Internet Meme as a Unit of Communication in Modern Chinese

В настоящее время Интернет стал незаменимым средством коммуникации. С ростом популярности Интернета и быстрым увеличением количества пользователей создавались, развивались и распространялись с беспрецедентной скоростью также и онлайн-языки. Приводится описание и анализ популярной единицы интернет-коммуникации — интернет-мема. Выбраны преимущественно самые актуальные и популярные мемы китайской Сети. Предложен авторский перевод интернет-мемов 2021 года на русский язык. Обсуждается их влияние на современный китайский язык, а также предлагается диалектическое отношение к языку Интернета. At present, the Internet has become an indispensable means of communication. With the growth of its popularity and the number of users, online “languages” also began to develop and spread at an unprecedented tempo. The paper focuses on the description and analysis of internet memes as a recent but very popular unit of internet communication. The author has selected the most recent memes gaining popularity in China. The paper offers a tentative typology of internet memes in modern Chinese, explains their etymology and accounts for their popularity from the viewpoint of their form and social message. The author discusses the advantages and disadvantages of memes in terms of their influence on the Chinese language and suggests a dialectic treatment of this phenomenon.

It makes a difference! Impact of social and personal message appeals on engagement with sponsored posts

PurposeGrounded in uses and gratifications (U&G) theory and relying on the congruence/incongruence approaches, the current research aims to contribute to the study of interactive marketing by measuring the effectiveness of social and personal sponsored post message appeals on consumer psychological and behavioral engagement. A conceptual framework is suggested.Design/methodology/approachData were collected during a field experiment conducted on Facebook, consisting of two sponsored Facebook post campaigns, followed by a survey distributed to consumers who were exposed to the experiment.FindingsA structural path model suggests that the congruence of the social message appeal of sponsored Facebook posts leads directly to psychological engagement that follows affective response. This path elevates an indirect effect toward behavioral engagement. Additionally, it was found that the incongruence of the personal message appeal of sponsored Facebook posts leads directly to behavioral engagement.Originality/valueThe novelty of the current research focuses on the unexplored subject of sponsored Facebook post message appeal effectiveness. Based on U&G theory applied to social media and the (in)congruence approaches, the study suggests a new dichotomy of message appeal for digital advertising, i.e. social vs. personal message strategies. Consumer engagement with the two appeals adds value to theory and practice by conceptualizing the effect of sponsored post content strategies on consumer engagement in Facebook while incorporating ad content with a hierarchical process.

Analisis Pragmatik Imperatif Dalam Novel Pulang Karya Tere Liye

The study was descriptive qualitative research. A novel of Pulang was a data source of the research; utterance which contained the forms of imperative pragmatics and the meaning of imperative pragmatics was the data. Data were collected by employing documentation, reading, and not-taking technique. Data analysis techniques were conducted through several steps, namely data reduction, data presentation, conclusion, and verification of the results of the study. The results of the study reveal that the forms of imperative pragmatics discovered in a novel of Pulang by Tere Liye were three forms, namely the form of imperative pragmatics of statement, question, and hope. The meaning of imperative pragmatics were thirteen meanings, namely imperative pragmatics of command, asking, request, insistence, persuasion, appeal, granting, solicitation, asking permission, permit, invite, hope, suggestion. Based on the findings of utterance in the forms of imperative pragmatics and the meaning of imperative pragmatic, the researcher discovered messages delivered by the writer both in the social message and religious message. One of the social messages discovered by the researcher was an attitude of respecting each other revealed through utterances with the meaning of imperative pragmatics of asking permission.

Pinocchio of the Red Decade: On Stage and on Screen

Walt Disney’s studio created second full-length film Pinocchio in 1940. Its plot and interpretation of the characters were significantly different from the Carlo Collodi’s novel. Disney wrote enthusiastic letter to playwright and director Yasha Frank, who staged Pinocchio as theatre extravaganza in 1937. This production has become a landmark of the Children’s Theatre Project in the framework of Federal Theatre Project, being visually picturesque, inventive and up-to-date according to its social message. It was a story about the complexity of the emergence of a new human, which was especially significant in the context of the ideas of revising the structure of society. There is a reason to see in the Pinocchio script an attempt to substitute theatre dramaturgy by circus language, so essential for the Soviet theater of 1910–20s. The plot was split into numbers performed by professional variety and circus performers, and was reassembled: gags were an organic part of this new plot. However, Frank may not have escaped the influence of animation as well. The article is based on Yasha Frank’s working script, photos and reviews. It examines circus and cinema elements that were used for the theatre’s Pinocchio by Yasha Frank, and its influence to famous Walt Disney’ studio cartoon.

