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Работа на тему: Антропология косплея: социальный портрет современного российского косплеера
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Описание работы

MINISТRY OF SCIENCE AND HIGHER EDUCATION OF RUSSIAN FEDERATION
Federal Autonomous Educational Institution of Higher Professional Education
«UNIVERSITY OF TYUМEN»
SCHOOL OF ADVANCED STUDIES

UNDERGRADUATE THESIS
ANTHROPOLOGY OF COSPLAУ: SOCIAL PROFILE OF CONTEMPORARY RUSSIAN COSPLAYER / АНТРОПОЛОГИЯ КОСПЛЕЯ: СОЦИАЛЬНЫЙ ПОРТРЕТ СОВРЕМЕННОГО РОССИЙСКОГО КОСПЛЕЕРА

39.03.01 Sociology
Major «Sociology and anthropology»

Tyumen 2023

МИНИСТЕРСТВО НАУКИ И ВЫСШЕГО ОБРАЗОВАНИЯ РОССИЙСКОЙ ФЕДЕРАЦИИ
Федеральное государственное автономное образовательное учреждение высшего образования
«ТЮМЕНСКИЙ ГОСУДАРСТВЕННЫЙ УНИВЕРСИТЕТ» ШКОЛА ПЕРСПЕКТИВНЫХ ИССЛЕДОВАНИЙ (SAS)

ВЫПУСКНАЯ КВАЛИФИКАЦИОННАЯ РАБОТА
бакалаврская работа
ANTHROPOLOGY OF COSPLAY: SOCIAL PROFILE OF CONТEMPORARY RUSSIAN COSPLAYER / АНТРОПОЛОГИЯ КОСПЛЕЯ: СОЦИАЛЬНЫЙ ПОРТРЕТ СОВРЕМЕННОГО РОССИЙСКОГО КОСПЛЕЕРА

39.03.01 Социология
Профиль «Социология и антропология»

Тюмень 2023

TABLE OF CONTENTS INTRODUCTION 3
CHAPTER 1. LITERATURE REVIEW 7
1.1 COSPLAY STUDIES 7
1.1.1 KEY THEMES IN THE ENGLISH-LANGUAGE ACADEMIC LITERATURE ON COSPLAY 10
1.1.2 KEY THEMES IN THE RUSSIAN-LANGUAGE ACADEMIC LITERATURE ON COSPLAY 11
1.2 SOCIAL PROFILE OF COSPLAYER 13
CHAPTER 2. METHODOLOGY 18
CHAPTER 3. DATA ANALYSIS AND RESULTS 22
3.1 SAMPLE DESCRIPTION 22
3.2 SOCIAL CHARACTERISTICS OF RUSSIAN COSPLAYERS 23
3.3 SOCIAL CONSEQUENCES OF COSPLAY IN RUSSIA 29
3.4 GEOGRAPHICAL SPREAD OF COSPLAY ACROSS RUSSIA 31
CONCLUSION 33
BIBLIOGRAPHY 35
APPENDICES 1-12 40

