The place of the frame in the header complex of the creolized media text (based on the material of the magazine "Der Spiegel")

Lenkova Tat'yana Aleksandrovna PhD in Philology Associate Professor, Department of Foreign Languages, Ryazan State University named after S. A. Yesenin 390000, Russia, Ryazanskaya oblast', g. Ryazan', ul. Svobody, 46 talenk@yandex.ru Other publications by this author

The concept of "frame" appeared for the first time about fifty years ago, in the 70s of the last century in the work of Marvin Minsky, who defined the term as a data structure to represent a stereotypical situation. ^[1] Initially, frames were associated primarily with the field of sociology. It is in this vein that V. Vakhstein conducts his scientific research ^[2,3]. Recently, there have been more and more studies of the nature of the frame based on journalism and media linguistics. For example, the works of A. A. Kazakov are devoted to the framing of media texts as a tool for influencing the audience ^[4], N. F. Ponomarev calls media framing the main discursive strategy ^[5].

The appeal of journalists and media linguists to the framing of information and to the frame as a result of this process does not seem to us accidental, since in addition to the informative function, the influencing function is also widely used in the mass media. Not only the concept of "frame" has been introduced into special circulation, but also such terms as "framing" and "reframing". In defining the last two concepts, we are based on the works of R. Etman ^[6] and D. Scheufel ^[7].

The framing strategy, that is, the process of selecting individual aspects of the displayed reality, strengthening the nature of the representation of certain aspects in order to formulate certain cause-and-effect relationships, best meets the main functions of media texts – to inform and influence. The creolized media text offers a "doubled" opportunity for framing and reframing (the process of reprogramming consciousness) of events, as it is represented by verbal and nonverbal means of expression.

In order to understand exactly what relation a frame has to a creolized media text (as a meaningful fusion of verbal and visual), and in the last two or three decades creolization has become an integral feature of almost all printed media texts, let's turn directly to the very concept of "frame".

It should be noted that, although since its appearance, the definition of the concept of "frame" has not undergone significant changes, nevertheless it has not received an unambiguous interpretation. Most often, a frame is considered as a structure of knowledge and as a structure of knowledge representation.

On the one hand, a frame is a part of a person's cognitive system, "a structured fragment of knowledge of the world, formed in consciousness around some entity as a generalized summary representation ..." ^[8]. On the other hand, a frame is a tool for presenting a cognitive model ^[9].

N. N. Boldyrev defines a frame as "a voluminous, multicomponent concept that represents a "package" of information, knowledge about a stereotypical situation" ^[10]. The word "concept" does not accidentally appear in the definition of a domestic linguist. The fact is that often the concept of a frame goes parallel to the concept of a concept, but this is not entirely true. Despite their certain similarity, it is possible to identify a number of significant differences.

For example, N. N. Boldyrev, mentioned earlier, believes that a frame is a model of culturally conditioned knowledge that should be common, at least for a part of society ^{[10, pp. 25-36]}. As a logical conclusion to this opinion, it seems from the point of view of another domestic researcher, E. V. Lukashevich, that stable, typed signs dominate in the frame, while all signs are included in the concept, up to relevant for a particular native speaker. As a result, the concept is more subjective, and the frame is collective and more rigidly structured. The frame structure is more often presented hierarchically: deeper from the upper levels to the lower, deeper levels, and the concept is depicted more in the form of a field model with a core and periphery" ^[11].

Thus, from the definition of the frame, we smoothly move on to its structure.

According to A. I. Skripnikova ^[12] and N. V. Volosukhina ^[13], any frame consists of a vertex or theme and slots (terminals). Slot ? a cell for storing information. In a static state, frames are represented as a structure of nodes and relationships, where nodes represent invariant parameters of the situation, and slots represent their variable implementation. It is the nodes that bear signs of stability and conventionality, which, in fact, contributes to the easy perception of the frame. However, according to some recent studies, for example, the theory of American linguists J. Fauconnier, M. Turner, I. Sweetser ^[14], the frame is considered as a dynamic structure with "active zones" in which even stable, conventional features can shift to lower levels. The elements of these levels are in a "waiting" situation: they are filled with signs in the process of adapting the frame to a specific situation.

Initially, the frame is empty, it is only a data structure about the text and does not contain any specific information ^[15]. Van Gorp proposed the concept of a "frame set" - a set of logically interconnected mechanisms by which, in fact, a frame broadcast by a journalist is created. The structural elements of the "frame set", according to the scientist, are obvious explicit framing techniques (used vocabulary, metaphors, examples, descriptions, visual images) and hidden cultural subtext ^[16]. In our opinion, from the position of a creolized media text, we can say that an obvious "frame set" can be represented by verbal/linguistic means and non-verbal, that is, visual images in the form of photos, drawings, cartoons and infographics. The hidden set of frame techniques can be represented by relatively common cultural, historical, political background knowledge for a particular society, without which it is simply impossible to understand media information. 

