Pub Date : 2021-02-15DOI: 10.1080/19409419.2021.1884339
Irina Grigor (Khaldarova), M. Pantti
ABSTRACT This article explores and compares the visual images used by Channel One (Ch1), Russia’s biggest state-aligned television broadcaster, to justify Russia’s intervention in two major geopolitical conflicts in recent history: the armed conflict in eastern Ukraine and Syria’s civil war. The data reveal that while Ch1’s projection of Ukrainian conflict is anchored in compassion to the Eastern Ukraine population speaking the Russian language, the Syrian war is framed to fuel the feeling of national pride by focusing on the Russian greatness as a political and military superpower. This research, thus, extends the theoretical understanding of media representation of war, especially how the changing political context impacts which identities are represented and made potent through different emotional appeals. The article conceptualises visual images as affective anchors that can be used to reactivate collective memory and dominant discourses and construct emotional relationships between the audience and mediated events.
{"title":"Visual images as affective anchors: strategic narratives in Russia’s Channel One coverage of the Syrian and Ukrainian conflicts","authors":"Irina Grigor (Khaldarova), M. Pantti","doi":"10.1080/19409419.2021.1884339","DOIUrl":"https://doi.org/10.1080/19409419.2021.1884339","url":null,"abstract":"ABSTRACT This article explores and compares the visual images used by Channel One (Ch1), Russia’s biggest state-aligned television broadcaster, to justify Russia’s intervention in two major geopolitical conflicts in recent history: the armed conflict in eastern Ukraine and Syria’s civil war. The data reveal that while Ch1’s projection of Ukrainian conflict is anchored in compassion to the Eastern Ukraine population speaking the Russian language, the Syrian war is framed to fuel the feeling of national pride by focusing on the Russian greatness as a political and military superpower. This research, thus, extends the theoretical understanding of media representation of war, especially how the changing political context impacts which identities are represented and made potent through different emotional appeals. The article conceptualises visual images as affective anchors that can be used to reactivate collective memory and dominant discourses and construct emotional relationships between the audience and mediated events.","PeriodicalId":53456,"journal":{"name":"Russian Journal of Communication","volume":"23 1","pages":"140 - 162"},"PeriodicalIF":0.0,"publicationDate":"2021-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78173016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-20DOI: 10.1080/19409419.2021.1874790
D. Dergacheva, Anna Tous-Rovirosa
ABSTRACT This research uses the Social Network Analysis (SNA) method to determine the main actors in Twitter discussions around news topics. First, using the theory of networked authoritarianism (MacKinnon, 2011), it conceptualizes the ways that authoritarian states may influence domestic media and the broader Internet, taking Russia as our case study. It describes Russia’s media system and the incentives behind it. Next, it discusses the role of Twitter in authoritarian societies and defines Twitter’s role in today’s Russia. Methodology and results are followed by an exploration of the involvement of state-loyal actors in online discussions of the news, including those centered on social media in support of Russia’s domestic and international priorities, aiming to set the agenda on sensitive news topics and, thus, support existing authoritarian elites while diminishing voices of opposition.
