Лингвокультурный потенциал коммуникативной стратегии «положительная самопрезентация» при освещении свободы самовыражения в китайском музыкальном видеоклипе : научное издание
Библиографическое описание:Лингвокультурный потенциал коммуникативной стратегии «положительная самопрезентация» при освещении свободы самовыражения в китайском музыкальном видеоклипе : научное издание / В. Д. Лескив, В. Г. Присяжных. - Текст : непосредственный // Вестник Томского государственного университета. - 2026. - №524. - С. 38-48. - ISSN 1561-7793. - ISSN 1561-803X, DOI 10.17223/15617793/524/4.
Аннотация:Исследуется лингвокультурный потенциал коммуникативной стратегии «положительная самопрезентация» в китайских музыкальных видеоклипах на тему свободы самовыражения. В рамках анализа исследуются вербальные и визуальные способы репрезентации ключевых коммуникативных тактик, способствующих формированию как позитивного образа исполнителя в контексте ведущего коммуникативно-культурного вектора «лица», так и новых векторов развития китайской лингвокультуры. Авторы заявляют об отсутствии конфликта интересов.
In the context of globalization and the growing influence of Chinese pop culture, music videos (音乐短片 or MV短片) have become an important tool for conveying values and shaping public opinion. The relevance of this study lies in the need to examine the communicative strategies that enable Chinese performers to balance traditional norms with modern trends of self-expression freedom. The aim of the article is to identify and describe the linguocultural features of the "positive self-presentation" communicative strategy in Chinese music videos dedicated to the theme of self-expression freedom (表达自由), as well as to determine its role in shaping new cultural vectors. The research material was selected through continuous sampling from Chinese music videos published on the platforms YouTube and BiliBili between 2019 and 2024, with a total runtime of 260 minutes, totaling 25,000 printed characters. Interpretive discourse analysis revealed the specificity of music videos as a product of musical media discourse, encompassing both verbal and non-verbal modes. The dominant communicative strategy is positive self-presentation, which in the Chinese cultural context is closely tied to the communicative concept of "face" («脸面»), reflecting the desire for social approval and the preservation of dignity. The article identifies five key communicative tactics that implement this strategy: self-promotion, reproach (accusation), analysis of positive aspects, association-building, and threat. The linguistic means employed include: allusions, figurative and metaphorical expressions, emotionally charged vocabulary, comparisons, parallelism, emphatic constructions, idiomatic expressions, and borrowings (slang). Non-linguistic means include traditional attributes, color symbolism, national symbols, and architectural elements. The analysis showed that the most frequent tactic is self-promotion (41% of cases), followed by reproach (23%) and association-building (19%). The tactics of analyzing positive aspects and threats are less common (12% and 5%, respectively). The study demonstrated that Chinese music videos addressing self-expression freedom serve as a powerful tool for influencing social norms, blending traditional (including Confucian ideas) and modern values and perspectives reflected across various modes of information transmission. The positive self-presentation strategy allows performers not only to cultivate a favorable image but also to convey new values while remaining within traditional cultural codes. The results of the study broaden the understanding of the role of musical media discourse in contemporary China and can be used for further research in the field of media linguistics. The authors declare no conflicts of interests.
