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Features of the young audience’s attitude to the media coverage of the coronavirus (COVID-19) pandemic 年轻受众对新冠肺炎疫情媒体报道的态度特征
IF 0.2 0 LANGUAGE & LINGUISTICS Pub Date : 2022-08-01 DOI: 10.17223/19986645/78/11
Dmitry N. Barinov
The article presents the results of an empirical study of the attitude of the student youth of Smolensk to the media coverage of the COVID-19 pandemic. The objectives of the study were: to identify the most popular sources of information about the pandemic, to determine the level of confidence in them;to assess the impact of media information about the coronavirus on the population, the degree of objectivity of media coverage of the pandemic;to establish the specificity of the emotional component of the media's perception of information about the COVID-19 pandemic, the attitude to the public roles of the journalist realized when reporting the pandemic. The study used a two-stage sampling. At the first stage, specific intermediate units - 5 institutions of higher education - were selected through a simple random, no-second selection procedure. In the second phase, a quota sample was selected. The sample size was 400. The quota sample included university affiliation and form of study (full-time, part-time (evening) and correspondence). Quota topics were related. The method of collecting empirical data was a personal interview. The field phase of the study took place in December 2020. The resulting data set was processed by MS Excel. The study found that the most sought-after sources of information about the coronavirus pandemic in the student population are Internet resources, reflecting the specificity of the development of the media sphere, in the structure of which new media (Internet portals, social networks) rank the second most popular news source after television. The study also found that traditional media, such as television, are as trustworthy as they are. The study determined that student youth have some skepticism and distrust of official media information about the coronavirus. The study shows that the choice of sources of information and the level of confidence in information about the pandemic among young people reflect the general trend in the perception of such information by Russians, which is due to the lack of precise information about its origin at the beginning of the pandemic, the course of the disease, the means of ensuring safety, as well as the contradictory information circulating in the mass media about the infection. The analysis found that in assessing the role of journalists in reporting the pandemic, student youth lacked information about the disease. Students' perception of publications in the media about the coronavirus is accompanied by negative emotions (fear, anxiety, uncertainty, frustration), which may be due to both the content of the publications and the way the news material is presented. In the structure of the most memorable news about the coronavirus for students there are topics capable of generating negative emotional states - the number of cases, the origin of the disease, its symptoms, methods of prevention and treatment, coronavirus mortality, the development of a vaccine.
本文介绍了斯摩棱斯克学生青年对媒体报道COVID-19大流行的态度的实证研究结果。这项研究的目的是:确定关于大流行的最受欢迎的信息来源,确定对它们的信任程度;评估关于冠状病毒的媒体信息对人口的影响,媒体报道大流行的客观性程度;建立媒体对COVID-19大流行信息感知的情感成分的特异性,对记者在报道大流行时实现的公共角色的态度。该研究采用了两阶段抽样。在第一阶段,具体的中间单位——5所高等教育机构——通过简单的随机、无二次选择程序选出。在第二阶段,选择了一个配额样本。样本量为400。配额样本包括大学所属和学习形式(全日制、兼职(夜校)和函授)。讨论了配额问题。收集实证数据的方法是个人访谈。该研究的实地阶段于2020年12月进行。所得数据集用MS Excel进行处理。研究发现,在学生群体中,最受欢迎的新冠肺炎疫情信息来源是互联网资源,这反映了媒体领域发展的特殊性,在该结构中,新媒体(互联网门户网站、社交网络)是仅次于电视的第二大最受欢迎的新闻来源。该研究还发现,电视等传统媒体同样值得信赖。该研究确定,学生青年对官方媒体关于冠状病毒的信息持怀疑和不信任态度。研究表明,信息来源的选择和年轻人对疫情信息的信任程度反映了俄罗斯人对这类信息认知的总体趋势,这是由于缺乏关于疫情开始时的确切信息、疾病的发展过程、确保安全的手段,以及大众传播媒介中关于疫情传播的相互矛盾的信息。分析发现,在评估记者在报道大流行方面的作用时,学生青年缺乏有关该疾病的信息。学生对媒体上关于冠状病毒的出版物的看法伴随着负面情绪(恐惧、焦虑、不确定、沮丧),这可能与出版物的内容和新闻材料的呈现方式有关。在学生们最难忘的关于冠状病毒的新闻结构中,有一些能够产生负面情绪状态的话题——病例数、疾病起源、症状、预防和治疗方法、冠状病毒死亡率、疫苗的开发。
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引用次数: 0
Russian dystopian tradition (Fyodor Dostoevsky, Yevgeny Zamyatin) and Aldous Huxley: The problem of Nikolai Berdyaev’s receptive mediation 俄国反乌托邦传统(陀思妥耶夫斯基、叶夫根尼·扎米亚京)与赫胥黎:别尔佳耶夫的接受性调解问题
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-08-01 DOI: 10.17223/19986645/78/5
D. L. Bystrenkov, A. A. Kazakov
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引用次数: 0
First experiences of the French reception of Russian literature: Works of Antiochus Cantemir 法国接受俄国文学的初步经验:安提阿古斯·坎特米尔的作品
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-08-01 DOI: 10.17223/19986645/78/7
Aleksei M. Zavgorodnii
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引用次数: 0
The rhythmic structure of a poetic text as an issue of translation studies. Illustrated by the English translation of Marina Tsvetaeva’s poem “Emigrant” by Christopher Whyte 诗歌文本的节奏结构作为翻译研究的一个问题。插图由克里斯托弗·怀特翻译的玛丽娜·茨维塔耶娃的诗“移民”
