Careers of commercially successful female entrepreneurs in context of underdeveloped markets and weak institutions

PurposeCareers have come to dominate contemporary discourse on gendered entrepreneurship. This paper aims to explore entrepreneurial careers as recounted by commercially successful female entrepreneurs to examine how they strategize to construct desirable careers in contexts characterized by underdeveloped markets and weak institutions.Design/methodology/approachUsing a qualitative research design, data for our inquiry come from publicly available life history accounts of 20 female entrepreneurs appearing on an enterprise focus television show in Nigeria. The authors supplemented the television interview data with archival data in the form of publicly available digital footprints of the entrepreneurs collected from their company websites, magazines, online newspapers featuring these entrepreneurs and their social media pages such as LinkedIn, Wikipedia, Facebook and Instagram.FindingsThe careers of female entrepreneurs operating in context of underdeveloped institution and markets, the authors found, are characterized by four heterogeneous ingrained dispositions and actions reflecting how they got in and got on with their entrepreneurial careers: (1) “Observing and playing business,” (2) traipsing the “path less traveled,” (3) a hook to the “Pierian spring” of entrepreneurship and (4) “Grace under pressure” in decision-making.Originality/valueThe authors contribute to the entrepreneurship literature by providing insight into the lived experiences, agency and careers of commercially successful female entrepreneurs as played out in the form of a contextual practice of “wayfinding” to starting up and managing their own business ventures.

TRANSFORMATION PROCESSES OF THE SERVE OF THE TELEVISION INTERVIEW IN THE MODERN MEDIA SPACE

The purpose of the article. The study examines the transformational processes of the genre of television interview in the modern media space, in particular, the "migration" of television interviews on Youtube. The methodology consists of the application of such general scientific methods as: synthesis, analysis, generalization, comparison, which allowed to explore the features of the genre of television interview in the context of social communications, as well as the transformation processes of the genre. The scientific novelty of the work is that the article clarifies the place and role of television interviews in the mass media, outlines the transformational processes of the studied genre, substantiates the "migration" of the TV interview genre to the online platform YouTube, also comprehends the new principle of using the TV genre. interviews - as part of author's programs using infotainment techniques. Conclusions. Recently, due to the rapid growth of the Internet, YouTube has become the largest user-friendly online video hosting service that allows users to share video content. You can also create your own video content with YouTube. YouTube allows you to interact with other users through the exchange of textual information through comments, to be in contact with a large number of people who are interested in similar issues. YouTube easily syncs with popular social networks, further disseminating information. Modern television is deprived of all this. Therefore, social networks such as YouTube, create new social dynamics and play a special role in disseminating information, as well as cause the transformation processes of certain genres.

Power Distribution in Discourse: A Lexico-Grammatical Analysis of a Television Interview from HARD Talk

The research provides an insight into the disparity of power distribution in the discourse of television interview specifically of HARDtalk (a program of BBC news channel concerned with crucial issues related to politics, society, and economy) which includes two participants: the interviewer who is professionally a journalist and interviewee who is a politician. The paper investigates which members of the interview are responsible for controlling the directions of discourse and it examines the difference between casual conversation and television interview communication. Lexico-Grammatical Analysis (LGA) model by Eggins and Slade (1997) was applied for data analysis. Results of the study illustrated that distribution of power in discourse is dichotomous, although unequal, but the great amount of power resided with the interviewer as compared to the interviewee as he has to control the directions of the interview discourse. The findings further revealed that the discourse of television interviews is diverse from the casual discourse.

