Research on the Style Characteristics of Network Hosts

There is a distinct difference between the network host style and the traditional host style. Wang Nima, as the "most positive host of three views of speech", is very successful in thinking from the perspective of social psychology. Wang Nima has become one of the symbols of the violent image subculture group through the styles of hiding identity, symbolized cartoon image, symbolized audio language and paralanguage expression, phonetic vocabulary grammar deviation and so on. The use of Wang Nima's image can better stimulate the audience to communicate and deliver the program. At the same time, the youth subculture audience speaks and spits with "opinion leaders" such as Wang Nima, and "opinion leaders" such as Wang Nima become spokespersons with obvious group characteristics. However, its disadvantage is that it can influence the public opinion trend of news on the Internet, and further interfere with the consciousness of individual thinking in the group.

“They said we ruined the character and our religion”: authenticity and legitimation of hijab cosplay

Purpose This research is positioned at the intersection of youth subculture consumption and religious affiliation, through the study of observant Muslim women involved in the highly engaging and codified activity of cosplay. Given authenticity is central to the cosplay visual impact and performance, this study aims to understand the way hijab cosplayers negotiate tensions between authentic body performativity and the observance of religious dressing codes. Design/methodology/approach A qualitative interpretive approach was used to address the research questions. In-depth semi-structured online interviews were conducted with 25 members of a hijab cosplayers from South East Asia. Findings The concept of authenticity emerged as multifaceted for hijab cosplayers, where they manage three different aspect of the authentic cosplay performance as follows: authenticity as a cosplayer (social dimension of authenticity), authenticity to the character (personal dimension of authenticity) and authenticity to their religious identity (religious dimension of authenticity). The subsequent malleable authenticity is used to legitimate cosplay as an acceptable performative practice from a religious and from subcultural view. Originality/value The research highlights how tensions between identity and performativity of the body are negotiated. More specifically, the study contributes to the understanding of the way hijab cosplayers reconcile tensions between religious identity and the performativity of the body. Given the role of the body as a site for negotiating identity, this study provides important insights in the tensions and strategies at the intersection of authenticity, embodiment and religious identity in youth cultures.

«Are you Koreans?» — «No, we are Kalmyks!»: развитие танцев «K-pop cover dance» среди молодежи Калмыкии

Introduction. The article deals with the k-pop cover dance direction as one of the movements globalizing the youth environment. Nowadays, the K-pop youth subculture has reached a significant number of teenage schoolchildren with its popularity. Currently, belonging to the K-pop subculture and its dance practices are becoming integral to creating new global identities for young people. Goals. The study aims to examine the richness of K-pop components through dance culture, especially popular among school-age teenagers. Materials. The work primarily analyzes the author’s field materials with the aid of the structural/functional method, that of included observation, as well as interviews (narrative, semi-structured) with respondents. Results and Conclusions. The paper concludes that Kalmyk K-pop fans form a bi-ethnic identity in which a combination of features of both — their own and other ethnic cultures — is equally manifested. At the same time, K-pop cover dance proves the most accessible way to get socialized and develop imagination (i.e., a leisure-time activity) in present-day youth culture.

Anglophone Poetry in Kenya at the Turn of the Century: Past Experience and Artistic Transformation

The main trends in the development of the English-language poetry of Kenya at the turn of the XX—XXI centuries are considered. The main material is a collection of poems by Kenyan poets, first published in the early 2000s. Particular attention is paid to the ideological and artistic transformation in the work of the young generation of Kenyan poets of the key directions in the development of Kenyan English-language poetry, which developed in the first half of the XX century. The novelty of the research lies in the conclusion about the continuity of the experience of the older generation poets by the English-speaking Kenyan poets, which is expressed in the development of two key directions of the development of Kenyan English-language poetry: socio-political and philosophical-lyric. At the same time, a fundamental change in the artistic method and style transformation is noted in the work of the new generation of Kenyan authors: unlike their predecessors, young Kenyan poets are increasingly gravitating towards the use of rhyme, expressed allegory and imagery, and also adopting previously untested techniques, for example, the use of elements of youth subculture. New material has been brought in, many names are first introduced into the everyday life of domestic and world African studies.