Moreover, if we consider a creolized media text as a unity of different semiotic codes and in this unity information can be transmitted through different signs ? icons, nndexes and symbols ? then it is likely that frames and their structural components (nodes and slots) should correspond to them in a certain way.

It is likely that the nodes of frames that make the perception of data fast and easy, having a conventional character, have a certain commonality with signs-symbols with the same signs of conventionality, and with index signs. At the same time, symbols and index signs are included in the "frame set", both obvious and hidden.

 Let's turn to some examples, namely the title pages of the online versions of the magazine "Der Spiegel" in 2022. To analyze the frame, we intentionally do not take the entire article, but only the header complexes, since it is in them that creolization has found its full expression. So, in the title article of issue number 26, the photo shows the president of Russia, but this is not just a photo. The reader sees in front of him a face deliberately stylized as a vampire, with two blue horns-gas lights.  Under the image of Russian President Vladimir Putin is a photo legend "Wie sich die Deutschen von Russland abh?ngig machten" ("How the Germans became dependent on Russia") and then the title "Wir Gas-Jankies" ("We are gas addicts"). Then, as it should be in the media text, the lead follows: "Die Amerikaner warnten, auch die Osteurop?er. Doch Deutschland kaufte immer mehr aus Russland" ("The Americans warned, the Western Europeans too. But Germany was buying more and more from Russia"). In our opinion, the classic header complex in a creolized media text is built on the principle of a frame. Firstly, the topic or terminal node of this frame is the urgent problem of gas energy supply for the whole of Germany. The current difficult economic and, most importantly, political situation, the negative attitude of most European countries towards Russia, dictates the appropriate choice of slots for the implementation of the content of the frame. Probably, the obvious frame set is represented by the verbal means of the photo signature, title and lead of the article. However, the hidden frame set in the form of an image plays, in our opinion, a leading role, because it is the image with a negative connotation of meaning that sends a message in the direction of rejection of V. V. Putin and in his person of the whole country. If a journalist chooses another illustration, verbal signatures could be interpreted in a completely different way in the future. It can be assumed that in the case of a creolized media text, both verbal and visual components can act as variable slots.

In the studies of sociolinguists, several variants of frame classifications can be found. For example, the previously mentioned Etman ^{[6, p. 52]} and Scheufel ^[17], depending on who is the carrier of frames, propose to allocate media and individual frames.

Van Gorp ^{[16, p. 64]}, Fiske ^[18], Vicks ^[19] propose to separate individual frames and cognitive schemes. In their understanding, frames, even individual ones, are part of the general culture of society, representing a set of stable models for assessing reality. Cognitive schemes relate only to a single individual: they help a person, based on his personal experience, to comprehend information and develop an attitude to it.

In Western political communication studies, it is proposed not only to further classify individual frames, but also media frames into equivalent and accentual ones. The former influence people's perception of information through the use of certain phrases and phrases by journalists that do not change the essence of the message being transmitted. The latter focus the audience's attention on some aspects, but at the same time leave others out of the scope of attention ^[20].  In our opinion, for a creolized media text, it is appropriate to talk about the use of accent types of frames, both verbal and visual. An equivalent type of frame by its nature involves repetition, duplication of information, which is considered by practical journalists as unprofessionally prepared material.

Let's turn again to the practical example, issue 25 of Der Spiegel magazine. The illustration shows a typical private house for one family, separated by a lightning bolt. Next, the reader sees the photo-signature "Wenige Immobilien. Hohe Kosten" ("Few properties. High costs"). The title reads: "Haus. Schluss. Vorbei" ("House. End. It's all over"). The lead is as follows: "Die Zeit der Niedrigzinsen ist vorbei, doch der Boom auf dem H?usermarkt geht weiter. Was K?ufer jetzt wissen m?ssen – und was jetzt auch f?r Immobilienbesitzer zum Problem werden k?nnte." ("The time of low interest rates is over, but the boom in the housing market continues. What buyers need to know ? and what can now become a problem for property owners").  The frame's emphasis in this case is on the purchase and sale of "average" real estate, we see the joint work of both images and verbal signatures. It was probably important for the author to draw the attention of German citizens to the changes in the real estate market. However, after reading the article, it becomes clear that all the negative changes will affect only large, expensive property. The bottom line is that the headline complex is read by most representatives of the target audience, and only a few "reach" the material itself. Thus, most people will make up an image of an unfavorable situation in the real estate market in their head and, perhaps, will begin to take some actions that are beneficial for the initiator of the material.

