Methodological Principles of Information Materials Research in Forensic Psychology

The article addresses the basic methodological principles of psychological analysis of information materials applied during the forensic psychological examination of a new direction established in the system of forensic institutions of the Ministry of Justice of Russia in 2017. The foundation of the direction is the general methodology of forensic psychological examination, deeply elaborated by F.S. Safuanov. At the same time, the features of objects (information materials and communications included in social activities and human behavior that are subject to legal assessment and can be recognized as criminal) and the subject of research (forensically and legally significant features of information materials) determine the number of particular methodological principles, methods, and procedures for their application. These distinguish the study of information materials from the study of the mental activity of investigated persons (accused, victims, witnesses) during the legally significant period.The author notes a connection of psychological research of information materials with the general methodology of forensic psychological examination. At the same time, methodological features are determined due to the interdisciplinary connections of a new kind of forensic examination with other sciences and practical expert tasks. Next, the article describes the main methodological approaches of psychological research of information materials: system-structural, activity-based, phenomenological, and hermeneutic, as well as level, communicative, qualitative, and discursive analysis.

What Does “¡Quédate en casa!” (‘Stay at Home!') Mean for a Poor Woman?

The purpose of this chapter is the discursive analysis of the online debate carried out in April 2020, in the middle of the confinement period of the COVID-19 pandemic, by a feminist group from Ecuador. The topic was to discuss the impact on poor women in the country of the consequences of the government order to be confined to the home: “¡Quédate en casa!” (‘Stay at home!'). From a constructivist perspective, the most relevant discursive-argumentative resources of the debate are analyzed, with the aim of revealing the participants' “framework of interpretation” or “narrative construction” based on their reflection of what was supposed to be an order issued by all governments, at the behest of the WHO (World Health Organization), but whose concrete materialization could not be realized in a similar way in all social contexts.

Stage as a universe of human communicative activity

The purpose of the article. The research is connected with the definition of culturological bases of synthetic image formation in the system of modern communication and opening of stage space as a communicative phenomenon in the context of the transformation of spectacular cultural practices of the XX century. The research methodology consists of theoretical and interpretive models of comparative and systematic approaches to the definition of stage space as cultural integrity. The scientific novelty of the work is to reveal the peculiarities of cultural creation of stage space in the twentieth century, when artists turned to previous systems of artistic reflection, figurative distinctions of the stage in culture. Emphasis is placed on the relevance of the study of the communicative properties of the stage in cultural construction. The stage can be remote, virtual, chamber, monumental. However, the scene from the category of subject-spatial dimension passes into another dimension - time. On the stage you can not break the unity of time and space, the stage is the unity of action and event, and also presents a certain space-time - chronotope, human image, an image of the day. Conclusions. The revival of the pre-cultural, pre-civilization in the broad progressive sense of the word world of the stage becomes the basis for a polymorphic definition of the communicative dimension of the stage as such. Stage space in the modern dimension requires a comprehensive interdisciplinary study, which focuses on discursive analysis, phenomenological and aesthetic studies of the categories "stage", "act", "action", "event", "creativity", etc. The article only raises the issue of interdisciplinary research tools. Further elaboration of the problem field requires separate investigations. Keywords: culture, universe, scene, action, event, chronotope, scenics.

“You are the Murderer!” The Semantic Function of Precedent Phenomena in the Interpretation of a Political Communicative Event in Modern Network Anecdotes

