The paper addresses the questions of data science education of
current importance. It aims to introduce and justify the framework that allows
flexibly evaluate the processes of a data expedition and a digital media created
during it. For these purposes, the authors explore features of digital media
artefacts which are specific to data expeditions and are essential to accurate
evaluation. The rubrics as a power but hardly formalizable evaluation method in
application to digital media artefacts are also discussed. Moreover, the paper
documents the experience of rubrics creation according to the suggested
framework. The rubrics were successfully adopted to two data-driven journalism
courses. The authors also formulate recommendations on data expedition
evaluation which should take into consideration structural features of a data
expedition, distinctive features of digital media, etc.
25 years after the first publication of Media Events: The Live Broadcasting of History (Dayan and Katz 1992), not only has the concept of media events firmly taken root in media theory, but it has also been developed considerably as a result of multiple critical interpretations. Going beyond a neo-Durkheimian ritual perspective, which emphasized the integrative role of ceremonial media events, has allowed a number of authors to identify such genres as ‘disruptive’, ‘traumatic’ or ‘conflictual’ media events, including, first and foremost, terror, disaster and war (Cottle 2006; Dayan 2008; Hepp and Couldry 2010; Katz and Liebes 2007; Mitu and Poulakidakos 2016). However, there is another type of events targeting social and cultural change, which do not exactly fit the ‘integrative/disruptive’ opposition, even if these events take the form of protest, for ‘protests and strikes are agreed forms of sanctioned disruption’ (Katz and Liebes 2007: 159). Until protest grows into a revolution and civil war, it is an instance of ‘ritual’ chaos, constituting a part of the order. Events of this type show some features of social drama and cultural performance (Turner 1974, 1982; Alexander 2006, 2011). Nevertheless, not every ‘transformative media event’ (Mihelj 2008) has such radical goals and sweeping scale.
‘Transformative media events’ are initiated in public spaces by citizens, whose disagreement with certain social conditions and/or a call for change they express. The transformative power can be an inherent element of the event (for instance, in the case of a protest action), or can emerge as a result of public response to a published opinion or document (such as a YouTube video recording police abuse). The latter case includes practices of ‘sousveillance’ (Mann et al. 2003) or ‘citizen witnessing’ (Allan 2013) directed at the democratization of social relations. A key feature of ‘transformative media events’ is their tight connection to the ‘citizen media’, by means of which they become visible and powerful. In this context it seems useful to consider media events as ‘user-generated media events’ (Mitu 2016), ‘new media events’ (Neverson and Adeyanju 2017), ‘transmedia events’ (Bacallao-Pino 2016), etc.
The chapter is focuses on the research in rural Russia. The empirical materials were studied in the historical context. The chapter helps to understand the consequences of the Russion Revolution 1917.
This paper explores, mainly from a legal perspective, the extent to which the Russian regulations of traditional TV and online audiovisual media policies have been consistent with the Council of Europe (hereinafter CoE) standards. The study compares between the CoE and Russian approaches to specific aspects of audiovisual regulation including licensing, media ownership, public service media, digitalization, and national production. The paper first studies the CoE perspective through examining its conventional provisions related to audiovisual media, the case law of the European Court of Human Rights as well as the CoE non-binding documents. The paper then considers Russian national legislation governing audiovisual media and the Russian general jurisdiction courts’ practice on broadcast licensing. The paper suggests that the Russian audiovisual regulations are insufficiently compatible with the CoE standards and more in line with the Soviet regulatory traditions.
This article explores the overlooked role of museums in the international arena as playing a dual role in cultural diplomacy. It explores the State Hermitage Museum in Saint Petersburg, Russia, to illustrate an emerging ‘hybrid’ form of diplomacy that cannot be strictly defined as ‘state’ or ‘non-state’. Although the article documents strong ties between the Hermitage Museum and the Russian government, it also reveals the Hermitage’s growing capacity to build productive bilateral cultural relationships with foreign partners, bypassing governmental control. Specifically, the article looks at the international network of Hermitage Foundations as a successful museum international outreach and fundraising campaign that significantly contributes to the Russian government’s efforts in cultural diplomacy. This case offers new empirical findings from the non-Western context, exposing the growing role of museums in contemporary diplomacy.
The visual art of the last decades privileges, explicitly or implicitly, social rather than art historical or aesthetic issues. In sites ranging from university classrooms and journals to museums and biennials, the emphasis is usually put on how effectively art handles the social issues of the day while questions of aesthetic value are often treated as suspicious and ideological. Given this anti-art character in these contexts of mediation, the insistence to perceive the objects as artistic objects constitutes a paradox that has been rarely discussed in sociological terms. This article draws on ethnographic research in order to explore “biennial art” that is to say the art that displayed in contemporary art and international platforms of showcasing. These platforms struggle to maintain a concept of art as social practice while at the same time nurture an exclusive and highbrow environment in which “artfulness” is key. I call this quality artfulness so as to both underline its artificiality as well as the inventiveness and skills required for its production. Artfulness in these sites is enabled through various formal or informal rituals of valorization, including guided tours, curatorial statements, media promoting activities and artist talks. These rituals, positioning certain objects within the sphere of art and producing them as objects meriting aesthetic interpretation, resemble the politics of publicity found in aesthetic capitalism at large.