{"title":"Government’s echo. Twitter discussions around news topics in Russian networked authoritarianism","authors":"D. Dergacheva, Anna Tous-Rovirosa","doi":"10.1080/19409419.2021.1874790","DOIUrl":"https://doi.org/10.1080/19409419.2021.1874790","url":null,"abstract":"ABSTRACT This research uses the Social Network Analysis (SNA) method to determine the main actors in Twitter discussions around news topics. First, using the theory of networked authoritarianism (MacKinnon, 2011), it conceptualizes the ways that authoritarian states may influence domestic media and the broader Internet, taking Russia as our case study. It describes Russia’s media system and the incentives behind it. Next, it discusses the role of Twitter in authoritarian societies and defines Twitter’s role in today’s Russia. Methodology and results are followed by an exploration of the involvement of state-loyal actors in online discussions of the news, including those centered on social media in support of Russia’s domestic and international priorities, aiming to set the agenda on sensitive news topics and, thus, support existing authoritarian elites while diminishing voices of opposition.","PeriodicalId":53456,"journal":{"name":"Russian Journal of Communication","volume":"31 1","pages":"117 - 139"},"PeriodicalIF":0.0,"publicationDate":"2021-01-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82424670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-05DOI: 10.1080/19409419.2020.1866400
Artyom Kosmarski
{"title":"The soft power of the Russian language pluricentricity, politics and policies","authors":"Artyom Kosmarski","doi":"10.1080/19409419.2020.1866400","DOIUrl":"https://doi.org/10.1080/19409419.2020.1866400","url":null,"abstract":"","PeriodicalId":53456,"journal":{"name":"Russian Journal of Communication","volume":"os-16 1","pages":"199 - 202"},"PeriodicalIF":0.0,"publicationDate":"2021-01-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87392359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/19409419.2021.1874788
Lyubov Bugaeva
ABSTRACT Art has always been connected with human emotions, and fear is one of them. What kinds of narrative patterns are used to depict emotions onscreen, for instance fear? This paper explores the emotion of fear, which predominates in a number of recent Russian TV series, by examining the language of fear onscreen in the intricate interaction of real-life schemata and fantasy, as well as the place of so-called ‘fear-narratives’ in broader contexts related to certain types of events and situations. It describes the tendency in recent Russian TV series, that can be called ‘Russian noir’, which plays with the emotion of fear, and seeks to answer the question, whether there are any differences in depicting and inducing the emotion of fear between the small screen and the big one.
{"title":"Fear on the small screen","authors":"Lyubov Bugaeva","doi":"10.1080/19409419.2021.1874788","DOIUrl":"https://doi.org/10.1080/19409419.2021.1874788","url":null,"abstract":"ABSTRACT Art has always been connected with human emotions, and fear is one of them. What kinds of narrative patterns are used to depict emotions onscreen, for instance fear? This paper explores the emotion of fear, which predominates in a number of recent Russian TV series, by examining the language of fear onscreen in the intricate interaction of real-life schemata and fantasy, as well as the place of so-called ‘fear-narratives’ in broader contexts related to certain types of events and situations. It describes the tendency in recent Russian TV series, that can be called ‘Russian noir’, which plays with the emotion of fear, and seeks to answer the question, whether there are any differences in depicting and inducing the emotion of fear between the small screen and the big one.","PeriodicalId":53456,"journal":{"name":"Russian Journal of Communication","volume":"29 1","pages":"29 - 41"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90365708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/19409419.2021.1884337
M. Yelenevskaya, E. Protassova
ABSTRACT An inseparable part of human life, emotions were neglected in the academic discourse in the West for a long time, because scholars juxtaposed them with thought and reason. Yet educational research reveals that emotions are manifestations of high order intelligence and stimulate goal achievement, memory, and motivation in knowledge acquisition. Emotions are culturally and individually shaped. While some cultures consider open demonstration of feelings inappropriate, others perceive unwillingness to reveal emotions as indicators of indifference. These differences are of major importance for understanding contemporary multilingual and multicultural societies. Differences in emotion management between majority and minority cultures may lead to intergroup conflicts. The interrelation between emotions, language and culture emerges in comparative analyses of emotion lexis in different languages. Although all languages contain words expressing positive and negative emotions, idioms, tropes and interjections used to render them vary. There is growing evidence that multilinguals often switch between languages to express their emotions more precisely, adjusting to the communicative situation. Moreover, foreign-language learners often misjudge their interlocutors' attitudes due to the insufficient knowledge of the norms of expressing emotions in the target language. They sometimes fail to predict the consequences of their own utterances, which may cause a communication break-down.