Makna Pesan Sosial dalam Iklan Layanan Masyarakat “Stereotip Z”: Sebuah Kajian Semiotika Riffaterre

Public Service Advertisements are non-commercial advertisements that aim to sell ideas for the benefit of public service. The message of Public Service Advertisements contains suggestions and persuation to the public to take an action that changes their "bad" behavior for the better behavior . This paper attempts to describe the meaning of social messages in the text of public service advertisements “Stereotype Z”. Data analysts use Riffaterre’s semiotic approach. Through heuristic and hermenetic reading, analysis of the indirect expressions, matrix, model, variant, and hypogra, results show that the text of public service advertisements "Stereotype Z” contains a social message that persuade the young generation (generation Z) to be more critical about the problems in their suroundings.

POLA KOMUNIKASI PADA ACARA RITUAL RUWATAN POTONG RAMBUT GEMBEL DI DIENG WONOSOBO

Dreadlocks Ruwatan is a hair cutting ceremony for children with dreadlocks (gembel) performed by people in the Dieng Plateau (Dieng Plateau), Central Java. Ruwatan ritual which is held on the first Suro according to the Javanese Calendar aims to clean or free dreadlocks children from sukerta / sesuker (bad luck, sadness, or disaster). The belief that children with dreadlocks are descendants of Kiai Kolodete or entrusted Kanjeng Ratu Kidul (Nyai Roro Kidul) has become amyth hereditaryin the lives of the Dieng people. They also believe that dreads should only be cut if the child in question has the will / asked for it and must be done throughrituals ruwat or ruwatanled by local traditional elders. This sentence can only be done after the parents fulfill the "whatever" request submitted by the child. It is said that if the cutting of dreads is not done through a sacred ritual, dreads will grow back and the child tends to be sick. This research uses literature review, intercultural communication, culture, verbal messages, nonverbal messages, communication patterns, socialization, ritual rituals. This research is a cultural heritage of the Dieng Plateau which is passed down through culture through socialization media, without them being affected by the effects of globalization. Saram conveyed that the Dieng plateau community should not only maintain a trasidi but also have a moral and social message so that they can be accounted for in the local area of residence.Keyword: ruwatan, symbolism, cultural communication patternsAbstrak. Ruwatan rambut gimbal adalah upacara pemotongan (cukur) rambut pada anak-anak berambut gimbal (gembel) yang dilakukan oleh masyarakat di daerah Dataran Tinggi Dieng (Dieng Plateau), Jawa Tengah. Ritual ruwatan yang diadakan pada tanggal satu Suro menurut Kalender Jawa ini bertujuan untuk membersihkan atau membebaskan anak-anak berambut gimbal dari sukerta/sesuker (kesialan, kesedihan, atau malapetaka). Kepercayaan bahwa anak-anak berambut gimbal adalah keturunan Kiai Kolodete atau titipan Kanjeng Ratu Kidul (Nyai Roro Kidul) menjadi mitos turun-temurun dalam kehidupan masyarakat Dieng. Mereka juga percaya bahwa rambut gimbal hanya boleh dipotong bila anak yang bersangkutan sudah menghendaki/memintanya dan harus dilakukan melalui ritual ruwat atau ruwatan yang dipimpin tetua adat setempat. Ruwatan ini hanya dapat dilakukan setelah orang tua memenuhi permintaan "apa pun" yang diajukan oleh sang anak. Konon jika pemotongan rambut gimbal tidak dilakukan melalui ritual sakral, rambut gimbal akan kembali tumbuh dan si anak cenderung sakit-sakitan. Penelitian ini menggunakan tinjauan pustaka, komunikasi antarbudaya, kebudayaan, pesan verbal, pesan nonverbal, pola komunikasi, sosialisasi, ritual ruwatan. penelitian ini adalah sebuah warisan budaya dari dataran tinggi Dieng yang turun-menurun diturunkan kebudayaannya melalui media-media sosialisasi, tanpa mereka terpengaruh dari efek globalisasi yang ada. Saram yang disampaikan hendaknya masyarakat dataran tinggi Dieng tidak hanya sekedar mempertahankan suatu trasidi tetapi memiliki pesan moral dan sosial agar dapat dipertanggungjawabkan keberadaannya di lingkungan tempat tinggal daerah setempat.Kata Kunci: ruwatan, simbolisme, pola komunikasi budaya