To some extent, the framing options proposed by M. Nisbet, D. Brossard and A. Kropsh can be considered a logical continuation of this division. In their opinion, the frames that prevail in the text should be considered the main ones, and those that are in the background should be considered auxiliary ^[21]. One way or another, it is obvious that many of these frame variants imply the existence of a situation where some aspects of the described phenomenon are mentioned, while others are not. Or, attention is focused on some, while others, on the contrary, fade into the shadows.

Having analyzed the variants of frame definitions, its structure and classification, we come to the actual mechanism of frame action, to the operation of the framing strategy.

The first component of the strategy is narrowing the problem field, that is, focusing on a small number of issues ^[22].

The second component of the strategy is the promotion of correct interpretations. The strategic goal is to form favorable images and assessments in the world pictures of target groups.

Some researchers talk about the need for media framing, justifying their opinion for a number of reasons.

 In the works of foreign researchers Sniderman and Bullock, a curious theory of "dependence on the menu" is mentioned ^[23], according to which people do not realize their true interests, since they do not have exhaustive knowledge about the current situation, its development options and its consequences. Because of this, readers cannot independently rank political or economic problems by their degree of importance, and as a result, they have to trust the choice, assessments and methods of solution offered by journalists.

This hypothesis is further developed in the work of M. Bazerman and D. Chiug under the name "Decisions without Blinders" ("Decisions without blind") ^[24]. Researchers believe that the phenomenon of "limited awareness" plays an essential role in making a decision.  In their opinion, readers neglect accessible and important information, paying attention to other, equally accessible, but insignificant information. That is why journalists prefer prioritization strategies to strategies of comprehensive and objective information. In other words, the author of the text guides the "blind = ignorant" reader to the light of the truth that the initiator or the customer of the text needs at the moment. Thus, the purpose of framing is not so much persuasion as manipulation of the conclusions of the target groups.

G. Simon ^[25] and A. Downs ^[26] write about such phenomena as the phenomenon of "reasonable sufficiency" and "rational ignorance", calling readers "cognitive misers". According to researchers, people have neither the ability, nor the time, nor the interest in each case to make the best possible decisions, so they are content with processing the information that first comes to mind in order to choose not the optimal, but a good enough option. They consider it expedient to focus on heuristics or their own emotional reactions, rather than on arguments and facts, when making judgments about political problems. Framing as a discursive strategy pushes the addressee to heuristics, and not to logical conclusions based on exhaustive data ^[27].

Let's turn to another example, the issue of Der Spiegel magazine number 22. Again, we analyze the header complex consisting of a photo collage, a photo caption "Deutschlands furchtbarer Partner" ("Terrible partner of Germany"), the headline "Wie wir uns China ausgeliefert haben" ("How we surrendered to China") and the lead:

«Die Bundesrepublik ist von Peking noch viel abh?ngiger als von Moskau. Nach den Folter-Enth?llungen der Xinjiang Police Files muss sich die Politik fragen: Welche Verbrechen nehmen wir f?r unseren Wohlstand in Kauf?" ("The Federal Republic depends on Beijing even more than on Moscow. After the revelations of torture in the Xinjiang police archives, politicians should ask themselves: what crimes are we willing to commit for the sake of our prosperity?").

In our opinion, the previously mentioned phenomena of "reasonable sufficiency" and "rational ignorance" have fully manifested themselves in the heading complex of this title article. The average German citizen is unlikely to have fundamental knowledge of the history of China and the history of relations between this country and Germany. Probably, the federal German government needs to justify the decline in the standard of living of its citizens due to the introduction of economic and political sanctions against China (the theme of the frame), hence the choice of slots and a frame set, namely the display in a photo collage of the head of China and several photos of criminals and their punishment. The verbal component of the headline complex confirms the visual one ? this is the mention of Moscow as a symbol of a dangerous superpower, and information about recently solved crimes in Chinese prisons and police stations. Thus, the journalist focuses on the moral component, explaining to the German burghers why it is worth abandoning trade and economic relations with China. This justification should be enough for a citizen to believe in his government, although few people will think about whether the crimes mentioned were and what they have to do with the economic prosperity of Germany in general. 

The problem of framing media information, in our opinion, is extremely relevant today. All media channels are subjected to the process of intentional selection and framing of data, however, in print media readers have one indisputable advantage – written media text can always be re-read and rethought, the reader is not as easy to manipulate as the viewer or listener. The frame strategy is firmly embedded in the technology of creating a creolized media text, which "supplies" not only verbal, but also visual means for framing.