{"title":"Introduction: universality and specificity of emotions, with a focus on Russian","authors":"M. Yelenevskaya, E. Protassova","doi":"10.1080/19409419.2021.1884337","DOIUrl":"https://doi.org/10.1080/19409419.2021.1884337","url":null,"abstract":"ABSTRACT An inseparable part of human life, emotions were neglected in the academic discourse in the West for a long time, because scholars juxtaposed them with thought and reason. Yet educational research reveals that emotions are manifestations of high order intelligence and stimulate goal achievement, memory, and motivation in knowledge acquisition. Emotions are culturally and individually shaped. While some cultures consider open demonstration of feelings inappropriate, others perceive unwillingness to reveal emotions as indicators of indifference. These differences are of major importance for understanding contemporary multilingual and multicultural societies. Differences in emotion management between majority and minority cultures may lead to intergroup conflicts. The interrelation between emotions, language and culture emerges in comparative analyses of emotion lexis in different languages. Although all languages contain words expressing positive and negative emotions, idioms, tropes and interjections used to render them vary. There is growing evidence that multilinguals often switch between languages to express their emotions more precisely, adjusting to the communicative situation. Moreover, foreign-language learners often misjudge their interlocutors' attitudes due to the insufficient knowledge of the norms of expressing emotions in the target language. They sometimes fail to predict the consequences of their own utterances, which may cause a communication break-down.","PeriodicalId":53456,"journal":{"name":"Russian Journal of Communication","volume":"61 1","pages":"1 - 10"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91349205","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/19409419.2021.1889890
Sasha Razor
ABSTRACT After the October Revolution and the Civil War, funerals became a distinct element of daily Soviet life. As a response to the traumatic moral situations, the filming of funerals fulfilled a documentary and didactic function as it formalized changes that were occurring within society, demonstrated appropriate ways to mourn, and performed a commemorative function. This article contributes to the ongoing study of Sergei Tretiakov's oeuvre by focusing on representations of funeral rights in his Georgian screenplays and films: Eliso (1928), Slepaia (1930), Sol' Svanetii (1930), and Khabarda (1931). It argues that the cinematic representations of funerals in Tretiakov's Georgian screenplays reflect several competing paradigms at work: the funeral rebellion in Eliso, the private funeral in Slepaia, the ethnographic funeral in Sol' Svanetii, and the political funeral in Khabarda. Within each of these scenes, the viewers' emotions are being rerouted and manipulated to align with the film's ideological message. This article further casts a light on a time when manipulating viewers' emotions was at its formative stages, while the contradictions between facts and emotions were being negotiated in LEF's cine-theory and on screen.
{"title":"Emotions and the representation of funeral rites in Sergei Tretiakov’s Georgian screenplays, 1928–1931","authors":"Sasha Razor","doi":"10.1080/19409419.2021.1889890","DOIUrl":"https://doi.org/10.1080/19409419.2021.1889890","url":null,"abstract":"ABSTRACT After the October Revolution and the Civil War, funerals became a distinct element of daily Soviet life. As a response to the traumatic moral situations, the filming of funerals fulfilled a documentary and didactic function as it formalized changes that were occurring within society, demonstrated appropriate ways to mourn, and performed a commemorative function. This article contributes to the ongoing study of Sergei Tretiakov's oeuvre by focusing on representations of funeral rights in his Georgian screenplays and films: Eliso (1928), Slepaia (1930), Sol' Svanetii (1930), and Khabarda (1931). It argues that the cinematic representations of funerals in Tretiakov's Georgian screenplays reflect several competing paradigms at work: the funeral rebellion in Eliso, the private funeral in Slepaia, the ethnographic funeral in Sol' Svanetii, and the political funeral in Khabarda. Within each of these scenes, the viewers' emotions are being rerouted and manipulated to align with the film's ideological message. This article further casts a light on a time when manipulating viewers' emotions was at its formative stages, while the contradictions between facts and emotions were being negotiated in LEF's cine-theory and on screen.","PeriodicalId":53456,"journal":{"name":"Russian Journal of Communication","volume":"30 1","pages":"77 - 96"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82213051","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/19409419.2021.1884338
E. Protassova
ABSTRACT Emotions are a sensitive theme in all languages, and researchers seek to understand and describe them cross-linguistically and according to the national traditions. The ‘emotional turn’ in the human sciences has touched on the educational sphere in an interesting way, where the traditional Soviet-Russian approach was replaced by the westernized terms of emotional intelligence. While applying these international schemes to the Russian psycholinguistic reality, scholars failed to do so in a consistent way. This study reviews the former and current approaches to emotional education in Russia and provides examples of the application of the authors’ attitudes to Russian-language material. Although some psychologists speak to children in a natural and suitable way, others just translate from English, which often seems inapplicable. Modern bookshops and websites abound with advice and prompts on how to develop the emotional sphere of personal life. The universal approach to emotional upbringing may ignore local language-specific traditions.