INTRODUCTION
The rapid pace of globalization in our world has made it considerably easier for individuals to come together in social groups, including those centered around shared hobbies or interests. As a result, new social groups based on commonalities between members are constantly emerging. Some of these groups are short-lived, dissolving soon after their creation, while others grow in size and influence, attracting more members, becoming increasingly visible, and hence establishing themselves as prominent social strata.
One example of such new and rapidly growing social groups is cosplayers. “Cosplay” (or “costume play”) is a contemporary fan practice that “involves fans donning costumes and performing as characters from popular media texts, such as comics, animated or live action films and television, games and other popular cultural media including music videos.” [Mountfort, Peirson-Smith, Geczy, с. 1]. It is a huge industry spread all over the world, especially popular in the US (with an emphasis on game and movies’ cosplay) and Japan (Akihabara is a world capital of anime cosplay). Cosplay community is the subject of my research.
Communities can take many different forms, from small, tight-knit groups to large, diverse societies. In general, the term ‘community’ refers to a group of people who share common interests and social practices and identify themselves as members of community. Other definitions of community emphasize the importance of social ties, mutual support, and collective action. I use the term ‘community’ in relation to cosplayers, because cosplayers as a social group are indeed united by a common interest (a common hobby) and common social practices. Moreover, some social practices of cosplayers are even institutionalized: cosplay festivals are organized and held officially in accordance with the laws. Cosplayers define themselves as such and interact with each other within the community as with colleagues. These facts demonstrate that cosplayers are not just isolated individuals with a common hobby, but a genuine community.
Studying such communities is important not just for the sake of advancing knowledge but also for promoting diversity and inclusivity, as well as addressing social issues. Furthermore, the development of communities can contribute to the improvement of society as a whole. Dwelling on the topic of social capital, Robert Putnam argues that the strength of societies depends on the existence of enduring relationships between individuals that involve frequent and consistent interactions, regardless of what individuals do together. In other words, the involvement of individuals in various associations strengthens ties within the civic society (or ‘civic community’). These relationships foster a shared sense of purpose that results in beneficial outcomes for the civic society, such as reduced crime rates, and increased economic prosperity [Putnam].
Another reason to study cosplay community today is its potential to become an agency of local soft power. Some East Asian states, such as Japan and Singapore, already see cosplay as a mean to convey their national soft power [Widyatamak], as well as “an opportunity to connect with youth and therefore maintain political legitimacy” [Lin, с. 15]. After large geopolitical upheavals, always comes a moment when broken international relationships need to be restored. It takes great effort of every social institution. To relieve international tension, reestablishment of everyday cultural contacts is essential. Sincere cultural contacts are most suitable for defeating the common image of the enemy in the eyes of each other. Though OCED in 2018 had claimed that creative industries play an essential role in generating, transforming, and defining knowledge, which is the heart of intercultural relationships, the importance of the cultural (or soft) diplomacy is often underestimated [Culture and local development]. Meanwhile, “soft diplomacy is a tool to generate admiration, prestige and values of local and national identity” [Fernandez, с. 32]. Those social groups and communities who has little to do with current politics directly will soon be the most useful in resuming and strengthening intercultural contacts.
Cosplayers may very well become one of the numerous cultural actors carrying out Russian soft power, as they perfectly fit the description of a non-politicized community strongly connected with world pop-culture. Russian cosplayers will carry out profile of the Russian fan community, just as Japanese and Singaporean cosplayers do while participating in international cosplay festivals and communicating with each other and with fans from all over the world on the Internet. As for the applicability of the results of my work in a more literal sense, it may contribute to the advancement of knowledge by generating new insights and perspectives on social phenomena, namely, on the practice of cosplay, as well as be of help for improvement of the quality of social and economic policies. Studying the negative experience of cosplayers in Russian society can help identify the shortcomings existing in Russian legislation and social structure, and studying the positive experience of cosplayers can highlight the strengths of Russian civic society. Aside from this, the community of cosplayers is wide enough and noticeable enough to create a certain demand in the market of goods and services, as well as generate supply in the labor market. In addition, from a marketing perspective, studying the needs of cosplayers can help develop effective marketing strategies that will attract the attention of this community. In general, the study of a large underexplored social
group will inevitably benefit society itself.
So, what Russian cosplay community is like? Unfortunately, there is no definitive answer to this question within the realm of Russian science. In general, Russian sociologists and anthropologists show little interest in youth fan communities, including the subculture of cosplayers. Consequently, while some research has been undertaken in this field, still Russian cosplay researchers currently lack in data. In this paper, I am addressing this issue.
The purpose of my research is to describe cosplayers as a community in the contemporary Russian socio-cultural space with an emphasis on individual experiences of cosplayers. As a formal framework for organizing the data gathered, I decided to apply the format of a social profile. A social profile is a commonly used approach in the field of sociology, particularly within the Russian academy, to describe sociological data. The aspects studied for a social profile depend on the specific social group under investigation and the researcher’s interests. For example, when examining a hipster, clothing may be a significant aspect to consider, whereas
it may be less relevant when studying a student or freelancer. Nonetheless, the general framework for constructing a social profile requires describing the studied phenomenon via several dimensions: the definition of the participants (subjects who carry the phenomenon); the description of their value-motivational sphere; and the study of the social consequences of the phenomenon (for participants, for the labor market, for society as a whole). In other words, to make a social profile means to give a description of demographic, social, and value-spiritual properties inherent in a certain community [Dudina, Golovanova]. In this research, I focus on social properties of cosplay community, particularly on the two aspects: what cosplayers are like as members of society; and what place cosplayers occupy in Russian society.
In order to achieve the goal of outlining a social profile of contemporary Russian cosplayer, it is necessary to perform a number of tasks as follows:
1. Describe the experience of studying cosplay in Russian and international research practice;
2. Identify the characteristics of the social profile of a contemporary cosplayer;
3. Outline the features of Russian cosplayers as a social group and their place within Russian society;
4. Analyze the geographical distribution of cosplay in the Russian Federation.

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