The article considers the semantic function of precedent phenomena in the interpretation of a political communicative event in the texts of modern network anecdotes. The material of the study was anecdotes, which actualize the verbal formula “Whoever calls names is called that himself” used by V.V. Putin in response to a statement by Joe Biden during an interview on ABC on March 17, 2021. In the process of analyzing the material, contextual and discursive analysis techniques were used, as well as elements of Intent-analysis and general scientific methods of generalization and comparison. Since ordinary humorous communication reflects the real ideas of Russian citizens about political events in the country, an analysis of the texts of jokes will reveal stable ideas about the government and the international political situation that have developed in the public consciousness. The study reveals that in the texts of anecdotes that appeared as a reaction to the political dialogue of J. Biden and V. Putin, the most frequent are precedent phenomena dating back to children’s folklore. The analyzed cycle of anecdotes is dominated by the topic of children’s yard quarrel, with which relations between the presidents of Russia and America are associatively correlated. Fiction, history and jurisprudence became other areas-sources of precedent phenomena in anecdotes about J. Biden and V. Putin. Due to the use of precedent phenomena dating back to various sources and causing numerous associations, there is a semantic variability in the interpretation of the same political event in ordinary humorous communication.

Legal Media Discourse: Boundaries, Structure, Categories

The paper considers legal media discourse as a discursive format that arose as a result of the interaction of legal discourse and media discourse. The research is aimed at defining the boundaries, structure and categories of legal media discourse. The material of the research are texts of legal media discourse including analytical articles on legal issues, regulatory legal acts, news materials and other genres implemented within the boundaries of the discursive format under study. The research applies methods of scientific description (systematization and interpretation), discursive analysis, as well as the simulation method. The paper provides an overview of research in the field of legal discourse and media discourse, which helps to get closer to defining the boundaries of the format under study, which represents a promising direction for further research. As a result of the systematization of the theoretical and practical material, the boundaries and structure of legal media discourse are determined. It is established that the boundaries of legal media discourse, which is a hybrid discursive formation, lie within the intersection of legal discourse with media discourse. The resulting discursive space has a field structure (core, periphery) and represents a discourse format that concretizes two types of discourse (legal discourse and media discourse) and is represented in turn by different genres. The article gives the description of the categories of legal media discourse, which is based on the model proposed by V. I. Karasik. The paper reveals typical participants of communication, their possible presuppositions, sphere of functioning, chronotope, goals and strategies, genre organization. The author also discusses the issue of implementing the expressive function in legal media discourse through the use of colloquial and obscene lexemes.

Transformation of Identity: Macro and Micro Levels of Research

This review of articles follows the Snyder methodology (2019) and is based on a study that was the collection, analysis and comparison of relevant publications on the topic of identity over the past fve years by quantitative and qualitative methods in the Web of Science and Scopus repositories.The scientometric analysis representing the research macrolevel made by means of the VOSviewer_1.6.16_exe CitNetExplorer_1.0.0_exe programs made it possible to distinguish in a vast array of publications the most relevant and cited articles, verified by the scientific community, focused the attention of scientists on semantic “nodes,” that is, values that guide social practices, and also allowed questions to be answered on background practices, organizing knowledge within the framework of discursive analysis M. Fuko. Micro-level, — analytical reading of texts, — made it possible to analyze the main trends in the development of identity studies and summarize the findings. The research undertaken shows that the concepts of political identity and youth identity are not limited to the traditional framework of ethnicity and race, but include a wide range of social and personal conditions, the study of which has great theoretical and practical significance. The study of the identity of emigrants, students, women, former military and many other social groups makes it possible to adopt more effective public policy measures and reduce the distance between managers and managers.Dedicated semantic clusters can be investigated in the new social conditions of Russia, and future finds of domestic researchers in this area will become a resource and contribution to the development of science and society. The absolute predominance of Anglo-Saxon studies in this topic, coupled with the obviously growing attention of researchers to unique and, sometimes, autonomous social groups, as well as identities in a state of transit, opens up great opportunities for Russian researchers to disseminate Russian empirical material and include examples from domestic social and political practices of transformation in the wider context of international sociology and political science.

