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  • 1.
    Kalinina, Ekaterina
    Södertörns högskola, Institutionen för kultur och lärande, Medie- och kommunikationsvetenskap.
    Becoming patriots in Russia: biopolitics, fashion, and nostalgia2017Ingår i: Nationalities Papers, ISSN 0090-5992, E-ISSN 1465-3923, Vol. 45, nr 1, s. 8-24Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The article seeks to explore the common ground between biopolitics, fashion, patriotism and nostalgia. Taking off from the Foucauldian notion of biopolitics as a control apparatus exerted over a population, I provide an insight into the modern construction of the Russian nation, where personal and collective sacrifice, traditional femininity and masculinity, orthodox religion, and the Great Patriotic War become the basis for patriotism. On carefully chosen case studies, I will show how the state directly and indirectly regulates people’s lives by producing narratives, which are translated (in some cases designers act as mouthpieces for the state demographic or military politics) into fashionable discourses and, with a core of time, create specific gender norms–women are seen as fertile mothers giving birth to new soldiers, while men are shown as fighters and defenders of their nation. In the constructed discourses, conservative ideals become a ground for the creation of an idea of a nation as one biological body, where brothers and sisters are united together. In these fashionable narratives, people’s bodies become a battlefield of domestic politics. Fashion produces a narrative of a healthy nation to ensure the healthy work- and military force.

  • 2.
    Kalinina, Ekaterina
    Södertörns högskola, Institutionen för kultur och lärande, Medie- och kommunikationsvetenskap.
    Beyond nostalgia for the Soviet past: Interpreting documentaries on Russian television2017Ingår i: European Journal of Cultural Studies, ISSN 1367-5494, E-ISSN 1460-3551, Vol. 20, nr 3, s. 285-306Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The proliferation and recycling of Soviet popular culture and history is a central ingredient of post-Soviet film and television production, leading to accusations that the Russian media is nurturing nostalgia. Nostalgia can hardly account for the manifold uses of the Soviet past in contemporary Russian television programming. Nevertheless, in the aftermath of the Crimean annexation, it became evident that nostalgia for a strong empire with a strong ruling hand' was part of Putin's symbolic politics for several years. Keeping these considerations in mind, this article investigates how nostalgia extends into the domain of television and becomes an element of symbolic politics, employing a case study of two documentaries produced during Putin's presidency to focus the analysis. This study also examines how contemporary Russian television uses footage and film clips from the socialist period and witness testimonies to dismantle' popular myths.

  • 3.
    Kalinina, Ekaterina
    Södertörns högskola, Institutionen för kultur och lärande, Medie- och kommunikationsvetenskap. Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES), Baltic & East European Graduate School (BEEGS).
    Mediated Post-Soviet Nostalgia2014Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    Post-Soviet nostalgia, generally understood as a sentimental longing forthe Soviet past, has penetrated deep into many branches of Russian popular culture in the post-1989 period. The present study investigates how the Soviet past has been mediated in the period between 1991 and 2012 as one element of a prominent structure of feeling in present-day Russian culture.

    The Soviet past is represented through different mediating arenas – cultural domains and communicative platforms in which meanings are created and circulated. The mediating arenas examined in this study include television, the Internet, fashion, restaurants, museums and theatre. The study of these arenas has identified common ingredients which are elements of a structure of feeling of the period in question. At the same time, the research shows that the representations of the past vary with the nature of the medium and the genre.

    The analysis of mediations of the Soviet past in Russian contemporary culture reveals that there has been a change in the representations of the Soviet past during the past twenty years, which roughly correspond to the two decades marked by the presidencies of Boris Yeltsin in the 1990s and of Vladimir Putin in the 2000s (including Dmitrii Medvedev's term, 2008–2012). The critical and reflective component that was present in representations of the Soviet past in the 1990s has slowly faded away, making room first for more commercial and then for political exploitations of the past. Building on Svetlana Boym's conceptual framework of reflective and restorative nostalgia, the present study provides an illustration of how reflective nostalgia is being gradually supplanted by restorative nostalgia.

    Academic research has provided many definitions of nostalgia, from strictly medical explanations to more psychological and socio-cultural perspectives. The present study offers examples of how nostalgia functions as a label in ascribing political and cultural identities to oneself and to others, creating confusion about the term and about what and who can rightly be called nostalgic.

