scholarly journals Linguistic Representation of the Image of China in Russian-Language Blogs About Chinese Art Embroidery

2021 ◽  
pp. 75-85
Author(s):  
Yuxi Mu ◽  
◽  
Natal’ya G. Nesterova
Keyword(s):  
Mass Communication ◽  
Russian Language ◽  
Chinese Art ◽  
Internet Communication ◽  
Traditional Art ◽  
Republic Of China ◽  
Art Form ◽  
History Of ◽  
The Media ◽  
Linguistic Means

The image of China, whose culture and traditions are actively discussed in mass communication, is the subject of intense interest among scholars of various humanities fields. At the same time, linguistic studies very rarely involve texts of modern media communications reflecting the country’s image in the aspect of traditional art. This article examines the linguistic means of representation of the image of China reflected in the Russian-language texts of blogs about Chinese art embroidery. The topicality of the paper is determined by the interest in the study of the cultural image of the People’s Republic of China in Internet communication. The novelty of this research lies in turning to a new medialinguistic object – modern cultural and educational Russian-language texts of blogs devoted to Chinese art – and its linguistic study. As a source material the author used blogs posted on the online platform LiveJournal. The empirical material was studied using the methods of contextual and medialinguistic analysis. It was found that in these texts the media image of China is created through the prism of five main aspects of Chinese embroidery as a unique art form: the popularity and worldwide recognition of Chinese embroidery; the centuries-old history of Chinese embroidery; embroidery schools and styles of embroidery; evaluations of the texts’ authors; evaluations of the addressee. In addition, the article reveals the linguistic means that create an image of this unique art form. It is concluded that the image formed through a comprehensive description of this type of Chinese art represents China as the birthplace of silk as well as a country with ancient traditions and unique culture.

scholarly journals Political, media, everyday discourse: points of contact and language reflexes (on the basis of “The explanatory dictionary of russian everyday speech”)

2019 ◽  
pp. 42-56
Author(s):  
Elena Valentinovna Kakorina
Keyword(s):  
Russian Language ◽  
National Language ◽  
Standard Language ◽  
Public Speech ◽  
Russian Culture ◽  
History Of ◽  
The Media ◽  
Political Media ◽  
Institutional Communication ◽  
The Russian Language

The article addresses the problem of the interaction of political, media and everyday discourse. The object of the research is words and expressions from a politician’s idiolect that become precedential phenomena of the Russian language and facts of the Russian culture. These are peculiar language labels, aphorisms, which are associated in the consciousness of society with the name of a certain political person. The “Explanatory Dictionary of Russian Everyday Speech”, by virtue of its specificity, allows not only fixing such words, but also to note (in special areas of the dictionary) the stylistic, pragmatic features of a particular lexeme, and also briefly describe the history of their use in Russian. As a rule, such words are borrowed from distant, stylistically alien for public speech spheres of communication, such as everyday discourse or social and professional jargons. These language units, replicating through the media, are involved in common usage, which can lead to their rooting in the national language, the loss of slang or colloquial status, and other changes. The use of such words to make speech more expressive usually implies deviations from the standard language norm, as well as communicative norms of institutional communication. The article provides the analysis of speech manner of Soviet and modern politicians (N. Khruschev, B. Yeltsyn, V. Putin and others), mostly on the basis of the entries from The “Explanatory Dictionary of Russian Everyday Speech”

scholarly journals Features of Precedent Units Functioning in Russian Media Discourse (on the Example of «Argonauts», «Golden Fleece», «Jason»)

2020 ◽  
Vol 2020 (4) ◽  
pp. 107-114
Author(s):  
Anna N. Mishchenko
Keyword(s):  
Intercultural Communication ◽  
Comprehensive Analysis ◽  
Russian Language ◽  
Media Discourse ◽  
Semantic Features ◽  
Greek Mythology ◽  
Ancient Greek ◽  
History Of ◽  
Russian Media ◽  
The Media

The article is devoted to the study of precedent units with the source «ancient Greek mythology», which have the potential to broadcast the linguistic and cultural features of a particular community, the recognition of which influences the success of intercultural communication. The work provides a comprehensive analysis of the precedent units included in the cycle «The History of the Golden Fleece», namely «Argonauts», «Golden Fleece», «Jason» in the texts of Russian-language media. In the article the author argues that the change in the semantics of constructions occurs not only at the denotative, but also at the connotative, pragmatic level, where the studied precedent units acquire new semantic features. The analysis of the functioning features of the precedent units included in the «History of the Golden Fleece» cycle allows us to establish the linguistic mechanisms of their «deployment» in the media discourse and come to the conclusion about the specifics of the fragment of the worldview, fixed in mythologized precedent phenomena.