This chapter presents the case of Russell Brand in order to look at how the most fundamental antinomies of the type of celebrity activism put in tension some prevalent theoretical frameworks around the field. In November 2013, Brand gave an interview to the journalist Jeremy Paxman for the BBC show Newsnight where he advocated, among other things, a ‘revolution’ and a ‘massive redistribution of wealth’. The chapter explores how the devotion to the revolutionary cause was embodied in the ethos of anarchist and Marxist revolutionaries of the past. Brand’s identity both as a superstar of creative Britain and a revolutionary agent of anti-austerity movements displays the in-built conflicts, tensions, and discrepancies that the figure of the activist celebrity embodies. The tensions that the activist celebrity enables may renegotiate dominant regimes of understanding by offering visibility to new vocabularies around social concerns without necessarily being perceived as a reaction against available electoral politics.
Traditionally, regional mass media has been the least-studied component of the Russian media system; however, beginning from the 2000s, transformations in the nation's political and economic spheres have influenced the position of local media. This paper provides a deeper investigation of the processes and patterns underlying the development of regional mass media in modern Russia. The research is grounded on an analytical review of secondary sources, which is supported by 14 in-depth interviews with media professionals from 5 regions in Russia. The results reveal that Russia's regional media outlets operate both as commercial actors and public service actors. This duality is rooted in several multidirectional and controversial changes in the nation's economic and political systems, as well as in a journalist culture which causes media outlets to have a vague understanding of their places and functions in society.
The global transformations are posing challenges to the informational society as we know it and to the communicational patterns developed through the perios of the enlargibg globalization.
In his recent book The Discursive-Material Knot, [Carpentier, N. (2017). The discursive-material Knot: Cyprus in conflict and community media participation. New York: Peter Lang]. Nico Carpentier identifies three nodal points of antagonistic discourse: the need for destruction of the enemy, homogenization of the self as opposed to the enemy, and the radical difference of the enemy. The latter appears when the self and the other are thought to be irreconcilably at odds, and the enemy is presented as inferior. In the more extreme cases, this radical othering leads to a dehumanization and demonization of the other, which makes the destruction of the enemy easier. Using post-Maidan social confrontation within Ukraine and its Facebook discussions as a case study, this paper analyzes how exactly the radical othering and subsequent dehumanization of the enemy is discursively structured, and describe the conditions under which such extreme manifestations of conflict could be eliminated with the ultimate goal of transforming antagonistic into agonistic discourse.
This study proposes the interventionist and the detached orientations to watchdog journalism through the conceptual lens of journalistic role performance. Based on a content analysis of 33,640 news stories from sixty-four media outlets in eighteen countries, we measure and compare both orientations across different countries using three performative aspects of monitoring: intensity of scrutiny, voice of the scrutiny, and source of the event. Our findings show that the interventionist approach of watchdog journalism is more likely to be found in democracies with traditionally partisan and opinion-oriented journalistic cultures or experiencing sociopolitical crises. In turn, the detached orientation predominates in democracies with journalistic traditions associated to objectivity. Although both orientations have a lower presence in transitional democracies, the detached watchdog prevails, while in non-democratic countries the watchdog role is almost absent. Our results also reveal that structural contexts of undemocratic political regimes and restricted press freedom are key definers of watchdog role performance overall. However, the type of political regime is actually more important—and in fact the most important predictor—for detached than for interventionist reporting.
Since the early years of the debt crisis in 2010, a large part of liberal intellectuals and public commentators in Greece has argued for an interpretative framework with the notion of ‘national identity’ as the root of all troubles. Their narrative presents the crisis as an opportunity for Greeks to rediscover themselves and acquire a more ‘Western’ and market-friendly outlook while austerity is realized. Here, the crisis is read as an outcome of a ‘deviant culture’ that now has the opportunity to recover. In this article we focus on how thуe discourse of media personas who are ‘non-political actors’ -a philosophers and a marketing gurus- popularized this framework especially between the years 2010 to 2012. We argue that these discourses, working to shape new social identities of flexibility, mobility and competition, compatible with the requirements of neoliberalism to overcome the crisis, work more effectively when voiced by supposedly ‘neutral’ agents.
The purpose of this book is to develop academic skills of writing an extended essay. The process of developing this skill consists of six steps: title analysis, writing an introduction, main part paragraph development and writing a conclusion. Two lessons are devoted to writing an abstract and a summary. The last step is compiling bibliography. During this course attention is given to ways of avoiding plagiarism and punctuation issues.
The book contains Appendix with sample essays written by ICEF and School of Design students (National Research University Higher School of Economics). It is meant for classroom work but can be used for self-study, too.
