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Natural disaster news and communities of feeling: the affective interpellation of local and global publics

机译:自然灾害新闻和情感社区:本地和全球公众的情感交流

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This paper engages with contemporary debates around the mediation of distant suffering by examining the ways in which news selection and reporting interpellate audiences into communities of feeling, in which affective belonging is structured by multimodal rhetorical strategies. Concepts drawn from discursive psychology and systemic-functional linguistics (appraisal theory) are used to show how news coverage of natural disasters positions audiences affectively. Analysis of Australian print media coverage of the 2009 Australian bushfires and the 2010 Haiti earthquake will be used to show how this process differs for local and international events. The paper contributes to debates on the “emotionalisation” of public culture by exploring the precise functions of affect within disaster reporting; in particular, how the production of various kinds of affects in the wake of a disaster shapes local and global publics.View full textDownload full textKeywordsdisaster news, emotions, affect, global public, appraisal theoryRelated var addthis_config = { ui_cobrand: "Taylor & Francis Online", services_compact: "citeulike,netvibes,twitter,technorati,delicious,linkedin,facebook,stumbleupon,digg,google,more", pubid: "ra-4dff56cd6bb1830b" }; Add to shortlist Link Permalink http://dx.doi.org/10.1080/10350330.2012.693295
机译:本文通过研究新闻选择和报道如何将听众吸引观众进入情感社区的方式,与当代有关遥远苦难的调解的辩论进行了互动,其中情感归属是由多模式修辞策略构成的。从话语心理学和系统功能语言学(评估理论)得出的概念用来说明自然灾害新闻报道如何有效地定位受众。对澳大利亚印刷媒体对2009年澳大利亚丛林大火和2010年海地地震的报道进行的分析将用于显示该过程与本地和国际事件有何不同。通过探索影响在灾难报告中的确切功能,本文有助于对公共文化的“情感化”进行辩论。尤其是灾难发生后各种影响的产生如何影响本地和全球公众。查看全文下载全文关键字灾难新闻,情感,影响,全球公众,评估理论相关变量var addthis_config = {ui_cobrand:“泰勒和弗朗西斯在线”,services_compact:“ citeulike,netvibes,twitter,technorati,可口,linkedin,facebook,stumbleupon,digg,google,更多”,发布:“ ra-4dff56cd6bb1830b”};添加到候选列表链接永久链接http://dx.doi.org/10.1080/10350330.2012.693295

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  • 来源
    《Social Semiotics》 |2012年第4期|p.409-428|共20页
  • 作者

    Susan Yella*;

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