The specifics of the representation of speech strategies and tactics in educational audio podcasts

Egoshkina Violetta Aleksandrovna ORCID: 0000-0003-3173-8289 PhD in Philology Associate Professor, Department of Journalism and Media Linguistics, Dostoevsky Omsk State University 55 Mira ave., Omsk, Omsk region, 644077, Russia v.egoshkina@yandex.ru Other publications by this author

Audio podcast: approaches to the definition of the concept

Podcasting originated in the 2000s in the USA. Its appearance and relevance to the addressee were associated with the development of the RSS format, which allows you to broadcast any media files and makes it possible to "subscribe" to them, that is, to receive them regularly as they are published.

The first foreign audio podcasts appeared in the early 2000s. The most popular by that time was Adam Curry's podcast "Daily Source Code", released in 2003. Further, the popularity of podcasting only grew.

The creator of the first audio podcast in Russia is considered a TV presenter V. B. Strelnikov, who in 2004 He founded the podcast platform "Russian Podcasting".

After that, large radio stations began to create separate audio podcasts: Mayak, Europa +, Record, etc. Due to the fact that popular audio podcasts appeared primarily on the Internet sites of radio stations, a discussion arose among journalists and media researchers on how to qualify an audio podcast: as a kind of radio broadcasting or an independent format.

So, A. S. Gerasimenko claims that podcasting is "a format of radio broadcasting on the Internet that allows you to download broadcasts over the Internet, listen to them on a computer, PDA or portable MP3 player, as well as post new broadcasts on the Internet" ^{[1, p. 54]}.

I. I. Karpenko also believes that the audio podcast is the newest form of radio, and not an independent format ^[2].

S. S. Raspopova explains why there is a widespread opinion about audio podcasts as a kind of radio: "Just as the first television journalists emerged from radio journalists, the first podcast hosts grew out of DJs and VJs" ^[3]. Separately, the researcher notes that some of the first audio podcasts were created on the basis of radio broadcasts: "The presenters specially recorded the introductory part and the liner notes for excerpts from the broadcast. Thus, fans of the show who missed the interesting moments could listen to all the best later."^[3]

However, most researchers have a different opinion, emphasizing that there are a number of differences between audio podcasts and traditional radio programs that do not allow them to be equated.

Thus, V. V. Vitvinchuk and M. S. Lavrishcheva understand by an audio podcast "a digital audio file available on the Internet for download to a computer or mobile device, as a rule, available in the form of a series, new batches of which can be received by subscribers automatically" ^{[4, p. 544]}. In addition, the researchers postulate that podcasts are "audio broadcasts that only resemble classic radio programs. Most often these are conversations or monologues on various topics: about technology, cinema, fashion, sports, science, humor, etc." ^{[4, p. 545]}.

E. D. Antropova focuses on the frequency of episodes of the audio podcast and offers the following definition of the phenomenon of interest to us: "A podcast is a series of periodic releases of a certain program recorded in audio format and available for listening at any time convenient to the user" ^{[5, p. 16]}.

M. A. Berezhnaya formulates several definitions of concepts related to the production and release of audio podcasts at once: "A podcast is either a separate audio file, or a regularly updated series of such files published on the site, with the possibility of subscription. A podcaster is a person who is engaged in podcasting on an amateur or professional basis, that is, someone who records and uploads a podcast. A podcast terminal is a website that supports media file hosting. In addition to audio and video recordings, it may contain a recording of speech in text form, tags, etc." ^{[6, pp. 448-449]}.

The definition proposed by L. I. Khasanova is also interesting: an audio podcast is "a regularly updated audio recording (most often in MP3 format) that is distributed via the Internet for mass listening" ^{[7, p. 276]}.

E. V. Rastorgueva and A.V. Chutcheva understand podcasting even more broadly, stating that it is "a new format for "packaging" a wide variety of media products" ^{[8, p. 231]}.

In line with our research, the definition formulated by E. G. Malysheva and O. S. will be the most relevant. Rogalevoy: podcast is a specific network media format with a set of technical/ technological tools that contribute to the creation of polycode media texts, which are characterized by the dominance of audio or audio-video code, have thematic, genre and communicative-pragmatic features associated with the explication of the actual dialogical and dialogized speech structures ^{[9, p. 787]}.

