2022
№ 1
(Vol. 9)
The article describes the linguistic and communicative effects of convergent radio, which combines technological and sociocultural features of the Internet and analogue broadcasting. The article is focused on the discursive realization specifics of technological and sociocultural phenomenon — convergent radio. The process combining different media platforms has provoked the interest of linguists in the way of implementing linguistic and communicative structures within the boundaries of discursive media practice. This study addresses the thesis on the status of information constructed in social network discourse in the process of communicative interaction of users. The possibility of self-expression and formation of the addressee`s identity indicates a change in his role as a passive subject (the recipient of information). The user of a radio network resource becomes an active subject of discourse and creates its semantic space. The discourse of convergent radio offers the subject a greater degree of freedom in resource management and communication, but at the same time determines the nature of these actions, realizing their goals and strategies. The method of qualitative critical discourse analysis, aimed at identifying ways of organizing dialogic interaction and mechanisms for managing the speech activity of subjects of communication, makes it possible to identify the specifics of value modeling within the boundaries of discursive media practice. This work deepens the problem of axiological modeling of media pictures of the world, which are considered not only in the aspect of images broadcast by the authors of media texts, but also from the point of view of those meanings that are formed in the processes of communicative interaction of addressees. The allocation of the dynamic, activity aspect of the formation of the media worldview presupposes the consideration as a key unit of analysis of communication fragments of the addressees-users.
2022
№ 1
(Vol. 9)
This paper discusses the conceptualization of anthropomorphized emotions in children’s animated films, using the example of the Polish (dubbed) version of Pete Docter’s production Inside Out (2015). This is a new issue that has not been developed in the fields of film studies, linguistics, and media linguistics. It is placed in the wider context of film discourse, with particular emphasis on the visual-verbal layer and educational function. In a film treated as a media message, all dimensions of film discourse are fulfilled. The basic research unit is a statement extracted from an audio track, functioning in a specific situational context and associated with a visual code. Children perceive the world filtered by characters’ experiences, knowledge, and emotions. They accept their point of view, which is revealed both in visual and verbal layers. The audiovisual nature of the message forces us to adopt a broad multimodal research perspective. Since the research has an interdisciplinary nature and is within the framework of media linguistics, attention is focused on those elements of cinematic work that the viewer (child) is able to decode: the narrator’s person, the coexistence of visual and verbal codes, and the principle of contrast. The elements indicated interpenetrate and thus create an integral cinematic picture of emotions. The analysis showed that the film fits into the medial (cinematic) discourse about emotions. Due to its audiovisual capabilities, it has great potential in demonstrating and explaining complex emotional states, often difficult to understand by the intended recipient of the film. Its uniqueness is evidenced by the fact that it does not so much appeal to the emotional sphere of the child audience, but anthropomorphizes emotions. It depicts the world and situations that are impossible to imagine due to child-specific cognitive deficits.
2022
№ 1
(Vol. 9)
The article substantiates the features of the nature and functions of the comical, laughter, farce, and tragedy-farce in Ukrainian’s reality shows “I am changing my wife” and “Hello, I am your mother!” These projects touch upon basic social and everyday problems of the modern family and purport to foster a responsible attitude to family values and the personality of each member. Such tasks involve the stirring up the classical worldview and appeal to its fundamental values. Their circle includes the comical and laughter as public gestures. For this, reality shows use the capabilities of situational models and scenarios. However, the special nature of these projects initially does not allow us to talk only about traditional types and forms of the comical, laughter, and farce as funds for to realize their main goals and objectives. Reality shows, by virtue of their nature, come to tragedy-farce as the leading principle for the realization of goals and objectives. The nature of tragedy-farce in these projects shows the unity of the comical, amusing, kind, humorous, absurd, and scary, vicious, frightening, miserable, dramatic, and destructive, which simultaneously coexist in the life of a person and family. In these reality shows, tragedy-farce is formed by combining heterogeneous realities into one unpredictable and provocative whole: mass media and real life. This not only complicates its nature in relation to theatrical literary and mass media realness, but also leads to a dangerous line beyond which there is no longer a difference between media text and real life, and when they are equally responsible for all the events that happen in the family and with each her member. In this regard, tragedyfarce turns as a strange discourse and threat of the destruction of the surface of meaning.
Keywords: comical, farce, media text, reality show, tragedy-farce, комическое, медиатекст, реалити-шоу, трагифарс, фарс
2022
№ 1
(Vol. 9)
The aim of the article is an analysis of the author’s TV program by Sergei Shargunov in the aspect of idiostyle of announcer’s language personality. The program is considered as audiovisual and speech media content, which is a hypertext reflecting the syncretism of speech genres of news, interview, and reportage. The typical and individual author’s features of the television program “Twelve” on the Russia — 24 channel have been established. Typical features include: positioning the author in the title of the program, multimedia, polydiscursiveness, intertextuality, compositional unity, repetition of the beginning and ending, temporality, thematic unity, social evaluativeness, genre syncretism, cultural, educational and propaganda orientation, a focus on confidentiality of communication with the mass addressee, and an emphasis on acute social problems. The idiostyle specificity of the author’s media discourse as a syncretic informational and media linguistic personality, including speech, communicative, and cognitive features, is revealed. These features reflect the different social, professional, and communicative roles of the author as a writer, journalist, public figure, politician and are implemented in targeting a wide audience of listeners and viewers according to the socially significant topics, their ideological assessment, and skill of the art of speech. The announcer’s idiostyle manifestations at the speech level are associated with his belonging to the person of the elite type of speech culture. At the communicative level, the author of the “Twelve” program is characterized by a restrained-intelligent communicative style, the desire for confidential communication thanks to the strategy of natural simplicity with use of colloquial syntax and neutral vocabulary. From an extralinguistic point of view, the presenter is characterized by an intelligent appearance (clothes, hairstyle), restrained but expressive gestures and facial expressions that reflect interest; quiet voice with a pleasant timbre; clarity of diction. The cognitive features can be characterized as a synthesis of rational and metaphorical cognitive substyles.
2022
№ 1
(Vol. 9)
The representation of emotions and affects in cinematic narrative can participate in the construction of narration in the same way as the representation of events. Anxiety as one of the “expectant emotions” (E. Bloch) is of particular interest in this regard. By anxiety in the narrative, we mean any zone of uncertainty associated both with the field of the narrator or participant in the world of history, and with the field of the viewer. It is interesting in this regard to consider cases when anxiety ceases to be related to a specific character and is created at the intersection of the event-receptive field, referring to the entire structure of the narrative and thereby causing anxiety in the viewer. Films directed by Bertrand Bonello, regarded as an example of a special type of sensuality in contemporary French cinema, find themselves involved in the construction of this particular type of anxiety. By destabilizing the narrative, depriving the viewer of the familiar landmarks during the unfolding of the story, Bonello in every film refuses to provide the viewer with a habitually safe “place,” as happens in classic Hollywood cinema. Instead, films provoke a state of gripping, affective engagement, which arises, among other things, in a situation of failure of the usual strategies of narrative perception. This article attempts to describe the narrative strategies in three films by B. Bonello (“L’Apollonide: Souvenirs de la maison close” / “House of Tolerance”, 2011, “Saint Laurent”, 2014, and “Nocturama”, 2016), provoking “viewer’s anxiety” and also consider the mechanism of this anxiety, which is closely related to the experience of experiencing pain.