THE RUSSIAN ANEKDOT TODAY: SPEECH GENRES, PERFORMANCES AND...

THE RUSSIAN ANEKDOT TODAY: SPEECH GENRES, PERFORMANCES AND INTERTEXTUALITY

Уважаемые коллеги, пишущие на английском!

Обращаем Ваше внимание на приглашение к публикации в специальном летнем выпуске The Russian Journal of Communication на тему:

«THE RUSSIAN ANEKDOT TODAY: SPEECH GENRES, PERFORMANCES AND INTERTEXTUALITY»

Со-редакторы выпуска:

Marina Kulinich [#], Vladimir Karasik [#] и William Graves III [#]

Прием статей осуществляется до 31 марта 2009 года. Правила оформления статей можно найти на сайте РКА:

http://www.russcomm.ru/eng/rca_projects/rjoc/guidelines.shtml

CALL FOR PAPERS

RUSSIAN JOURNAL OF COMMUNICATION

SUMMER 2009 SPECIAL ISSUE

«THE RUSSIAN ANEKDOT TODAY: SPEECH GENRES, PERFORMANCES AND INTERTEXTUALITY»

Please send your submissions electronically to the issue's co-editors

Marina Kulinich [#], Vladimir Karasik [#] and William Graves III [#]

Deadline for submission — March 31, 2009 

As a «primary genre» in Bakhtin's sense of this term, that great instrument of Russian ironic humor, the «anekdot,» has played a key cultural and social role throughout Russian and Soviet history (cf. Seth Graham). In spite of the fact that it has long exhibited a very
stable, if not completely formulaic, narrative structure, the «anekdot» has also been a speech genre exhibiting a very broad range of social uses across a great number of different contexts, settings, topics and participant structures in «daily life» (byt). Furthermore, it is well known that the emergence and elaboration of new series of «anekdot» does more than index important cultural and social moments, events and figures; the emergence of new series of «anekdot» also quite often serves to index social and cultural change and, thus, to trace relationships between the «past» and the «present» via intertextual connections to historical representations in literature, film and mass media.

Reviews of the literature suggest that many contemporary scholars have viewed content, structure and social meanings of «anekdot» from a much more specific perspective than the one we have outlined above. Many scholars today, in fact, see the «anekdot» as virtually synonymous with Soviet-era political satire and counterdiscourses to authoritative discourse. And in the passing of the Soviet-era, many have seen in the «anekdot» little more than a sign of that very passing (cf. Alexei Yurchak's analysis of the fate of «anekdot» as «dead irony.»).

We believe that it is time to reexamine the structures and functions of «anekdot» in Russian life today, moving beyond traditional discussions and analyses of this speech genre as contextually embedded in political discourses of the late socialist period. Instead, we are looking for new perspectives on «anekdot» as genre and as performance. We especially welcome submissions that address the following types of questions from a discourse, performance, rhetorical and/or ethnographic perspectives:

  1. What characterizes the role of «anekdot» today compared to its iconic political role in the late socialist period?
  2. What specific cultural translation challenges does the «anekdot» pose? How has the character and scope of these translation challenges changed in the most recent series of «anekdot»?
  3. Has the intertextual space of the «anekdot» changed or expanded to include linguistic forms, cultural meanings and/or narrative structures from other languages or from other speech communities? If so, how has this affected the cultural meanings, narrative structures and/or social functions of the Russian «anekdot» today?
  4. How has the explosion of «new media» (note, for example, www.anekdot-film.ru) affected the cultural meanings, narrative structures and/or social functions of «anekdot» today?
  5. In what ways does «anekdot» today index ongoing discourses about identity and economic, political and social change?
  6. How do the structures, contexts and performances of «anekdot» orient participants to the past, the present and the future of Russia?

SOURCES

Bakhtin, Mikhail (1986). Speech genres and other late essays. (Eds). Vern W. McGee, C. Emerson and M. Holquist. Austin, TX: University of Texas Press.
Bauman, Richard (2004). Genre, performance and the production of intertextuality. Introduction to A world of others' words: Cross-cultural perspectives on intertextuality, Blackwell Publishing.
Dmitriev, Anatolii Vasil'evich (2008). Humor and politics. Russian Social Science Review, 49(1), 53–89.
___________(2005/6). The professional anecdote as a means of communication. Anthropology and Archaeology of Eurasia, 44(3), 23–36 
Graham, Seth (2003). The wages of syncretism: Folkloric new Russians and Post-Soviet popular culture. Russian Review, 62(1), 37–53.
___________(2003). A cultural analysis of the Russo-Soviet anekdot. Ph.D. Dissertation, University of Pittsburgh.
Hill, Jane H. (1986). Review: The refiguration of the anthropology of language. Cultural Anthropology, 1(1), 89–102.
Kurganov E. (1997). Anekdot kak zhanr [Anecdote as a genre]. St.Petesburg: Academicheskii Proekt.
Shmelev, E., and Shmelev A. (2002). Russkii anekdot. Tekst i rechevoi zhanr [Russian anecdote. Text and a
speech genre]. Moscow: Yazyki slavyanskoi kul'tury.
Silverstein, Michael and Greg Urban (Eds.). (1996). Natural histories of discourse. Chicago: University of Chicago Press.
Yurchak, Alexei (1997). The cynical reason of late socialism: Power, pretense and the anekdot. Public Culture, 9(2), 161–88.
___________ (2006). Everything was forever, until it was no more. Princeton, NJ: Princeton University Press.

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Комментарии (1)
  • 10 февраля 2009 в 01:26 • #
    Владимир ЧЕРНЫШЕВ

    В РАЗРАБОТАН ТРИПЕР!

    Об этой программе учёных с мировым именем “THE RUSSIAN ANEKDOT TODAY" уже прошло официальное сообщение.
    - Официальные новости! Трипер… - говорит диктор и запинается.
    - Трипер… - снова говорит диктор и запинается.
    Мировая общественность с мистическим ужасом вслушивается в сообщение диктора.
    - Три перспективных направления разработано учёными для борьбы с мировым кризисом. Одно из них – русские анекдоты.

    А вот на английском языке коллеги вряд ли поймут соль анекдота...

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