TRANSLATION TECHNIQUES OF STYLISTIC PHENOMENA IN A TV INTERVIEWER’S SPEECH

The work is devoted to the study of translation peculiarities of stylistic features of a TV interviewer’s English speech into Ukrainian. The correct translation of the content of a speech segment requires good knowledge of vocabulary, and the capability to recognize the stylistic features of a foreign language in communication, and the techniques used to translate them into the native language. Translation of metaphors, metonymy, comparisons is of particular difficulty for the translator, however, it is the ability to use various techniques in translation that helps the translator to convey the meaning of the statement to the listener adequately. The television interview is characterized as an independent journalistic genre, is a kind of television communication, a purposeful individual-social speech phenomenon, which consists of the organized interaction detween the speakers and finds its expression in a specific dialogically constructed form. The results of this study show that each translated stylistic unit is characterized by a set of transformations typical for it. In most cases, these transformations involve lexical and syntactic stylistic devices. At the level of vocabulary, the speech of a TV interviewer is characterized by a significant number of colloquialisms, colloquial cliches, phraseological units. At the level of syntax, the typical indicators of the conversational style of the TV nterviewer are parallel constructions, repeated requests, elliptical sentences, repetitions, unfinished phrases, and the absence of inversion in interrogative sentences. The information obtained as the result of convergence of stylistic devices as a set of components participating together with other linguistic units in the formation of expressiveness, emotiveness and evaluation is one of the important sources of the language pragmatic function.

Laibach, Anti-fashion and Subversion

The worldwide renowned Slovenian industrial alternative music group Laibach, which was also a member of the multimedia artists’ collective called NSK, has been a subject of many professional discussions. This article attempts to analyse Laibach’s conception of a uniform according to the theory of anti-fashion. As one of the most recognizable elements expressing a mythical, totalitarian aura, inseparably linked with the performers’ distant and constrained attitude, Laibach’s uniform can be erroneously comprehended as anti-fashion clothing, expressing fixed and rigid social environments. The analysis of Laibach’s television interview from 1983, in which the band is directly imitating the ruling ideological language, shows that the strategy of over-identification and subversion represent dominant principles of Laibach’s actions, combining them with the retro-method of using symbols and images of various cultural traditions and periods, as seen in their diversity of clothing worn, including the Yugoslav military uniform, miner and hunting uniforms, jeans and shirts, and even fashionable items. With the performative dimension in the ideological ritual and by emphasizing totalitarian tendencies in contemporary society, Laibach endeavours to show that all changeable multiform clothes are uniforms – timeless, universal and deprived of semiological meaning and thus surpasses the distinction of fashion and anti-fashion or fixed and modish costume. Nearly forty years after the establishment of the group, Laibach is conventionally dressed in regular clothes, nevertheless providing a sentiment of wearing a collective’s uniform.

Odi et amo: Discursive strategies and ambiguity in the narratives of violence

Ambiguity plays a central role in how narratives about violence are told, but research has rarely taken into account the ambiguity used by criminals with complex motives. Drawing on narrative criminology, this contribution explores how ambiguity is deployed in the stories of violence publicly told in a television interview by Mario Mariolini, a paraphiliac Italian killer sentenced for homicide. The analysis of the narratives, in tandem with the discursive strategies therein, demonstrates that ambiguity is strategically used for different purposes. As a result, we identify three central narratives, each displaying different ways of making instrumental use of ambiguity. In contrast to the analysis of the ambiguity produced by ordinary criminals, this contribution shows how particular and severe criminal cases are better suited for the study of narratives about violence because of the more complex interplay between the ideological and communicative dimensions.

Blame attributions and mitigated confessions: The discursive construction of guilty admissions in celebrity TV confessionals

Drawing on insights from conversation analysis, discursive psychology and social psychology, this article describes some interactional features of two celebrity TV confessionals and the resources used by the TV interviewers and celebrity guests to attribute, accept or deny responsibility for their transgressions. The analytic interest lies in how confessions are locally and interactionally managed, that is, how ‘doing confessing’ is achieved in the television interview context. We show how the host’s opening turn constrains the celebrity guest’s contribution and secures overt admission of guilt, while simultaneously inviting the celebrity guest to tell their side of the story. We also show how celebrity guests produce descriptions which minimize the extent and severity of their transgressions, reduce agency and transform the character of their transgression. In doing so, we argue that celebrity interviewees can convey mitigations and extenuations which diminish the extent of their responsibility – calling into question the very nature of their confession. We propose that our findings demonstrate the hybrid nature of interviewing in the celebrity TV confessional and contribute to our understanding of how ‘doing confessing’ in the public eye is discursively and interactionally negotiated.