Constituting the 'Woman Artist': A Feminist Genealogy of Aotearoa New Zealand's Art History 1928 - 1989

<p>This thesis considers the ways in which the figure of the ‘woman artist’ has been constituted in published sources in Aotearoa New Zealand’s art history, between 1928 and 1989. Most of the texts dedicated specifically to women artists in this country were written in the latter half of the twentieth century, and were produced with the intention of writing women artists back in to the histories from which they had been excluded. This thesis operates from a different perspective. Rather than assuming a starting point of women’s absence from a national art history, it traces instead those written representations of the ‘woman artist’ as they exist in the published literature. Through the construction of a genealogy of such representation, this thesis examines the ideologies which are both embedded in, and perpetuated by them. In doing so it makes evident and interrogates the gendered power dynamics which have shaped the writing of Aotearoa New Zealand’s art history. This thesis is structured chronologically, charting the formation and expansion of a coherent national arts discourse against shifting notions of national and cultural identity. The trajectory of this discourse was shaped by a canonical impulse, constructing an unfolding narrative which centres upon a succession of key artistic figures. This thesis argues that the structuring of this – largely male, Pākehā – narrative, acted to subsume gendered difference, rendering women increasingly peripheral within its pages. The model of subsumed difference is also apparent in feminist critiques of this dominant art history, which are critically interrogated in the latter half of this thesis. As women sought to challenge the relative exclusion of women artists from this dominant narrative, they also perpetuated their own exclusions, often in terms of culture or sexuality. Through discursive analysis of both ‘mainstream’ art history, and the feminist writings which addressed it, this thesis presents two significant arguments. First, that stereotypical representations of women artists play a structural role – to marginalise women – within Aotearoa New Zealand’s art history. Secondly, that feminist interrogations of such histories failed to account for the multiplicity of women’s subjectivity. I conclude by instantiating and calling for an alternative approach that challenges the subsuming of such difference within a single, homogenous narrative. Such an approach will produce histories that interrogate, rather than perpetuate, the gendered and cultural power dynamics embedded within society.</p>

Constituting the 'Woman Artist': A Feminist Genealogy of Aotearoa New Zealand's Art History 1928 - 1989

<p>This thesis considers the ways in which the figure of the ‘woman artist’ has been constituted in published sources in Aotearoa New Zealand’s art history, between 1928 and 1989. Most of the texts dedicated specifically to women artists in this country were written in the latter half of the twentieth century, and were produced with the intention of writing women artists back in to the histories from which they had been excluded. This thesis operates from a different perspective. Rather than assuming a starting point of women’s absence from a national art history, it traces instead those written representations of the ‘woman artist’ as they exist in the published literature. Through the construction of a genealogy of such representation, this thesis examines the ideologies which are both embedded in, and perpetuated by them. In doing so it makes evident and interrogates the gendered power dynamics which have shaped the writing of Aotearoa New Zealand’s art history. This thesis is structured chronologically, charting the formation and expansion of a coherent national arts discourse against shifting notions of national and cultural identity. The trajectory of this discourse was shaped by a canonical impulse, constructing an unfolding narrative which centres upon a succession of key artistic figures. This thesis argues that the structuring of this – largely male, Pākehā – narrative, acted to subsume gendered difference, rendering women increasingly peripheral within its pages. The model of subsumed difference is also apparent in feminist critiques of this dominant art history, which are critically interrogated in the latter half of this thesis. As women sought to challenge the relative exclusion of women artists from this dominant narrative, they also perpetuated their own exclusions, often in terms of culture or sexuality. Through discursive analysis of both ‘mainstream’ art history, and the feminist writings which addressed it, this thesis presents two significant arguments. First, that stereotypical representations of women artists play a structural role – to marginalise women – within Aotearoa New Zealand’s art history. Secondly, that feminist interrogations of such histories failed to account for the multiplicity of women’s subjectivity. I conclude by instantiating and calling for an alternative approach that challenges the subsuming of such difference within a single, homogenous narrative. Such an approach will produce histories that interrogate, rather than perpetuate, the gendered and cultural power dynamics embedded within society.</p>