Student academic dishonesty is a pervasive problem for universities all over the world. The development of innovative practices and interventions for decreasing dishonest behaviour requires understanding factors influencing academic dishonesty. Previous research showed that personal, environmental, and situational factors affect dishonest behaviour at a university. The set of factors and the strength of their influence can differ across countries. There is a lack of research on factors affecting student dishonesty in Russia. A sample of 15,159 undergraduate students from eight Russian highly selective universities was surveyed to understand what factors influence their decision to engage in dishonest behaviour. Ajzen’s Theory of Planned Behaviour (TPB) was employed to explain dishonest behaviour among students. The explained variance in the engagement in academic dishonesty equals 48% in the model for the full sample, and reaches 69% in the model for one of the considered institutions. The major findings of this study were: (1) subjective norms appeared to dominate as the strongest predictor of academic dishonesty across the Russian universities; (2) perceived behavioural control, appeared to be positively related to the dishonest behaviour. In the majority of universities, this factor was found to be insignificant. This finding indicates a specific feature of Russian students’ an ethical decision-making process discussed in the last part of the paper.
Organizational crisis communication: A multivocal approach by Finn Frandsen
and Winni Johansen, renowned crisis communication researchers from Aarhus
University, could potentially grow to be a milestone work in the field for two
reasons. First, it contributes to the integration of crisis management and crisis
communication into a single multidisciplinary and multidimensional research
area. Second, the authors set forward the theory of rhetorical arena and the multivocal
approach to crisis communication as a complex and dynamic interaction
of many voices beyond the organization in crisis. In addition to the above, Frandsen
and Johansen pay particular attention to cultural differences that should be
taken into consideration in crisis communication research and practice. Significantly,
the book introduces the reader to a variety of case studies and examples of
organizational crises and crisis communication in Denmark. Students and crisis
communication scholars will also benefit from the detailed outline of preexisting
theories and methods, and from the focus on debated and under-researched
aspects of the field. Practitioners in their turn may also find the book useful
though it is not a how-to guide but rather an invitation to critically reflect on
managing crises in today’s complex environment.
Founded by Catherine the Great in 1764, the State Hermitage Museum in Russia is one of the largest and best-known museums in the world. With 3 million objects displayed in six buildings along the Neva River, the Hermitage Museum occupies an important position alongside such leading museums as the Louvre, British Museum and Metropolitan Museum. The cases study looks at the International Hermitage Friends Club as a successful global Public Relation (PR) strategy that allows the museum to expand its audiences and constituencies far beyond the Russian borders.
Global Trends in Museum Diplomacy traces the transformation of museums from publicly or privately funded heritage institutions into active players in the economic sector of culture. Exploring how this transformation reconfigured cultural diplomacy, the book argues that museums have become autonomous diplomatic players on the world stage.
The book offers a comparative analysis across a range of case studies in order to demonstrate that museums have gone global in the era of neoliberal globalisation. Grincheva focuses first on the Solomon R. Guggenheim Foundation, which is well known for its bold revolutionising strategies of global expansion: museum franchising and global corporatisation. The book then goes on to explore how these strategies were adopted across museums around the world and analyses two cases of post-Guggenheim developments in China and Russia: the K11 Art Mall in Hong Kong and the International Network of Foundations of the State Hermitage Museum in Russia. These cases from more authoritarian political regimes evidence the emergence of alternative avenues of museum diplomacy that no longer depend on government commissions to serve immediate geo-political interests.
Global Trends in Museum Diplomacy will be a valuable resource for students, scholars and practitioners of contemporary museology and cultural diplomacy. Documenting new developments in museum diplomacy, the book will be particularly interesting to museum and heritage practitioners and policymakers involved in international exchanges or official programs of cultural diplomacy.
The primary ambition of this special issue of The Hague Journal of Diplomacy1
is to approach a certain segment of the diplomatic universe that has been heretofore
overlooked, and yet one could argue it is also more than ever pertinent to the effort to understand geopolitical and cultural impacts on governance in
contemporary diplomacy.2 The articles that form ‘Non-State Diplomacy from
Non-Western Perspectives’ are foremost joined by their challenge to two prevailing
tendencies in diplomatic studies scholarship: first, the interpretation of
non-Western practices through a predominantly Western lens; and, following
from this, that diplomatic action in these contexts is largely confined to state
Each of the articles in this special issue applies exploratory lenses of ‘contextual
discovery’ to recalibrate foundational developments in the current diplomacy
scholarship through an empirical research conducted in non-Western
countries.3 Each article offers fresh findings from non-Western contexts to enrich
a growing body of literature that takes a ‘post-globalist’ approach to the
study of diplomacy.4 In doing so, the scholarship embraces complexities of
challenging co-existence among state and non-state actors in the field of international
relations. Two years in the making, this special issue expresses our
hope that — by drawing these perspectives into the light — we will be in a
much better position to meet this non-state/non-Western phenomenon with a
fuller appreciation of its manifestations.