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-08-01 DOI: 10.17223/19986645/78/9
Marina V. Tsvetkova
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引用次数: 0
On the problem of the definitive text of Moscow - Petushki by Venedikt Erofeev: A review of existing editions 关于Venedikt Erofeev的莫斯科-佩图什基的最终文本问题:对现有版本的回顾
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-06-01 DOI: 10.17223/19986645/77/5
Aleksandr A. Agapov, A. Agapova
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引用次数: 0
Linguistic synaesthesia through the prism of stylistic devices 从文体手段的角度看语言联觉
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-06-01 DOI: 10.17223/19986645/77/3
Elena Razlogova, Polina V. Iaroshenko
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引用次数: 0
“The painful monotony of conversations about one and the same thing”: Constitutive signs of thematic discourse on the example of the discussion on political correctness in Germany “关于同一件事的令人痛苦的单调对话”:主题话语的构成标志——以德国政治正确讨论为例
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-06-01 DOI: 10.17223/19986645/77/1
Elena A. Kondakova
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引用次数: 0
The stories “On Christmas Night” by Anton Chekhov and “Night Ringing” by his brother Alexander: The problem of creative polemic 契诃夫的《圣诞夜》和他的兄弟亚历山大的《夜鸣》:创造性辩论的问题
IF 0.2 Q2 Arts and Humanities Pub Date : 2022-06-01 DOI: 10.17223/19986645/77/10
A. Kubasov
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引用次数: 0
Audiovisual media consumption of the digital generation: The trend towards deep listening in the pandemic 数字一代的视听媒体消费:大流行病中深入聆听的趋势
IF 0.2 0 LANGUAGE & LINGUISTICS Pub Date : 2022-06-01 DOI: 10.17223/19986645/77/12
L. A. Kruglova
"The article presents the results of a study of the consumption of audiovisual content on the Internet, in particular vodcasts in the Russian-speaking part of YouTube, by representatives of the Russian digital generation. Today, YouTube controls almost a third of the internet traffic in the world. More than 65% of viewers say they experience YouTube content as real life. For two COVID-19 years, we have seen a continued increase in interest in podcasting in Russia. YouTube media bloggers started making podcasts, but not just audio podcasts, but so-called vodcasts, that is, video bloggers audiovisually broadcast the process of recording a podcast on YouTube. There are several possible reasons for this trend: Joe Rogan's impressive popularity, the desire to try oneself in a new format, a tribute to fashion, the audience's request for longer and deeper content, etc. Based on the analysis of media preferences of the control group of representatives of the ""digital tribe"", an attempt was made to explore the content strategies of 59 Russian-language vodcasts on the site of the Russian-language YouTube, as well as their social media. The material of the study allows determining one of the vectors for the development of digital audiovisual content for deep and long listening during the pandemic. Comparative analysis was carried out on 23 audience, content, economic and other indicators. Based on the results of the study, it is possible to single out the audience's request for long pseudo-deep content, as opposed to super-short audiovisual forms (TikTok, Reels on Instagram, Watch on Facebook, etc.). In vodcasting, most bloggers only take the fashionable name ""podcast"", just some associative idea of the form, for their shows and interviews, thus trying to create an atmosphere of a confidential, unhurried, ""intimate"" and deep conversation, which is mainly inherent in radio or auditory communication methods."
这篇文章介绍了俄罗斯数字一代代表对互联网上视听内容消费的研究结果,特别是YouTube俄语部分的播客。如今,YouTube控制着全球近三分之一的互联网流量。超过65%的观众表示,他们将YouTube的内容视为真实生活。在2019冠状病毒病爆发的两年中,我们看到俄罗斯对播客的兴趣持续增加。YouTube媒体博主开始制作播客,但不仅仅是音频播客,而是所谓的播客,也就是视频博主在YouTube上以视听方式播放录制播客的过程。这种趋势有几个可能的原因:乔·罗根令人印象深刻的知名度,在新的形式中尝试自己的愿望,对时尚的致敬,观众对更长更深入的内容的要求等等。在分析“数字部落”代表的控制组媒体偏好的基础上,试图探索俄语YouTube网站及其社交媒体上59个俄语播客的内容策略。该研究的材料可以确定在大流行期间开发用于深度和长时间收听的数字视听内容的载体之一。对23项受众、内容、经济等指标进行对比分析。根据研究结果,有可能挑出观众对长伪深度内容的要求,而不是超短的视听形式(TikTok、Instagram上的Reels、Facebook上的Watch等)。在播客中,大多数博主在他们的节目和采访中只使用“播客”这个时髦的名字,只是一些形式上的联想,从而试图营造一种保密的、不慌不忙的、“亲密的”、“深入的”对话氛围,这主要是广播或听觉传播方式所固有的。
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引用次数: 1
Aleksandr Nikitenko as a reader and critic of the novel Who Is to Blame? by Alexander Herzen (On the material of the professor’s library) Aleksandr Nikitenko作为小说《谁是罪魁祸首?》的读者和评论家作者:亚历山大·赫尔岑(论教授图书馆的资料)
IF 0.2 0 LANGUAGE & LINGUISTICS Pub Date : 2022-06-01 DOI: 10.17223/19986645/77/7
Ivan O. Volkov, Emma M. Zhilyakova
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引用次数: 0
期刊
Vestnik Tomskogo Gosudarstvennogo Universiteta Filologiya-Tomsk State University Journal of Philology
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