{"title":"Emotional development in the educational preschool programs of Soviet and Post-Soviet Times","authors":"E. Protassova","doi":"10.1080/19409419.2021.1884338","DOIUrl":"https://doi.org/10.1080/19409419.2021.1884338","url":null,"abstract":"ABSTRACT Emotions are a sensitive theme in all languages, and researchers seek to understand and describe them cross-linguistically and according to the national traditions. The ‘emotional turn’ in the human sciences has touched on the educational sphere in an interesting way, where the traditional Soviet-Russian approach was replaced by the westernized terms of emotional intelligence. While applying these international schemes to the Russian psycholinguistic reality, scholars failed to do so in a consistent way. This study reviews the former and current approaches to emotional education in Russia and provides examples of the application of the authors’ attitudes to Russian-language material. Although some psychologists speak to children in a natural and suitable way, others just translate from English, which often seems inapplicable. Modern bookshops and websites abound with advice and prompts on how to develop the emotional sphere of personal life. The universal approach to emotional upbringing may ignore local language-specific traditions.","PeriodicalId":53456,"journal":{"name":"Russian Journal of Communication","volume":"72 1","pages":"97 - 109"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84146727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/19409419.2021.1893212
V. Zvereva
ABSTRACT What factors influence users to believe the stories they find in social media, and what role do emotions play for users in concluding that a particular fact is ‘true’? This article examines one aspect of emotionalized communication in social networks in an information war context, namely, how social network users make decisions about the reliability of the information they receive. We employ a qualitative study of a single case – a discussion among Russian-speaking Livejournal.com and Facebook.com users of a tragic incident in Ukraine – the deadly fire that took place in the Odessa Trade Union House on 2 May, 2014. The relevancy of this case consists in how, for all its uniqueness as a tragic event, the communications by users in its immediate aftermath typify important features of social media discussions of ‘shocking events’. This article considers a general model of behavior of users who must try to comprehend the tragic news and are caught in a state of uncertainty amid acute confrontation between actors in an information conflict.