Cosplay As a Youth Subculture: The Factors of Choice and Identity Formation

The article addresses the establishment and peculiarities of cosplay as a youth urban subculture in modern Russia. Cosplay is referred to as a subculture created by young people specifically for themselves, which, in a sense, defines it as elitist as long as it is aimed to form a relatively closed community. The authors demonstrate the possibilities of conducting a sociological analysis of cosplay by means of methodologies of sociology of recreation, sociology of game, sociology of communication and sociology of subculture, which supports a multidisciplinary approach to understanding of new practices in youth subcultures. The study actualizes the problem of constructing a new type of identity through subculture, while enhancing such aspects of cosplay as values and norms, and culture and behavior. The subculture analysis relies on the results of multi-methodological, empirical research in sociology: a mass survey (n=496) and in-depth interviews (n=10) conducted in 2018 with cosplayers in Russia. The techniques of on-line survey and face-to-face interview were used. The study reveals basic motives of cosplayers at the stages of entering the subculture and subculture affiliation; addresses the criteria of self-identification as cosplayers and characterizes the attitude of their immediate environment to the choice of this specific subculture. The low level of identifying cosplay with subculture and the absence of opposition to mainstream societal norms and values is one of the most significant conclusions, which corresponds to growing urban tolerance towards displays of subcultures, the rise of cosplay positive connotations in mass media and reference groups. Furthermore, cosplayers give recreational and communicative components of cosplay priority, thus making cosplay a cultural and ludic “hybrid phenomenon”. This study is one of the pioneering ones to research cosplay in Russia, which accounts for its particular relevance and salience. Keywords: cosplay, subculture, motivation, playisation, recreation

Immigrants in Slovenia and Their Language: Goran Voinovich's Novel “Southern Scum Go Home!”

A novel “Southern Scum Go Home!”(Ljubljana 2008) by G. Vojnović addresses the lives of the two generations of immigrants from the southern republics of the former Yugoslavia in Slovenia; they received the pejorative designation “čefur” (scum) in the Slovenian language. The essay points out specific linguistic phenomena that emerge when several related cultures and languages come into contact. These phenomena include: marginal sociolect of the first generation of immigrants which is a form of interlanguage, and the excessive sociolect of the second bilingual generation, an example of the mixed language, as well as a significant factor in the devopment of the urban youth subculture of “čefurs.” We examine these phenomena and the inherent processes of lexical, morphological and syntactic hybridization of the Slovenian and Serbo-Croatian language codes. The immigrant border-zone world between the two different realms creates a complex and contradictory form of transcultural self-identification, language being one of the active tools.

GRAFFITI GIRLS: GENDER FEATURES OF RUSSIAN YOUTH SUBCULTURE

The author describes the role of girls in the graffiti community and street art movement. The situation in the United States and in Russia are compared. Russian research results are based on interviews with girls from Samara, Novosibirsk, Gratifying, and Moscow. According to American researchers, the legal and personal dangers and the rebellious nature of writing graffiti are factors that writers conceptualize as male and use as achievements attesting to their masculinity. The purposeful exclusion of female writers is thus essential to the development of a (male) writer's identity. There were just a few women who penetrate the subculture during the 1980s, and they did with some difficulty. The women are typically characterized by male writers as “slutty”. Still, this fact has not deterred female writers but it has affected their numbers and the recognition (or lack thereof) of their work. Beginning with the pioneering work of NYC female writers, women's presence in the male-dominated world of graffiti has greatly expanded to our days. Today's female writers approach their writing from two opposite angles. Some take advantage of the anonymity of writing to disguise their sex or at least not call attention to it, while others are keen to make their work, through subject matter, colour, and style, appear blatantly feminine. In the Russian graffiti subculture, as well as in the American one, there is a gender asymmetry. This is due to the fact that the ideology, values and norms of behavior of this subculture are pronounced masculine in character. Ideology promotes the illegal nature of the activities of graffiti artists which is associated with a high level of danger. Therefore, girls rarely go in this area. In most cases, girls begin to draw graffiti, if their boyfriend is also engaged. They become a mentor and guarantor of security for girls. But girls rarely see graffiti as a way of self-realization. Graffiti for them is a way to expand the range of common interests with their boyfriends. Thus, graffiti for girls often has value not in itself, but as a tool that helps to build relationships with boys. Graffiti attracts girls who have a tendency to creative activity. The opportunity to creatively realize themselves attracts girls to street art: they use it as a means of professional self-realization, as in this art practical artistic abilities are valued, not the physical abilities and danger. Girls choose style in accordance to their aims. The mood inside the graffiti community doesn't affect it. There are no specific female roles in the subculture. Femininity in graffiti is seen as a weakened variant of masculinity.