Fundamentally important for us is the opinion of researchers, according to which "full-fledged podcasts should still be considered exclusively created content" ^{[10, p. 130]}.

We emphasize that audio podcasts, although they retain their genetic connection with radio broadcasting, based primarily on the auditory specifics of the content, have now become an independent media product, "which now has only a formal relationship to radio. Unlike traditional media, the new audio format has no restrictions in the form of airtime and editorial requirements, in the number of programs and in their subject matter. For more than 15 years, many podcast terminals have appeared in Russia, the interfaces of other platforms have expanded, which is why podcasts have become more accessible. As a result, the total audience has grown to 5 million listeners" ^{[11, p. 164]}.

V. I. Volnukhina notes that "podcasts are considered by researchers as an independent structural unit, as well as as part of the system of radio journalism, which represents a special aspect of citizen journalism" ^{[12, p. 48]}. However, the researcher insists, and we agree with her opinion, that currently audio podcasts represent "an independent format of new media that perform functions inherent in traditional genres of journalism, that is, communicative, reference, advertising and recreational" ^{[12, p. 48]}.

I. I. Karpenko considers the peculiarity of audio podcasts to be "simplicity in the dissemination of information, unlimited audience coverage, the ability to independently select program topics and receive a subscription to one type of podcast that can be listened to in any order without time limit" ^{[2, p. 43]}. The cited author also argues that "with apparent similarity to the formats of terrestrial radio, podcasts more resemble another format, which has significant substantive differences due to the multimedia component of the content, which significantly expands the variability of broadcast formats and genres" ^{[2, p. 44]}.

Thus, an audio podcast is a unique form of presenting information in the modern media environment, a new independent media format that differs in its technical, communicative, stylistic and pragmatic features.

Speech strategy and speech tactics: definitions and classification of concepts

Communication strategies and tactics are an actively studied field in various branches of linguistic science. Despite the fact that the term "communication strategy" has existed for quite a long time, its content in the works of scientists varies. A. N. Baranov calls the communicative strategy "the linguistic actions of communicants that affect the education and transformation of the fundamental cognitive categories of communication participants" ^{[13, p. 11]}. S. I. Vinogradov notes that "the strategy is determined by the macrointension of one (or all) a participant in the dialogue, conditioned by social and psychological situations" ^{[14, p. 42]}. Also in his work, the scientist draws attention to the following fact: the strategy is related to the search for a common language and the creation of a basis for building a dialogue, which is expressed in the choice of the tone of communication and language means.

In turn, A. A. Volkova defines speech strategy as "a dialectical process of interaction between a communicative situation and participants in speech communication" ^{[15, p. 7]}. And I. V. Trufanova, summarizing the opinions of scientists, calls strategy "a set of speech actions aimed at solving the communicative task of the speaker" ^{[16, p. 57]}.

In our study, we adhere to the concept of O. S. Issers, according to which "a speech strategy is a set of speech actions aimed at achieving a communicative goal" ^{[17, p. 54]}.

When choosing a strategy, the authors of audio podcasts primarily take into account the goals set, however, the preference for a certain speech strategy may also be due to the tone of communication, the direction of the conversation, and language means.

In order for a media product to be successful, it is necessary to use a whole range of speech strategies. As a rule, there are basic or cognitive ones among them, which are "directly related to the impact on the addressee, his world model, value system, his behavior" ^{[17, p. 106]}, and auxiliary ones that allow achieving effective communicative interaction.

Depending on the type of discourse in which the study of speech strategies is conducted, scientists form their own typologies. Professor of the University of Amsterdam T. A. Van Dyck in the work "Language. Cognition. Communication" identified the following speech strategies: generalization, example, correction, amplification, (obvious) concessions, repetition, contrast, mitigation, shift, evasion and presupposition/implication/assumption/indirect speech act. The classification was based on group biases ^{[18, pp. 297-298]}.

O. N. Parshina, within the framework of political discourse, offers her own classification of speech strategies, including self-presentation, discrediting, attack, self-defense, formation of the addressee's emotional mood, as well as information-interpretative, argumentative, agitation and manipulative strategies ^[19].