The Two Expanded Cinemas

2020 ◽  
pp. 41-99
Author(s):  
Jonathan Walley
Keyword(s):  
Perceived Threat ◽  
Traditional Art ◽  
Avant Garde ◽  
Art Form ◽  
Wide Range ◽  
Expanded Cinema ◽  
Key Factor ◽  
History Of ◽  
Two Phases

This chapter, one of two that make up Part I of the book, provides a revised history of expanded cinema from the mid-1960s to the late 1970s. It divides this period into two phases or waves of expanded cinema. During the first phase, the term was more or less synonymous with “intermedia,” connoting hybridity, the dissolution of artistic boundaries, and the questioning of traditional art forms. But the liberatory rhetoric of this phase was countered by concerns that the expansion of cinema threatened to dilute and destabilize the art form that generations of filmmakers and film critics had worked to establish. It was within avant-garde film that the perceived threat to cinema’s identity caused the most anxiety, as that mode of film practice had always been the most preoccupied with the nature of cinema. Within a few years, the term “expanded cinema” was reclaimed by filmmakers whose work extended avant-garde cinema’s longstanding tradition of specifying the cinematic into a wide range of new, “expanded” forms. This phase of expanded cinema lasted through the 1970s into the first few years of the 1980s. Chapter 1 also introduces two other major themes: a historical process of negotiation between cinema’s specificity and its connections to the other arts, which works of expanded cinema enact, and the interplay between two conceptions of cinema—as a physical material and an ephemeral experience. This reciprocal movement between the material and ephemeral is a key factor in expanded cinema’s formal mutability.

Broadcasting versus Narrowcasting

2014 ◽  
Author(s):  
Miriam J. Metzger
Keyword(s):  
Mass Media ◽  
Political Communication ◽  
Mass Communication ◽  
Communication Theory ◽  
Media Environment ◽  
Production Distribution ◽  
History Of ◽  
The Media ◽  
Recent Trends ◽  
Contemporary Media

This chapter explores the question of the continuing relevance of “mass media” due to recent technological changes in the media landscape. The chapter traces the history of media content production, distribution, and consumption from broadcasting to narrowcasting, and considers recent trends toward “hyperpersonalization” afforded by digital networked media. The chapter examines what these changes mean for politics and for political communication theory, and concludes by posing some questions about the future of mass media that serve as a call for research into the changing nature, circumstances, and effects of mass communication in the contemporary media environment.

scholarly journals ANTHROPONYMS AS A SOURCE OF NEOLOGISMS IN THE LANGUAGE OF MASS MEDIA AND INTERNET COMMUNICATION

2019 ◽  
Vol 29 (3) ◽  
pp. 435-441
Author(s):  
V.E. Zamaldinov
Keyword(s):  
Mass Media ◽  
Cognitive Linguistics ◽  
Word Formation ◽  
Russian Language ◽  
Internet Communication ◽  
Continuous Sampling ◽  
The Media ◽  
General Scientific ◽  
Semantic Types ◽  
The University

The article considers anthroponyms as a source of word-formative neologisms. The material is the language of mass media and internet communication. The author analyzes the frequency of language use, the ways of word-formation neologisms creation (suffixation, affixation, prefixation). The article uses the following methods and techniques: continuous sampling, general scientific descriptive-analytical method, word-formation and structural-semantic types of analysis of neologisms. It is concluded that the language of media and Internet communication reflects various aspects of society. Neologisms based on anthroponyms in the media are “key elements of socio-cultural space”, are a means of emotional and ideological impact on a recipient, reflect extralinguistic data. The materials of the work contribute to the development of the theory of speech influence, cognitive linguistics, word-formation neology. They can also be used in the university practice of teaching courses “Modern Russian language”, special courses on the language of the media, in journalistic practice of creating texts.

scholarly journals Literary reminiscences in the media texts as means of popularization reading

2019 ◽  
pp. 84-89
Author(s):  
V. Khmil-Chupryna
Keyword(s):  
Mass Communication ◽  
Literary Work ◽  
Basic Knowledge ◽  
Social Communications ◽  
History Of ◽  
Powerful Stimulus ◽  
The Media ◽  
Functional Features ◽  
Media Texts ◽  
History Of Journalism

Literary reminiscences are often used in journalistic texts. They can be implemented into journalistic materials in various forms: it may be a reference to a literary work, characters, other images, or citation of the text. Literary reminiscences are used by the authors of journalistic materials primarily to enhance the emotivity and expressiveness of the text. However, along with this, they also perform an important function of culture transferring. A correlation of literary reminiscences with genres has been traced and it is noted that such technique is most often found in the journalistic genres of art and journalism, in particular in essays, blogs and authors’ columns. The mention of writers’ names, famous characters or the use of fragments of literary works is connected with the functional features of these journalistic genres. The author of a journalistic text, introducing literary reminiscences to it, appeals to the reader’s basic knowledge of literature and, consequently, makes him remember something known, or refer to reference sources to find out the unknown. Literary reminiscences not only update the basic knowledge of the fiction reader, but also become a powerful stimulus for their expansion. Thus, propaganda and popularization of reading are taking place. In the process of research, in addition to general scientific methods, a descriptive and comparative methods have been used. The scientific novelty of the study is that literary reminiscences in journalistic texts are considered in the aspect of reading popularization for the first time. The study may complement the curricula of the courses “Theory and History of Journalism”, “Mass Communication and Information”, “Practical Stylistics”, “Publicism”, “Theory of Social Communications” in the aspect of the role of media in the popularization of reading. Prospect for the further research is a more detailed analysis of literary reminiscences in the media texts, in particular, the search for references to works of Ukrainian literature.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

scholarly journals But is it art? : the construction and valuation of illustration in Victoria's Island Illustrators Society

