Hate show: implementation of hate as a communicative phenomenon

The article focuses on the communicative phenomenon of hate, and the peculiarities of its implementation in Russian hate shows. The composition and types of Russian hate shows, the degree of their theatricality as compared to functioning of hate in reality, the correlation of the phenomenon of hate with different classes of the language of enmity have been determined. The communicative tactics of the hate show participants and the main language means are characterized. It is shown that within the framework of existing hate speech classifications, the hate phenomenon can be considered as mild hate speech implementation in its textual and/or contextual forms. Three groups of hate shows are distinguished. They differ in the general idea, cast, the correlation with the ontological features of hate in reality, and the degree of theatricality in relation to real hate practices: comedy roasts with celebrities in the role of haters demonstrate a high degree of theatricality; roast shows with haters are least theatrical; roast battles significantly deviate from the characteristic features of the hate. It has been established that the communicative tactics of the subjects and objects of the hate have similarities and differences in different types of hate shows. They are determined by the idea, the combination of different targets and the casting of show participants. The main linguistic means of the staged realization of hate include: lexical units with negative semantics. They denote professional, intellectual, moral, and external characteristics of the subject; rhetorical questions; designation of negative emotions and sensations; means of expressing opposition, exaggeration, unreality, communicative distance reduction; precedent phenomena; direct speech.