Since in this work we rely on the concept formulated by O. S. Issers, we turn to the classification proposed by the researcher. In his monograph, the author identifies the following strategies:

· general speech (divided into basic and auxiliary);

· dialogs (control the course of communication);

· rhetorical (they manifest the techniques of oratory and implement rhetorical techniques of influence) ^{[17, pp. 104-106]}.

To identify the speech strategies used by the authors of educational audio podcasts, attention should be paid to the communicative intentions and goals of the speech act. The main purpose of educational audio podcasts is to change, expand the recipient's ideas about an object in a certain area, therefore, the cognitive strategy is the strategy of education, which, according to IE. Arsenieva, aimed at: a) expanding the horizons of the addressees; b) increasing the general cultural level of listeners; c) forming and stimulating the cognitive activity of the audience ^{[20, p. 51]}.

It should be noted that the choice of speech strategies determines the success or failure of the intended communication, and consequently the resulting media product. In order for the strategy to be implemented, it is necessary to use speech tactics, defined by O.S. Issers as "one or more actions that contribute to the implementation of the strategy" ^{[17, p. 110]}.

Speech tactics provide "the generation of a text of a certain intentionality — with the selection of linguistic means that contribute to the effectiveness of the impact" ^{[21, p. 71]}. Despite the fact that the analyzed audio podcasts are primarily educational in nature, the authors aim to expand the target audience, therefore they use tactics to attract listeners, among other things.

In addition, researchers O. J. Goichman and T. M. Nadeina goes beyond the linguistic understanding of speech strategies and tactics and believes that "success in communication depends on the possession of three defining categories: logic, psychology and speech. Some speech tactics are effective in everyday communication situations, while others are effective in the business sphere. Moreover, speech tactics of different levels can interpenetrate with a certain correction. It should be noted that none of the tactics is universal and effective for all occasions. It is logic and psychology that suggest which form to choose" ^{[22, p. 207]}.

Thus, correctly chosen speech strategies, as well as a set of speech tactics implementing them, are the key point in building communication. Following a pre-selected algorithm, the authors of audio podcasts not only set the direction of the dialogue, but also contribute to achieving the desired results, thereby making their media product in demand among the audience. 

Dominant speech strategies and tactics, explicated in educational audio podcasts

The empirical basis of our research consists of educational audio podcasts, the purpose of which is to expand the recipient's worldview, therefore, the cognitive (main) strategy is the strategy of education.

This strategy is implemented in the speech of the leading and invited experts: both of them are aimed at expanding the audience's understanding of the subject of the conversation, while the tone of communication is not at all mentoring in nature. The presenters direct the conversation by building its logical sequence, while the experts actively support the dialogue by answering questions; use irony and humor in speech, allowing themselves short digressions, thus avoiding the genre of classical lecture. Both the presenter and the invited guest reframe the picture of the addressee's world, doing it unobtrusively and interestingly, thereby encouraging the audience to listen to the podcast in full and wait for the new release.

In order to implement a cognitive strategy, the authors of audio podcasts use auxiliary strategies: strategies for forming a target audience, attracting and retaining the recipient's attention, and a dialogue strategy. They help to increase the effectiveness of speech influence on the audience.

The strategy of forming the target audience is presented using nomination and self-presentation tactics. As noted earlier, podcasting is an increasingly popular format, which is why competition in the media market is quite high. That is why nomination tactics play an important role in helping the creators of audio podcasts to make their product noticeable and memorable.

For example, the titles of the audio podcasts "Understand Yourself if You Can", "His Wife's Diary" and "Between the Lines" use intertextual elements. In the nomination "Understand yourself if you can" there is an obvious reference to the famous book and film "Catch me if you can", the title "Diary of his wife" is based on an association with the famous monthly magazine by F. M. Dostoevsky "Diary of a Writer", published in the 1870s-1880s, and the nomination "Between the lines" refers to the stable expression "read between the lines". None of these titles explicate the genre of the audio podcast, however, in the nominations "Diary of his Wife" and "Between the lines" there is a thematic dominant. In the title "Diary of his wife", it is not expressed so vividly, however, using a direct reference to the journal "Diary of a Writer" makes it absolutely clear that the focus of the podcast is no longer "the writer", as it was with Dostoevsky, but "his wife", i.e. the author's beloved woman.

