Golovashina Oksana Vladimirovna

The article looks at the issue of the role of political actors as subjects of historical responsibility. Based on the communicative approach elaborated by H. Arendt, the authors provide a distinction between the event, which is the subject of historical responsibility, and the act of establishing responsibility in the public space. It is suggested that such an act can be only the result of democratic procedures. Consequently, historical responsibility as a social phenomenon is possible only in a democratic society, even though attempts to establish it may take place under non-democratic regimes. Furthermore, the article claims that the case of Germany as an example of the establishment of negative responsibility cannot be characterized as universal. Indeed, it is also possible to speak about the establishment of positive responsibility as a duty of the community to preserve the memory not of guilt, but of the merits of the collective subject. Therefore, as a rule, the affi rmation of positive responsibility takes place in a context following a political crisis and the consolidation of moral resentment. An example of the constitution of a positive responsibility is the cult of victory in the Great Patriotic War within the Russian society of the 1990s, which followed the experience of the collapse of the USSR and the need for moral compensation. The characteristic features of historical responsibility include performativity, representativeness, normativity, manipulativeness. The role of political actors is not qualitatively shaping diff erent forms of responsibility, but rather aff ecting the specifi c procedures that consolidate it.

The purpose of this article was a comparative analysis of the images of the collapse of the Soviet Union in television journalism and the comments of Internet users within the framework of commemorations of the thirtieth anniversary of the collapse of the Soviet Union. Based on the content analysis, as well as comparison with television projects of the late 1990s-2000s, not only a decrease in the total number of television projects dedicated to the collapse of the Soviet Union, but also the unequivocal dominance of television projects focused on the reproduction of traumatic discourse was revealed. It was concluded that the appeal to the events of the collapse of the Soviet Union on contemporary Russian television is not so much focused on the reconstruction of the events of 1991 as it turns out to be a historical illustration of the socio-economic and political transformations of the current government in the last twenty years. This can be clearly seen in the transformation of the images of the victim, enemies, as well as the strengthening of the rhetoric of reassessment of the events of the collapse of the Soviet Union. The analysis of the peculiarities of the viewer’s interest on the Internet also showed the dominance in terms of the number of views of television projects that reproduce traumatic discourse. The use of machine learning (ML) methods and sentiment analysis revealed the relative dominance of neutral comments and a rather high percentage of those who negatively assessed the collapse of the Soviet Union, where romanticization of Soviet everyday life, family experience and the influence of media figures of the Russian Internet turned out to be nostalgia factors.