Between Glamorous Patriotism and Reality-TV Aesthetics: Political Communication, Popular Culture, and the Invective Turn in Trump’s United States and Putin’s Russia
Between Glamorous Patriotism and Reality-TV Aesthetics: Political Communication, Popular Culture, and the Invective Turn in Trump’s United States and Putin’s Russia
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迷人的爱国主义与真人秀美学之间：政治传播、流行文化以及特朗普领导下的美国和普京领导下的俄罗斯的谩骂转变
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发表时间：
2017
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通讯作者：
Marina Scharlaj
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作者：
Katja Kanzler;Marina Scharlaj
本文的摘要源于这样一种观察：自特朗普竞选总统以来，唐纳德·特朗普和弗拉基米尔·普京这两位政客经常相互关联和相互比较--在为他们的政治动员支持以及似乎让他们的修辞免受方言批评的影响方面，他们非常成功。为了理解这一现象，我们建议看看这两位政治家及其周围的政治交流是如何利用流行文化的形式和场所的。我们将认为，这两种背景都为流行文化的工具化制定了新的战略，这些战略尽管在两种背景下实现方式不同，但围绕着政治沟通中的一次“谩骂转向”--对我们与他们之间常见的民族主义修辞的激进化，似乎特别受到流行文化形式的推动。为了探索流行音乐和政治之间的这种交流，本文引入了两个案例研究：一方面，特朗普的竞选演讲，我们认为，这些演讲象征性地围绕着竞争游戏的逻辑组织，因为它已经凝结在电视真人秀游戏类型中。另一方面，我们关注(国家控制的)俄罗斯流派ĖStrada的流行音乐，因此我们的论点是，它通过“魅力”原则宣扬一种独特的爱国主义形式。在普京治下的俄罗斯，魅力既是一种风格，也是一种自吹自擂的意识形态。这篇文章将概述真人秀节目的逻辑和爱国流行音乐的魅力美学是如何各自推动政治话语朝着充满美学色彩的、充满情感的诋毁他人和自我评价的方向发展的。
Summary This article proceeds from the observation that Donald Trump and Vladimir Putin—two politicians frequently correlated and compared since Trump’s bid for the Presidency—have been remarkably successful in mobilizing support for their politics and in seemingly immunizing their rhetorics against vernacular critique. To work toward an understanding of this phenomenon, we propose to look at how political communication by and around the two politicians draws on forms and venues of popular culture. Both contexts, we will argue, have developed new strategies for the instrumentalization of popular culture, strategies that, while actualized differently in the two settings, revolve around an ‘invective turn’ in political communication—a radicalization of the familiar nationalist rhetoric of ‘us versus them’ that seems specifically fueled by pop-cultural forms. To explore this traffic between pop and politics, this article puts into conversation two case studies: On the one hand, of Trump’s campaign speeches which, we contend, symbolically organize around the logic of agôn—of the competitive game—as it has coagulated in the reality-tv genre of the gamedoc. On the other hand, we look at (state-controlled) pop music in the Russian genre of Ėstrada which, thus our argument, advertises a distinct form of patriotism through the principle of ‘glamour.’ Glamour, in Putin’s Russia, operates simultaneously as a style and as an ideology of self-glorification. The article will outline how reality tv’s logic of agôn and patriotic pop music’s aesthetics of glamour each fuel a qualitatively new orientation of political discourse toward the aesthetically charged, affect-saturated denigration of others and valorization of self.