, etc.

A popular idea in Computer Assisted Language Learning (CALL) is to use multimodal annotated texts, with annotations typically including embedded audio and translations, to support L2 learning through reading. An important question is how to create the audio, which can be done either through human recording or by a Text-To-Speech (TTS) synthesis engine. We may reasonably expect TTS to be quicker and easier, but humans to be of higher quality. Here, we report a study using the open-source LARA platform and ten languages. Samples of LARA audio totaling about three and a half minutes were provided for each language in both human and TTS form; subjects used a web form to compare different versions of the same item and rate the voices as a whole. Although human voice was more often preferred, TTS achieved higher ratings in some languages and was close in others.

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The paper discusses the concept of offensiveness, both explicit and implicit, in film dialogical discourse based on three parts of a romantic comedy. The differences between explicitness and implicitness on the one hand, and between implicitness and (in)directness on the other are presented in the theoretical part. Indirectness and implicitness are treated in the study as independent concepts that instantiate covert meaning. On the other hand, explicitness and implicitness are viewed as gradual concepts that allow some overlap; thus, direct implicitness and indirect explicitness emerge as possible options. Furthermore, the category of offensiveness is presented as a broad category, a superordinate term that subsumes offensive language, typically realised through explicitly offensive words, such as swearwords, and (non)offence, encoded by rhetorical devices. Offensive language can have the function of offending the target addressee, i.e., to cause offence, or to build, inter alia, a jocular, intimate or friendly atmosphere. Offensiveness can thus embrace propositions that lead to offence or convey other, non-offensive meanings. Examples of both offensive language (explicit/direct forms) and subtypes of offence (figurative forms), as well as a combination of both (e.g., figurative forms such as ironic comments that contain swearwords), are gleaned from the corpus of three parts of the eponymous romantic comedy. The analysis has shown that figurative forms are often conflated (to create metaphorical irony, ironic hyperbole, and the like), the implicit forms of offensiveness occur almost as frequently as explicit forms and are distributed equally across gender, varying forms of offensiveness play the whole gamut of functions, disparagement being only one of them.