The situation is different in the title of the audio podcast "Between the lines". At first glance, it may seem that there is no explicit indication of the topic here either, however, if we turn to the meaning of the statement "read between the lines" (unraveling the secret meanings of what is written), we can assume that the program will be devoted to the analysis of literary texts. As a rule, hidden meanings, "seasoned" with expressive means, are reflected in poetry, from which we can conclude: the audio podcast is devoted to the analysis of poems.

In these examples, the use of intertextuality not only helps the listener to remember the name of the audio podcast, but also to understand what it is dedicated to. The same cannot be said about the nomination "Understand yourself if you can": there is no direct indication of the topic to which the audio podcast is dedicated, so the audience can only guess what exactly awaits them when listening to the release. Based on the name, it can be assumed that we will talk about philosophy and psychology, but besides this, the audio podcast raises topics of science, art and literature, which it is not possible to guess, knowing only the name of the podcast.

The basic genre and thematic dominant are explicated in the nomination "Conversations about literature". In this case, the addressee immediately understands that it will be about literature, and he will hear not only the arguments of the journalist, but also the opinions of experts. The name "Literary squabbles" is constructed in a similar way: the phrase clearly indicates the theme of the program, explicated using the colloquial word "squabbles", which, in turn, makes the characters of the podcast closer to the listener and expands the potential audience — not only those who are passionate about literature can be interested in the program, but also those who love to find out the secrets of famous people's lives, gossip.

The name of the audio podcast "100 minutes" is constructed in an interesting way. At first glance, it seems that the authors of the title say: in 100 minutes you can take a short course on certain topics, but the duration of the issues varies from 15 to 40 minutes. Even if we assume that the emphasis is on the fact that the cycle of podcasts united by one topic will be 100 minutes together, this is not entirely true. Let's take for example the cycle "Mathematics around us". It consists of four independent podcasts: "Mathematics in the context of history" (duration 29 minutes), "How mathematics explains nature" (duration 33 minutes), "Is there a place for mathematics in music" (duration 33 minutes) and "How mathematics is related to medicine" (duration 28 minutes). Together, the audio podcast cycle is 123 minutes.

Consider, for example, another cycle "Oddities in Architecture", consisting of four issues: "In which films can you see sights and buildings that no longer exist" (duration 39 minutes), "Ship, donut, centipede: how architectural masterpieces mimic" (duration 37 minutes), "Competitors of the Leaning Tower of Pisa: 10 inclined towers from around the world" (duration 36 minutes), "How, where and why buildings were moved in the capital" (duration 38 minutes). The timing of this cycle is 150 minutes. Obviously, the choice of the title was not motivated by the desire to cover the main topic of the issues from different angles in 100 minutes. In this case, it can be assumed that when choosing the name, the authors wanted to play on the association with the popular television program "600 seconds" in the 1980s and 1990s, or with the expression "A hundred years ago". However, in our opinion, such a language game is not justified. The name is not remembered and misleads the listener.

The tactics of self-presentation are implemented through the personalization of the presenter, the presentation of a co-presenter or an invited expert, which allows the audience to create an image of the addressee and understand the model of his behavior.

For example, Artem Novichenkov, the author of the podcast "Understand yourself if you Can," presents his co—host in a humorous manner:

— My dear ones, hello. I am full of strength, energy, and today we will grab a big fish. I will do this, that is, pull the web of the story with Vladislav Vladislav Timkin.

— Vladislav Vladislav?

— Well, that's right.

— I agree.

— Vladislav's son is Vladislav Vladislav.

— Vladislavson then.

— Vladislavson? You can already qualify for the Icelandic national team ("Understand yourself if you can", issue "Managing the Past", 09/13/2022).

In addition to the comic presentation of the co—host, Artem Novichenkov also works on his image, using metaphors in speech: "pull the nets of history", "let's grab a big fish" (here the author plays on stylistic variance, building a statement using colloquial vocabulary - "fish"). In addition, at the beginning of the program, the presenter gives a description of himself, focusing on the fact that he is "full of strength, energy", which means that the release will be productive, lively and interesting. With these techniques, Artem Novichenkov brings himself and his co-host Vladislav Timkin closer to the audience, while setting up a friendly tone of communication between its direct participants.

