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group’s conscious actions with the intention to influence a historical process.”1 Conspiracy theories have gained particular prominence in the twenty- first century, and that is for a good reason. The new media, especially the so- called social media, are associated with a perpetual and total stream of informa- tion, a stream with which not everyone is able to cope. The contemporary rhythm of life and its continuous acceleration provoke chaos in an individual’s processes of thinking. Furthermore, the new media forces recipients to com- prehend whole chunks of

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University of Innsbruck. He is author of the monograph Leben weben. (Auto-)Biographische Praktiken russi- scher Autorinnen und Autoren im Internet (Transcript, 2020) and editor of the Open Access journal Digital Icons: Studies in Russian, Eurasian and Central European New Media. His research interests include Russian, Polish and Czech literature from 1850 onward, reception theory, new media, and digital humani- ties. Conspiracy Theories in Eastern European Culture and Literature | 379 Magdalena Kaltseis is pre-doc-assistant at the University of Klagenfurt. In her

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?thread=2486037#t2486037 (letzter Zugri 29. März 2017). Berdicevskis, Aleksandrs/Zvereva, Vera (2014): »Slangs Go Online, Or the Rise and Fall of the Olbanian Language«. In: Gorham, Michael S./Lunde, Ingunn/ Paulsen, Martin (Hgg.): Digital Russia: The Language, Culture and Politics of New Media Communication (= Routledge Contemporary Russia and Eastern Europe Series, 53). London/New York: Routledge, 123–140. Berezin, Aleksej ⟨alex-aka-jj⟩ (2010): »Raznye vešči (rasskaz)«. In: LiveJournal 12. Januar 2010. http : / /alex- aka- jj . livejournal . com/2587 .html (letzter Zu- gri 4

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towards the new consumer world. On the one hand, they dislike it and damage a supermarket and a new car. On the other hand, they are seduced by new technical ‘toys’.They commu- nicate the whole time via new media – by taking pictures with their cell phones, video cameras and editing them with music (Fig. 7). Fig. 7 Toda filming Seki, throwing himself into the depth of the mine. Taking pictures seems to trigger the absurd play of self-mutilation; the wounds are destined to be transformed into images. For the philosopher Jean Luc-Nancy (2006: 31-50; 2007), human violence

Geschichte der Technologien des Schrei- bens“. In: Münker, Stefan; Alexander Roesler (Hrsg.) (1997). Mythos Internet, Frankfurt a.M.: Suhrkamp, S. 37-55. Bolter, Jay D.; Grusin, Richard (2000). Remediation: understanding new media. Cambridge, Mass.: MIT Press. Borges, Jorge Luis (1999). Fiktionen. Erzählungen 1939 - 1944. Frankfurt a.M.: Fi- scher. Borsenko, Viktor (2009). „Polnyj preved. Činovniki i filologi iščut sposob zaščity russkogo jazyka ot internet-slenga“ [Voll preved. Bürokraten und Philologen su- chen nach Möglichkeiten, die russische Sprache vor dem

commonly agreed that contemporary media systems are characterized by complexity and hybridity. This implies, according to Andrew Chadwick, “inces- sant processes of boundary-drawing, boundary-blurring, and boundary-crossing, as the logics of older and newer media interact, compete and coevolve.”4 A di- rect consequence of this “boundary-blurring” and “boundary-crossing” on Rus- sian TV screens appears to be the blending of professional and non-professional media and media producers, the specific placement of which can be utilized to enhance the audiovisual media

approach to remediation, see Bolter, Jay David/Grusin, Rich- ard: Remediation. Understanding New Media, Cambridge, Massachusetts: MIT Press 1999; for a theoretical framework connecting memory and remediation, see A. Erll/A. Rigney “Introduction: Cultural Memory and its Dynamics”. 20 At a certain moment, the film even invokes the image of schoolboys teasing the teacher: humming the Internationale, the inmates do their best to get on the nerves of the director of the prison, who collaborates with the Nazis. The first time (03:48), they hum the Internationale to

. Inna GOLOVAKHA-HICKS wendet sich in ihrer Analyse zeitgenössischer Folklore in der Ukraine gleichfalls gegen den Terminus der Postfolklore und begründet dies anhand empirischen Materials, das ein Überleben traditio- neller Folkloregattungen auch in den ländlichen Regionen und in enger Verbindung mit den zeitgenössischen Massenmedien dokumentiert (2006, 238): Village folklore’s adoption of new media contradicts the claim that village folklore is dying out. Some of these media (email, SMS, graffiti) are used to pass traditional knowledge, while others