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    Mediated Post-Soviet Nostalgia
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  • 4.
    Kalinina, Ekaterina
    Södertörns högskola, Institutionen för kultur och lärande, Medie- och kommunikationsvetenskap. University of Copenhagen, Copenhagen, Denmark.
    The Flow of Nostalgia: Experiencing Television from the Past2016Ingår i: International Journal of Communication, ISSN 1932-8036, E-ISSN 1932-8036, Vol. 10, s. 5324-5341Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This article investigates the Nostal'giia channel, a channel reproducing the daily schedule of Soviet Tsentralnoe Televidenie (Central Television) of the 1970s-1980s. The broadcast day comprises a flow of program reruns and a number of newly produced talk shows and documentaries. Reruns provide content flow that creates a particular experience of time passing while viewers can relive the experience of watching television in the 1980s. Meanwhile, new productions serve as commentaries on this content and connect bits and pieces into a complete picture by interpreting and providing contextual information. By doing so, the producers of the channel aim to create the feeling of historical continuity. By applying autoethnography, I investigate the experience of watching the channel and the flow of nostalgic sentiments that emerge while experiencing mediated narrations of the past. The aim is to not only explore the channel content, but also come to terms with nostalgia as a subjective experience and the difficulties that appear in the process of researching it.

  • 5.
    Kalinina, Ekaterina
    et al.
    Södertörns högskola, Institutionen för kultur och lärande, Medie- och kommunikationsvetenskap.
    Menke, M.
    Augsburg University, Augsburg, Germany.
    Negotiating the past in hyperconnected memory cultures: Post-Soviet nostalgia and national identity in Russian online communities2016Ingår i: International Journal of Media and Cultural Politics, ISSN 1740-8296, E-ISSN 2040-0918, Vol. 12, nr 1, s. 59-74Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This article presents an empirical analysis and theoretical reflections on the negotiation of memories in hyperconnected memory cultures. In order to describe the conditions of memory negotiation, we suggest using the notion of ‘hyperconnected memories’, which refers to the mediatization of memory in a nexus of contingent forms of communication. By conducting a critical discourse analysis (CDA), we show how the Soviet past is negotiated in contemporary Russia and analyse how national identity is discursively constructed alongside official narratives and individual memories. We argue that an important element in this process is nostalgia, which motivates people to join mnemonic online communities but also functions as an intermediary between cultural memory and national identity by making history a personal, sentimental matter. However, we will also demonstrate that the negotiation of official history and individual memory in mnemonic online communities does not automatically lead to emancipation from state-propagated narratives.

  • 6.
    Kalinina, Ekaterina
    et al.
    Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES). Södertörns högskola, Institutionen för kultur och kommunikation, Medie- och kommunikationsvetenskap.
    Voronova, Liudmila
    Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES). Södertörns högskola, Institutionen för kultur och kommunikation, Medie- och kommunikationsvetenskap.
    Fashionized politics or politicized fashion?: Media analytical approach to the intersection of gender, fashion, and politics2012Ingår i: Гендер и СМИ [Gender and Media] / [ed] Smirnova, Olga, Moscow: Faculty of Journalism Lomonosov Moscow State University , 2012, s. 172-196Kapitel i bok, del av antologi (Övrigt vetenskapligt)
    Abstract [en]

    This article is an attempt to theorize around such three extensive concepts as fashion, politics, and gender. Broadly covered in academic research, the theme of fashion and representation of female politicians, however, requires further analysis and new definitions. Coming from the media studies and having in mind the two common approaches to interconnections between media and politics, namely mediatized politics and politicized media, we transfer these approaches into the sphere of fashion and introduce the notions of politicized fashion and fashionized politics. By doing that, we, on the one hand, are suggesting to view fashion as a part of the political communication sphere[1], as one of the many existing mediums, involved into production and reproduction of the political ideas. On the other hand, fashion can be understood on a more significant level as production and marketing of new styles, which makes it a broad field, of which political and any other communication is just a part.

  • 7.
    Kalinina, Ekaterina
    et al.
    Södertörns högskola, Institutionen för kultur och lärande, Medie- och kommunikationsvetenskap.
    Voronova, Liudmila
    Södertörns högskola, Institutionen för samhällsvetenskaper, Journalistik.
    The Battalion: Questioning or reproducing the matrix of domination in war films?2017Konferensbidrag (Refereegranskat)
  • 8.
    Kalinina, Ekaterina
    et al.
    Södertörns högskola, Institutionen för kultur och lärande, Medie- och kommunikationsvetenskap.
    Voronova, Liudmila
    Högskolan i Gävle.
    War films and gendered nostalgia for the WWII2015Konferensbidrag (Refereegranskat)
    Abstract [en]

    The article seeks to explore the common ground between bio-politics, gender, patriotism and war nostalgia. Taking off from the Foucaldian notion of biopolitics as a control apparatus exerted over a population, we provide an insight into the modern construction of Russian nation, where personal and collective sacrifice, traditional femininity and masculinity, orthodox religion andwar become the basis for patriotism. On carefully chosen case studies we will show how the state directly and indirectly regulates peoples lives by producing narratives, which are translated into media discourses and with a core of time create specific “gender norms” – women are seen as fertile mothers giving birth to new soldiers, while men are shown as fighters and defenders of their nation. In the constructed discourses nostalgia for a war plays one of the central roles and becomes a ground of a creation of an idea of a nation as one biological body, where brothers and sisters are united together. In these popular culture narratives people’s bodies become a battlefield of domestic politics. Popular culture hence produces a narrative of a healthy nation to ensure the healthy work- and military force. The authors tackle the above-mentioned aims by conducting visual analysis of several films, where the main characters are women in contrast to the majority of films about war. (Batallion (2015), A zori zdes’ tikhie (2015)). 