It is worth noting that in most of the analyzed educational audio podcasts, the presenter is introduced at the end of the issue, while the audience recognizes the name of the expert immediately. Such a move highlights the invited guest, although within the framework of the conversation, the podcast participants are positioned as equal:

— Today we will discuss it with philologist Elena Seifert, a writer, professor at the Russian State University for the Humanities and a leading researcher at the Moscow State Linguistic University. Elena, hello.

— Hello, Lev. I am very, very glad.

— I am also very glad that you agreed to come to us ("Between the lines", issue of "The Inexpressible by Vasily Zhukovsky", 01.11.2022).

And the podcast ends with the words: "Thank you very much. It was a “Between the Lines” podcast. Today we talked with philologist, professor, Doctor of Philology Elena Seifert about Zhukovsky's “Inexpressible”. My name is Lev Oborin and until the next issues. Have a nice day ("Between the lines", issue of "The Inexpressible by Vasily Zhukovsky", 01.11.2022).

The presentation of the expert opens and releases the audio podcast "Conversations about literature":

— Let's take a swing at Dostoevsky, let's talk about the influence the writer had on the Russian poetic consciousness, and our expert, Doctor of Philology, ordinary professor at the Higher School of Economics, scientific director of the laboratory "The Creative Heritage of Yuri Lyubimov and the director's Theater of the XX—XXI century" Elena Naumovna Penskaya, will help us in this. Elena, good afternoon!

-hello! I am glad to talk with you ("Conversations about literature", issue "What influence did Dostoevsky have on the Russian poetic consciousness", 04/14/2021).

The same trend can be seen in the audio podcast "Diary of his wife", however, it is worth noting that Sergey Stillavin first introduces the expert and only then voices the topic of the issue:

— Dear friends, a long—awaited meeting with Egor Sartakov, Associate Professor of the Faculty of Journalism at Moscow State University, Candidate of Philological Sciences. Egor, good morning!

— Good morning, friends.

— To be honest, I was afraid of today's topic, because it is extremely piquant, but Egor Sartakov is a brave man, and he took up it with all the scientific courage, as they say, because our project is called "His Wife's Diary". But today our question will be posed somewhat differently: why does a poet need someone else's wife, comrades?

— Uh-uh-uh.

— Yes, yes, yes, we got to Vladimir Vladimirovich Mayakovsky, Lily Brick and her husband. There is also a sister there, but this is another conversation ("His wife's Diary", issue "Mayakovsky and Brick: why does a poet need someone else's wife?", 08.11.2022).

Using vivid metaphors and irony in his speech, Sergey Stillavin attracts the invited expert and the podcast audience. In addition, the dominant stylistic feature of the presenter is explicated in this — Sergey Stillavin is known for his sharp topics bordering on gossip, irony and sarcasm towards the subject of conversation, co-hosts and guests of the issue.

In the strategy of attracting and retaining the attention of the addressee, such speech tactics as language play, announcing, and solidarity with the audience are implemented.

The language game is expressed in the use of style variance:

"Could you immerse our listeners in the genre of historical painting? And here, as the popular wisdom says, you can't figure it out without half a liter" ("100 minutes", issue "Russian painting. Historical painting", 05/16/2022).

Margarita Mitrofanova resorts to using colloquial expressions in order to show listeners what a difficult topic is ahead, but at the same time it reduces tension, "simplifies" the tone of the conversation and focuses on the fact that the expert will help to easily understand this topic. It is worth noting that in addition to colloquial vocabulary, the addressee uses the metaphor "immerse in the genre", as if playing with listeners: first adds expressiveness to speech, and then reduces its stylistic register by using colloquial vocabulary.

The presenter of the podcast "Conversations about literature" Vakhtang Makharadze plays the situation very interestingly. In order to add an entertaining character to the conversation, he asks a question using colloquial vocabulary: "Could this happen: Natalia Goncharova comes to Pushkin and says: "Sasha, look, I've sketched here." He read diagonally and says, “No, Natasha, literature is not yours.” Could this be?" ("Conversations about literature", issue "Why there are almost no women among the classics of Russian literature", 12/16/2021).

