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EN
The Macedonian-Greek agreement to change the name of the Republic of Macedonia resulted in a referendum. The columns of relevant opinion leaders published in electronic media during the offi cial referendum campaign was the focus of interest and research presented in this article. The sample comprised 57 columns by 19 columnists. The discussion of the findings in this paper is based on framing theory with media content analyses; the template for media monitoring was used as an instrument based on human coding. The main research question addressed in this paper is: “How are opinion leaders setting frames?” The hypothesis is that opinion leaders use different themes and scripts to construct media framing due to narrow public opinion “for” or “against/boycott” the change of the constitutional name. Two negative, emotionally charged frames were identified: the frame “for” promoted positive messages reinforced with ideas about the EU and NATO membership; the frame “against/boycott” promoted messages that Macedonian identity will be lost.
PL
Głównym celem tego artykułu jest znalezienie odpowiedzi na następujące pytania. 1) Jakie wizualne narracje na temat emocji są konstruowane i narzucane przez media głównego nurtu na swoich kanałach na Instagramie podczas pandemii COVID-19? 2) W jaki sposób nadają im ramy, uzupełniając istniejące lub tworząc nowe ikoniczno-symboliczne reprezentacje ram semantycznych wybranych emocji (radość, strach, smutek, złość)? Wybrany materiał wizualny obejmował zdjęcia oraz rysunki i został zbadany przy użyciu ilościowej i jakościowej analizy treści oraz porównawczej analizy semiologicznej. Analiza wykazała niskie nasycenie przekazów medialnych emocjami i umożliwiła opisanie medialnych ram semantycznych poszczególnych emocji według następującego schematu: doznania cielesne, gesty ekspresyjne, sytuacja społeczna i kultura emocjonalna.
EN
The main goal of this paper is to answer the following questions. 1) What visual narratives about emotions are constructed and imposed by mainstream media on their Instagram channels during the COVID-19 pandemic? 2) How do they frame them by complementing existing or creating new iconic-symbolic representations of the semantic framework of selected emotions (joy, fear, sadness, anger)? The selected visual material included photos and drawings and was examined using quantitative and qualitative content analysis and comparative semiological analysis. The analysis showed a low saturation of media messages with emotions and made it possible to describe the semantic media framework of individual emotions according to the following scheme: bodily sensations, expressive gestures, social situation and emotional culture.
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