{"title":"Animation and myth of the hero as discursive device in Mexican political campaigns","authors":"Citlaly Aguilar Campos","doi":"10.1075/ld.00073.agu","DOIUrl":null,"url":null,"abstract":"Abstract A political campaign is a dialogical game that will always make a deployment of discursive resources that manage to generate empathy and in that way, obtain the vote of the people. Animation and myth are resources that politicians use in their favor to construct their messages. The reason? These elements are exceptional dialogical units thanks to their power of meaning and cohesion on a personal and social level. This research focus in two Mexican politicians Alfredo del Mazo and Andres Manuel Lopez Obrador, who during their elections – 2017 and 2018, respectively – used digital animation to create a striking propaganda. The critical frame is based on Joseph Campbell, Rollo May, Carlos A. Scolari, Clifford Geertz and Edna Becerril.","PeriodicalId":42318,"journal":{"name":"Language and Dialogue","volume":"10 1","pages":"320-339"},"PeriodicalIF":0.8000,"publicationDate":"2020-12-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Language and Dialogue","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1075/ld.00073.agu","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LANGUAGE & LINGUISTICS","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract A political campaign is a dialogical game that will always make a deployment of discursive resources that manage to generate empathy and in that way, obtain the vote of the people. Animation and myth are resources that politicians use in their favor to construct their messages. The reason? These elements are exceptional dialogical units thanks to their power of meaning and cohesion on a personal and social level. This research focus in two Mexican politicians Alfredo del Mazo and Andres Manuel Lopez Obrador, who during their elections – 2017 and 2018, respectively – used digital animation to create a striking propaganda. The critical frame is based on Joseph Campbell, Rollo May, Carlos A. Scolari, Clifford Geertz and Edna Becerril.
期刊介绍：
In our post-Cartesian times human abilities are regarded as integrated and interacting abilities. Speaking, thinking, perceiving, having emotions need to be studied in interaction. Integration and interaction take place in dialogue. Scholars are called upon to go beyond reductive methods of abstraction and division and to take up the challenge of coming to terms with the complex whole. The conclusions drawn from reasoning about human behaviour in the humanities and social sciences have finally been proven by experiments in the natural sciences, especially neurology and sociobiology. What happens in the black box, can now, at least in part, be made visible. The journal intends to be an explicitly interdisciplinary journal reaching out to any discipline dealing with human abilities on the basis of consilience or the unity of knowledge. It is the challenge of post-Cartesian science to tackle the issue of how body, mind and language are interconnected and dialogically put to action. The journal invites papers which deal with ‘language and dialogue’ as an integrated whole in different languages and cultures and in different areas: everyday, institutional and literary, in theory and in practice, in business, in court, in the media, in politics and academia. In particular the humanities and social sciences are addressed: linguistics, literary studies, pragmatics, dialogue analysis, communication and cultural studies, applied linguistics, business studies, media studies, studies of language and the law, philosophy, psychology, cognitive sciences, sociology, anthropology and others. The journal Language and Dialogue is a peer reviewed journal and associated with the book series Dialogue Studies, edited by Edda Weigand.
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