The journalist, playing up the situation, uses a truncated version of the name of the poet ("Sasha") and his wife ("Natasha"), trying to imitate the everyday dialogue of the spouses. In addition, Makharadze forms the word "diagonal" by adding the diminutive suffix "-k", thereby giving it a colloquial connotation. The use of the short form of the word "no" — "not" is also a sign of colloquial speech. This technique not only brings listeners and the great poet closer together, but also adds humorous notes to the discussion, makes the conversation relaxed. Thus, there is a kind of game with the listener.

Artem Novichenkov in the author's podcast "Understand yourself if you can" also uses colloquial expressions: "By the way, his real name is Yuvachev. Agree, it's a cool surname <...> The story “The Old Woman" is his biggest text. God willing, it's 30 pages <...> These people get together and do God knows what" ("Understand yourself if you can", issue "A man came out of the house": the mad genius of Kharms", 11/30/2021).

The journalist uses colloquial vocabulary: the word "cool", the interjection "God willing", the expression "God knows what." With these lexical units, the author adds an emotional assessment, expressiveness of his speech.

Sergey Stillavin in the podcast "Diary of his wife" used the colloquial word "henpecked": "Has Alexander Sergeevich turned into a henpecked man in this sense, well, as they say now?" ("Diary of his wife", issue of "A.S. Pushkin and N.N. Goncharova. The history of dating", 19.01.2022).

The journalist uses colloquial vocabulary with a bright expressive component in his speech and in another podcast: "And when they spoke about each other, did they accompany it with some nicknames or epithets? For example: "Oh, you White Guard suckling," and he said to him: "Oh, you proletarian bastard"?" ("Literary squabbles", issue of Bulgakov vs Mayakovsky, 09/16/2021). The words "suckling" and "starving" have a reduced stylistic coloring. Such an ironically sarcastic modeling of a communicative situation, in which the conflict between the poet and the writer is explicated, represents the characteristic features of Sergey Stillavin's linguistic personality.

Lev Oborin, the author of the audio podcast "Between the Lines", also uses a bright lexical palette: "I do not know how you would comment on this, the moment when our surgeon fails, the rhythm of this poem breaks down. Here, too, the rhythm may have fallen apart, as well as all the hopes of the surgeon" ("Between the lines", issue of "Voluptuous Trader" by Daniil Kharms", 12/28/2022).

The presenter uses the colloquial expression "fails", which means to experience failure, and immediately complements it with the metaphor "the rhythm of this poem also breaks". Unlike Margarita Mitrofanova, Lev Oborin first reduces the stylistic tone of the statement, and then increases it with the help of artistic means, thereby returning the communication to an educational character. Lev Oborin complements the metaphor with an ironic comparison, "and the rhythm may have fallen apart, like all the surgeon's hopes."

Using the tactics of language play, the authors of educational audio podcasts emphasize their speech individuality, strive to be memorable and recognizable to the target audience.

The tactics of the announcement are presented in the liner notes to the audio podcasts, where the presenter indicates what will be discussed in this issue. Lev Oborin, the author of the podcast "Between the Lines", practically does not use the elements of infotainment, adhering to the strategy of enlightenment:

— Today we are talking about Ksenia Nekrasova with Danila Davydov, a poet, critic, philologist, researcher, including Ksenia Nekrasova. Danila, hello.

- hello!

— We decided to talk about one of the poems often quoted — "The House in which I live" — and about Nekrasova herself, it probably also makes sense to say more ("Between the lines", issue "The House in which I live..." by Ksenia Nekrasova", 03/29/2023).

Artem Novichenkov behaves quite differently in the podcast "Understand yourself if you can":

— My dear ones, hello. Artyom Novichenkov and Vladislav Timkin are with you, and today we will talk about... what, Vlad?

— What are we going to talk about… About whatever we want.

— About the revolution (they sing to the tune of "Pinocchio").

— Today we will talk about procrastination. Vlad suggested this topic, I couldn't refuse because I was busy. Vlad, why did you choose this topic? ("Understand yourself if you can", issue "Deferred Life", 02/07/2022).

