“New Sincerity” as a Communicative Technology in Media Communication

Abstract

The article deals with the analysis of Belarusian and Russian television and radio texts. The author considers the "new sincerity" as a pragmatically and substantively significant communicative technology that contributes to profound changes in the structure and functioning of modern television and radio broadcasting. The main research methods were: discourse analysis, content analysis. It was established that the construction of communication with the participation of the media addressee's narratives determines new facets of the substantive and functional capabilities of television and radio with a focus on the private-personal, affective, emotional-sensory, sentimental aspect, explicit/demonstrative designation of one's own identity and socializing tools of communicative interaction. The discursive and communicative-pragmatic features and tools of the communicative technology in question are determined: central referents represented by groups of denotative-identifying and subject-marked referents, thematic dominants, discursive scenarios, communicative strategies and their linguistic and non-linguistic markers. The research shows that inclusion of user narratives in television and radio discourse leads to the formation of several types of new communicative practices based on expositional private-personal and private-personal discursive scenarios, as well as a range of strategies manifesting them (explicit designation of identity, demonstration of "man as performance", public presentation of personal space, hypersensitization and "new sensitivity"). Media communication constructs a new space of intersubjective dialogue and demonstrates a shift in the communicative focus from the transfer of information to the expression of a vulnerable and unadorned internal psycho-emotional state and private-personal life of the subject of speech, which implies a blurring of the boundaries between the public and the intimate. In media communication, there is a modification of the recreational function, which is objectified not so much through traditional linguistic means of entertainment, but through verbal and non-verbal explication of intimate, secret personal meanings, hypersensitization and marking of identity.