边界和敌人。移民在意大利公共话语中的形象和框架= Borders和Enemies。意大利公共辩论中移民的想象和框架

IF 0.2 Q4 COMMUNICATION H-ermes-Journal of Communication Pub Date : 2021-05-07 DOI:10.1285/I22840753N19P181
M. Binotto, M. Bruno
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引用次数: 0

摘要

多年来,许多研究人员调查了关于移民的公开辩论,提供了一些统一框架绘制的有限全景,一系列反复出现的论点,图像和标志性代表。这篇文章将报告三种流行的公众对移民的定义,并从一个基本的方面来理解移民的力量和有效性。事实上,在重构情境的定义时,我们将把说话者使用的隐喻公式与一组象征性参考结合起来,使我们能够将他们的解释与根植于我们文化以及意大利集体想象中的叙事、神话和图像联系起来。以Gamson的作品为例,介绍了一些讽刺漫画和模因的例子,并给出了定义。目的是举例说明探索主题的一些策略,最重要的是,框架的力量导致一个更广泛、更复杂的叙事的综合和视觉表现,然而,可以很容易地回忆和暴露在几个笔画和图像中。对想象的分析对于理解每一个框架是如何运作的,对于构建既具体又丰富、合理又充满符号、神话和“文化共鸣”的表征是必不可少的。在这样做的过程中,框架被建立为常识,有助于生产有效的,几乎是字面上的,霸权的沟通。
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Confini e nemici. Immaginario e frame delle migrazioni nel discorso pubblico italiano = Borders and Enemies. Imaginary and frame of migrations in Italian public debate
Over the years many researchers have investigated the public debate on migrations, providing a restricted panorama drawn by some consolidated frames, a repertoire of recurring argument, images and iconic representations. This contribution will report on three prevailing public definitions of immigration, adding to these representations a fundamental aspect to understand its strength and effectiveness. In fact, when reconstructing the definitions of the situation, we will combine the metaphorical formulas that are used by speakers with the set of symbolic references that allow us to connect their explanations to narratives, mythologies and images rooted in our culture as well as in the Italian collective imagination. Following the example of Gamson's work, some examples of satirical cartoons and memes are presented together with the definition. The aim is to exemplify some strategies of exploration of the theme and, above all, the strength of the framing leading to a synthetic and visual representation of a wider and more complex narrative that can however, be easily recalled and exposed in a few strokes and images. The analysis of the imaginary is essential to understand how each frame can work, to build representations that are both concrete and rich, plausible and full of references to symbols, myths, "cultural resonances". In so doing, the frame is built as common sense by contributing to the production of an effective and, almost literally, hegemonic communication.
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