In this example, there is also a tactic of solidarity with the audience in using the friendly address "my dears", in addition, the very tone of communication between the presenters is relaxed, friendly, so the listener feels comfortable.

And here's how Sergey Stillavin addresses the audience:

 "The fact is that writers are also people, they are not alien to being the same as us, in general. And you and I are not perfect. Sometimes we just get in a bad mood, someone wants something somehow, and then they write it down and say: "Here, look what a scoundrel he was" ("Literary squabbles", issue of "Who didn't get along with A.P. Chekhov", 01/27/2022).

Another strategy explicated in audio podcasts is dialog. It includes four communication tactics: imitation of friendly communication, addressing the listener, control over the topic and tactics of ending the dialogue.

The attitude to friendly communication, as well as addressing the listener, is realized through the use of expressions in speech: "dear friends", "my friends", "my dear ones", "dear listeners". In addition, the hosts of audio podcasts address the audience when they announce the program, place semantic accents during the conversation, give advice or humorous recommendations, such as, for example, Margarita Mitrofanova:

"Well, in general, let's remember, on the bridge/bridge. This, as you remember, is "the white swan on the pond", the man alone in "Let's get married" got drunk and couldn't finish the song" ("100 minutes", issue "Bridges. How to correctly incline the word — bridge", 09/06/2021).

The tactics of controlling the topic are represented in the dialogue with the invited expert. The moderator acts as a moderator who sets the tone of the conversation, directs the expert, covering all issues. Lev Oborin uses the most obvious tactics of controlling the topic in the audio podcast "Between the Lines":

"I don't want to give up the tram motif yet. After all, it's a poem about a tram. Indeed, until the XIX century, when the railway and the horse-drawn tram appeared, there were absolutely no mass trips, where many, many people gathered in one carriage, in one mobile home," ("Between the lines", issue "The Lost Tram" by Nikolai Gumilev", 08/25/2021).

"We talk a lot about the poet Lermontov and about the poet — hero of the poem, but somehow we still haven't said much about the dagger, about this key image. Do I understand correctly that I mean a very specific dagger that really had Lermontov's power?" ("Between the Lines", issue of Mikhail Lermontov's Poet, 09/13/2022).

In the tactics of completing the dialogue, the presenters use words of gratitude: "Thank you very much, Danila. Today we talked about Ksenia Nekrasova in the podcast ”Between the lines". My name is Lev Oborin. Danila Davydov was with us. This is “Between the lines". Until the next issues" ("Between the lines", issue "The house in which I live ..." by Ksenia Nekrasova", 03/29/2023).

In addition, the tactics of ending the dialogue are represented in speech stamps that notify the end of the conversation: "We conclude with this wonderful story about Andrei Mironov. We talked about pseudonyms today. And today we had an associate professor of the Faculty of Journalism at the Institute of Civil Service of the RANEPA Lyubov Petrovna Gogina. Lyubov Petrovna, thank you very much! And all the best! See you soon!" ("Conversations about literature", issue "Why writers hide behind pseudonyms", 07/25/2022).

Conclusions

Summing up the research undertaken, we note that the audio podcast as a new media format is being actively studied by domestic researchers. If the first attempts to present the definition of this phenomenon were mostly related to its technical and technological characteristics, then modern scientific works carried out in the mainstream of discursology, media linguistics and media stylistics take into account various aspects: thematic, communicative-pragmatic, stylistic and linguistic specifics.

Our research, aimed at studying the pragmastilistic originality of educational audio podcasts, allows us to conclude that the set of speech strategies and tactics represented in the empirical material is due to the originality of the audio podcast format, the goals of the addressee, the expectations of the addressee, the subject, the boundaries of the media discourse. 

Using the presented speech strategies and tactics, the hosts of audio podcasts expand the picture of the addressee's world, attract and hold the attention of listeners, conduct a conversation naturally, easily, while thoroughly and not boring discussing both significant cultural events or phenomena, as well as some interesting details from the lives of famous people. The authors of audio podcasts deliberately shy away from, for example, the genre of an academic lecture towards infotainment, thanks to which they manage to convey information to the audience in an accessible and fascinating way.