  • 9.
    Voronova, Liudmila
    et al.
    Södertörns högskola, Institutionen för kultur och lärande, Medie- och kommunikationsvetenskap. Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES).
    Kalinina, Ekaterina
    Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES). Södertörns högskola, Institutionen för kultur och lärande, Medie- och kommunikationsvetenskap.
    Gender i diskursy postsovetskogo prostranstva v fokuse issledovanij: podhody i tendentsii (Gender and Post-Soviet discourses in the focus of research:approaches and trends)2013Ingår i: Гендер и СМИ [Gender and Media] / [ed] Smirnova, Olga, Moscow: Faculty of Journalism Lomonosov Moscow State University , 2013, s. 200-204Kapitel i bok, del av antologi (Refereegranskat)
  • 10.
    Voronova, Liudmila
    et al.
    Södertörns högskola, Institutionen för kultur och lärande, Medie- och kommunikationsvetenskap. Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES).
    Kalinina, Ekaterina
    Södertörns högskola, Institutionen för kultur och lärande, Medie- och kommunikationsvetenskap. Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES).
    Introduction. Gender and post-Soviet discourses2015Ingår i: Baltic Worlds, ISSN 2000-2955, nr 1-2, s. 36-37Artikel i tidskrift (Övrigt vetenskapligt)
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    fulltext
  • 11.
    Voronova, Liudmila
    et al.
    Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES), Baltic & East European Graduate School (BEEGS). Södertörns högskola, Institutionen för kultur och kommunikation, Medie- och kommunikationsvetenskap.
    Kalinina, Ekaterina
    Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES), Baltic & East European Graduate School (BEEGS). Södertörns högskola, Institutionen för kultur och kommunikation, Medie- och kommunikationsvetenskap.
    To joke off-the-cuff is men’s job?: A multilayered analysis of Russian infotainment TV programs Projectorparishilton and Devchata2012Ingår i: Acting-Up: Gender and Television Comedy : A Day Symposium at Northumbria University, 2012Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    In a time when neo-conservative tendencies in gender representations are acquiring more and more popularity in the media worldwide – and the domain of humour is certainly no exception (e.g. the US show The Talk) – are there parallel trends to be detected in countries where feminism never has received widespread recognition, as in the case of Russia? What can we learn about gender stereotypes from contemporary Russian infotainment TV shows? This paper will explore these questions by studying two popular shows, Projectorparishilton (“The Paris Hilton’ Projector”) and Devchata (“The Girls”). These weekly ironic-analytical programmes are broadcast prime time on the national channels Channel One and Rossiya-1 and somewhat resembling the format of programmes like Loose Women and The View. With its four male anchors, Projectorparishilton aimed to attract a younger and more progressive audience of both genders and from the beginning ignored any specific gender orientation. By contrast, Devchata – with its female anchors – was explicitly launched with a female audience as their target group, producing a type of humour recognized by essentialists as “female”.Applying a critical perspective, we study verbal and non-verbal constituents of the programmes (including music, gestures, etc.), the interior of the studio, the appearance, behaviour (and jokes!) of the anchors, in order to study how gender, age, culture and nationality are encoded/signified. Based on Laura Mulvey’s term “male gaze”, we introduce the notion of “male humour”, which is implicit not only in the way the anchors appear as subjects and objects of jokes; but also in the position taken by the viewer, regardless of gender. At heart, we question the gendered nature of humour in general and the creation of “women’s space” in the media, which in fact is a reinforcement of traditional gender (and other) stereotypes.

  • 12.
    Voronova, Liudmila
    et al.
    Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES). Södertörns högskola, Institutionen för kultur och kommunikation, Medie- och kommunikationsvetenskap.
    Kalinina, Ekaterina
    Södertörns högskola, Centrum för Östersjö- och Östeuropaforskning (CBEES). Södertörns högskola, Institutionen för kultur och kommunikation, Medie- och kommunikationsvetenskap.
    ”Where men and women make a jest, a problem lies concealed” : A multilayered analysis of Russian infotainment TV-programs Projectorparishilton and Devchata2011Ingår i: Gender and Media – 2010: Annual book. / [ed] Smirnova, Olga, Moscow: Faculty of Journalism, Moscow State University , 2011, s. 105-133Kapitel i bok, del av antologi (Refereegranskat)
1 - 12 av 12
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