Odds against Tomorrow

In Odds against Tomorrow (1959), the relation between crime thriller and social commentary in Robert Wise’s film can be said to turn the generic glove inside out so that the heist picture becomes a vehicle for social protest. Unlike The Defiant Ones (1957), in which the positive social message is compromised by its ultimately regressive take on the prison picture, the apocalyptic, seemingly nihilistic conclusion of Odds against Tomorrow represents a negative critique of both the heist and social-problem picture. From this dual point of view, Wise’s film may be said to be what Jonathan Munby calls a “civil rights noir,” an oxymoron that points to the limits of the classic social-problem film even as it points up the latent utopianism of the heist picture. Unlike the conclusion of The Asphalt Jungle, which looks backward to the nation’s agrarian past, the ending of Odds against Tomorrow evokes the lunar landscape and, by implication, the promise of the “new frontier”--of space travel and civil rights in the oppressive face of ignorance and prejudice.

Meeting at the Philosopher’s Stone: The Encounter of Enlightenment and Indigenous Religion in Maupertuis‘ Expedition to Lapland (1736–1737)

Pierre-Louis Moreau de Maupertuis’ famous scientific expedition to Lapland (1736-1737) had a considerable impact on Enlightenment thought, but not only due to its groundbreaking results in the fields of geodesy and physics. Given the popularity of his journey, the few and rather prejudiced references to the Sámi people and their religion also gained some significance. In his reports and in his self-presentations, Maupertuis used certain elements of Sámi life and religiosity in order to communicate his scientific and social message to the academies and the salons of Paris. Accordingly, the references to the Sámi are indispensable elements of the self-representation and self-reference of Enlightenment mind, intended to enhance and clarify its own standing. The article examines a situation of contact of a formally and religiously operating language of scientific polemics with religious phenomena that it interprets as ‘primitive’ or ‘curious’ and that it appropriates to its particular form of discourse. Here, intellectual religion meets a ‘primitive’ one as an object of description, and makes an innovative use of its alien elements. The case study is concerned in particular with a special kind of application of the transcendence-immanence distinction involved in the contact situation, relating to the phenomenon of knowledge in form of the relation of the known and the unknown.

Feminist (and/as) Alternative Media Practices in Women’s Underground Comix in the 1970s

The American underground comix scene in general, and women’s comix that flourished as a part of that scene in the 1970s in particular, grew out of and in response to the mainstream American comics scene, which, from its “Golden Age” to the 1970s, had been ruled and construed in accordance with commercial business practices and “assembly-line” processes. This article discusses underground comix created by women in the 1970s in the wider context of alternative and second-wave feminist media practices. I explain how women’s comix used “activist aesthetics” and parodic poetics, combining a radical political and social message with independent publishing and distributive networks.

A social dimension of the activities of selected contemporary animated film characters

Animated film characters represent various attitudes, points of view and issues, including social problems. Many of them are shown as carriers of socially approved character traits, who have an important mission or fight for the greater good. It must be emphasised that a film hero, as the key element of the film plot is the centre of attention for a viewer. The holistic reception, including all the values, norms and principles, proves to be an effective tool during educational and therapeutic work. Thanks to considerations into the social dimension of activities, based on the example of particular characters, it is possible to appreciate in animated films the significance of the issues which are still unnoticed and regarded as childish. The development of this topic is the result of the researcher’s own research into the social message of animated works.