{"title":"Social media users in search of ‘facts’: the Trade Union House fire case","authors":"V. Zvereva","doi":"10.1080/19409419.2021.1893212","DOIUrl":"https://doi.org/10.1080/19409419.2021.1893212","url":null,"abstract":"ABSTRACT What factors influence users to believe the stories they find in social media, and what role do emotions play for users in concluding that a particular fact is ‘true’? This article examines one aspect of emotionalized communication in social networks in an information war context, namely, how social network users make decisions about the reliability of the information they receive. We employ a qualitative study of a single case – a discussion among Russian-speaking Livejournal.com and Facebook.com users of a tragic incident in Ukraine – the deadly fire that took place in the Odessa Trade Union House on 2 May, 2014. The relevancy of this case consists in how, for all its uniqueness as a tragic event, the communications by users in its immediate aftermath typify important features of social media discussions of ‘shocking events’. This article considers a general model of behavior of users who must try to comprehend the tragic news and are caught in a state of uncertainty amid acute confrontation between actors in an information conflict.","PeriodicalId":53456,"journal":{"name":"Russian Journal of Communication","volume":"5 1","pages":"11 - 28"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80155818","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/19409419.2021.1887992
Inna Kabanen
ABSTRACT Odessa as a place of contradictions, the mythological ‘cradle of Revolution’ and the capital city of humor, is an essential part of Soviet and post-Soviet culture. Recently, there seems to be an increased longing for simple values and genuine interpersonal relationships that could be found in places of communal living, such as the (in)famous Odessan courtyards. Television and film industry feed the nostalgic feelings with productions set in Odessa, and the scenes that take place in Odessan courtyards often feature reassuringly stereotypical characters. The aim of this article is to analyze how humor and nostalgia are conveyed in such content and the emotional response they obtain from the audience.
{"title":"Odessan courtyard as a symbol of humor and nostalgia on Russian television","authors":"Inna Kabanen","doi":"10.1080/19409419.2021.1887992","DOIUrl":"https://doi.org/10.1080/19409419.2021.1887992","url":null,"abstract":"ABSTRACT Odessa as a place of contradictions, the mythological ‘cradle of Revolution’ and the capital city of humor, is an essential part of Soviet and post-Soviet culture. Recently, there seems to be an increased longing for simple values and genuine interpersonal relationships that could be found in places of communal living, such as the (in)famous Odessan courtyards. Television and film industry feed the nostalgic feelings with productions set in Odessa, and the scenes that take place in Odessan courtyards often feature reassuringly stereotypical characters. The aim of this article is to analyze how humor and nostalgia are conveyed in such content and the emotional response they obtain from the audience.","PeriodicalId":53456,"journal":{"name":"Russian Journal of Communication","volume":"107 1","pages":"62 - 76"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73224801","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-01-02DOI: 10.1080/19409419.2021.1887991
S. Savchuk, A. Makhova
ABSTRACT The paper introduces the Multimodal Russian Corpus (MURCO) as a part of the Russian National Corpus (RNC). MURCO provides users with a great amount of linguistic information related to Russian. Moreover, the deeply annotated part of the MURCO contains data concerning Russian gesticulation, speech act system, types of vocal gestures and interjections in Russian, and so on. It should be noted that there is no specific annotation of emotions in MURCO, because it was initially designed as a tool for the linguistic research of different types of oral discourse. However, using various types of annotation, and relying on the correlation between emotions and corresponding language features, we can find a great number of emotional contexts for further study. This article describes the main types of annotation and the structure of the MURCO interface; and demonstrates various ways to extract the necessary information for emotional studies.
{"title":"Multimodal Russian Corpus and its use in emotional studies","authors":"S. Savchuk, A. Makhova","doi":"10.1080/19409419.2021.1887991","DOIUrl":"https://doi.org/10.1080/19409419.2021.1887991","url":null,"abstract":"ABSTRACT The paper introduces the Multimodal Russian Corpus (MURCO) as a part of the Russian National Corpus (RNC). MURCO provides users with a great amount of linguistic information related to Russian. Moreover, the deeply annotated part of the MURCO contains data concerning Russian gesticulation, speech act system, types of vocal gestures and interjections in Russian, and so on. It should be noted that there is no specific annotation of emotions in MURCO, because it was initially designed as a tool for the linguistic research of different types of oral discourse. However, using various types of annotation, and relying on the correlation between emotions and corresponding language features, we can find a great number of emotional contexts for further study. This article describes the main types of annotation and the structure of the MURCO interface; and demonstrates various ways to extract the necessary information for emotional studies.","PeriodicalId":53456,"journal":{"name":"Russian Journal of Communication","volume":"3 1","pages":"42 - 61"},"PeriodicalIF":0.0,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73046652","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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