2021 ◽  
Author(s):  
Shannon Jaleen Grove
Keyword(s):  
Contemporary Art ◽  
Cultural Production ◽  
Art History ◽  
Modern Art ◽  
Division I ◽  
Traditional Art ◽  
Art Form ◽  
Commercial Art ◽  
Binary Oppositions ◽  
History Of

In Canada, illustration, commercial art, and conservative, traditional art are often spoken of as separate from and opposite to "non-commercial", "contemporary art", a division I argue stems from the older distinction between art and craft but one that can be subverted. Using concepts from Gowans, Greenhalgh, Mortenson, Shiner, and Bourdieu's theory of the field of cultural production, this thesis traces the sociology and art history of the division between traditional and modern art that led to the formation of the Island Illustrators Society in 1985 in Victoria, British Columbia. I argue illustration is an original, theoretical art form indistinguishable from but alienated by contemporary art, that conservative art is neither static nor irrelevant, and that non-commercial contemporary art is a misnomer. I find the Society challenged the definitions of art and illustration by promoting illustrative fine art and by transcending binary oppositions of conservative and contemporary, commercial and non-commercial.

‘CHOU GAGS CRITICS IN BANDOENG’ or How the Media Framed Premier Zhou Enlai at the Bandung Conference, 1955

2009 ◽  
Vol 44 (5) ◽  
pp. 1001-1027
Author(s):  
SALLY PERCIVAL WOOD
Keyword(s):  
Daniel Defoe ◽  
Gesture Interaction ◽  
Pulp Fiction ◽  
Republic Of China ◽  
Yellow Peril ◽  
Imperial Expansion ◽  
History Of ◽  
Western Imagination ◽  
The Media ◽  
The Cold War

AbstractAt the Asian-African Conference at Bandung, Indonesia, in April 1955, the world's press concentrated its gaze on Premier Zhou Enlai of the People's Republic of China. Premier Zhou's every gesture, interaction and statement was scrutinized for evidence that his motivations at Bandung were antagonistic to Western interests. This preoccupation with the motivations of the Chinese was, however, no new phenomenon. By 1955, literary tropes of the ‘Yellow Peril’ had been firmly established in the Western imagination and, after 1949, almost seamlessly made their transition into fears of infiltrating communist Chinese ‘Reds’.The first half of this paper explores the historical roots of the West's perceptions of the Chinese, through the literary works of Daniel Defoe to the pulp fiction of Sax Rohmer's Dr Fu Manchu series, which ran from 1917 to 1959. It then examines how this negative template was mobilised by the print media at the height of the Cold War to characterize Premier Zhou Enlai, not only as untrustworthy, but also as antagonistically anti-Western. This reading of representations of Premier Zhou at Bandung, as well as the literary tropes propagated in support of eighteenth and nineteenth-century imperial expansion, exposes a history of Western (mis)interpretations of China, and sheds light upon the media network's role in constructing a Chinese enemy in the mid-1950s.

CHINESE TRADITIONAL ART — QUYI

2020 ◽  
Vol 1 (1) ◽  
pp. 134-136
Author(s):  
Wei Pengfei ◽  
◽  
Keyword(s):  
Performing Arts ◽  
Sound Production ◽  
Chinese Art ◽  
Vocal Performance ◽  
Cultural Significance ◽  
Historical Sources ◽  
Traditional Art ◽  
History Analysis ◽  
History Of ◽  
The Individual

The purpose of this article is to provide a comprehensive cultural and art history analysis of such a form of performing arts as Quyi, which has deep historical roots in China. Quyi art is endowed not only with a unique aesthetic function, but also has cultural significance and plays an important role in the history of China. Based on the study of historical sources, the article analyzes the traditions of vocal performance of Quyi, taking into account the cultural characteristics of certain regions of China and dialect differences, vocal variations, types of performing techniques, styles, schools, etc. Key objects of the review are the individual vocal schools and the typology of Quyi. In connection with changes in cultural trends and anatomical justifications of sound production, the author proposes an updated classification of schools and styles of traditional Chinese art, which represents an innovative approach to the theory of studying the debated form of vocal performance art. Currently, in the background of the rapidly developing society, the accumulation of knowledge, the improvement of the cultural level of the population as a whole and the development of vocal traditions don't look optimistic. Most young people in China are not familiar with this form of traditional art and identify Quyi with singing, dancing, and other forms of musical creativity. In connection with the above, the study and the systematization of information about Quyi are relevant for modern musicology.

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