This is the first book to examine the discourse of reality television. Chapters provide rigorous case studies of the discourse practices that characterise a wide range of generic and linguistic/cultural contexts, including dating shows in China and Spain, docudramas in Argentina and New Zealand, and talent shows in the UK and USA.
The high-pressured, fast-paced environment of television production leaves little time for producers to reflect on how the potentialities of texts and images will be interpreted outside of the immediate broadcast imperatives. This volume brings together the producers and analysts of television in a formal and productive way.
Interest in language play and linguistic creativity has increased in recent years, and the topic has been taken up from a variety of perspectives. In this book, disparate approaches to the topic are brought together, demonstrating that a number of phenomena whose similarities might not have been immediately recognized, have an academic home under the umbrella of language play and linguistic creativity. The contributions to this collection illustrate the variety of questions that can be asked regarding the social, cognitive, emotional, political, and cultural mechanisms and significance of innovative linguistic practices and point to new directions of inquiry. Furthermore, the work exemplifies a variety of ways in which this research can be carried out, as well as the range of contexts in which it might be investigated, including second language classrooms, online settings, and workplaces. Taken together, the chapters serve to illustrate the range of work that we will be accepting in the Language Play and Creativity series; viewed individually, each makes a unique contribution to some aspect of our understanding of creative language use.
Over the last two decades, the study of discourse in film and television has become one of the most promising research avenues in stylistics and pragmatics due to the dazzling variety of source material and the huge pragmatic range within it. Meanwhile, with the advent of streaming and the box set, film and television themselves are becoming separated by an increasingly blurred line. This volume closes a long-standing gap in stylistics research, bringing together a book-level pragmastylistic showcase. It presents current developments from the field from two complementary perspectives, looking stylistically at the discourse in film and the discourse of and around film. This latter phrase comes to mean the approaches which try to account for the pragmatic effects induced by cinematography. This might be the camera work or the lighting, or the mise en scène or montage. The volume takes a multimodal approach, looking at word, movement and gesture, in keeping with modern stylistics. The volume shows how pragmatic themes and methods are adapted and applied to films, including speech acts, (im)politeness, implicature and context. In this way, it provides systematic insights into how meanings are displayed, enhanced, suppressed and negotiated in both film and televisual arts.
This book is a collection of studies about forms of address in the world’s languages, with a focus on contrast and difference. The individual chapters highlight inter- and intralinguistic variation in the expression of address and its sociol-cultural functions across media, registers, geographical contexts and time – in more than 15 languages. The volume showcases the variety of approaches that exists in current address research, including the breadth of contrastive methodologies harnessing surveys and questionnaires, focus group discussions, corpus linguistics, discourse and conversation analysis to offer complementary perspectives on culture-specific address practice. This volume is for students and researchers of address and social interaction in a range of disciplines in the humanities and social sciences, including various sub-disciplines of linguistics (such as contrastive, variational and intercultural pragmatics, sociolinguistics, and morphology) and intercultural communication, as well as experts in individual languages and qualitative sociologists.
This book is about Big Brother Naija (BBN), which is a Nigerian version of the Big Brother franchise featured in more than 50 countries of the world with its major concept drawn from George Orwell ’s novel, Nineteen Eigther-Four . It is organised and starred by Nigerians but viewed in many parts of the world. The book critically engages this relatively new phenomenon in Nigeria which apparently lacks scholarly attention. It proffers insights into the show’s significance and implications for the nation with relation to mental health, morality, cultural di
Conversational Humour and (Im)politeness is the first systematic study that offers a socio-pragmatic perspective on humorous practices such as teasing, mockery and taking the piss and their relation to (im)politeness. Analysing data from corpora, reality television and interviews in Australian and British cultural contexts, this book contributes to cross-cultural and intercultural research on humour and its role in social interaction. Although, in both contexts, jocular verbal practices are highly valued and a positive response – the ‘preferred reaction’ – can be expected, the conceptualisation of what is seen as humorous can vary, especially in terms of what ‘goes too far’. By examining how attempts at humour can occasion offence, presenting a distinction between ‘frontstage’ and ‘backstage’ perceptions of jocularity and looking at how language users evaluate jocular behaviours in interaction, this study shows how humour and (im)politeness are co-constructed and negotiated in discourse. This book will be of interest to scholars and students in pragmatics, conversational humour, (im)politeness, intercultural communication, discourse analysis, television studies and interaction in English-speaking contexts.
This book deals with the construction of diverse forms of humor in everyday oral, written, and mediatized interactions. It sheds light on the differences and, most importantly, the similarities in the production of interactional humor in face-to-face and various technology-mediated forms of communication, including scripted and non-scripted situations. The chapters analyze humor-related issues in such genres as spontaneous conversations, broadcast dialogues, storytelling, media blogs, bilingual conversations, stand-up comedy, TV documentaries, drama series, family sitcoms, Facebook posts, and internet memes. The individual authors trace how speakers collaboratively circulate, reconstruct, and (re)frame either personal or public accounts of reality, aiming –among other things– to produce and/or reproduce humor. Rather than being “finished” products with a “single” interpretation, humorous texts are thus approached as dynamic communicative events that give rise to diverse interpretations and meanings. The book draws on a variety of up-to-date approaches and methodologies, and will appeal to scholars in discourse analysis, conversation analysis, interactional sociolinguistics, pragmatics, ethnography of communication, and social semiotics.
The essays in The Motherhood Business examine how consumer culture both constrains and empowers contemporary motherhood. The collection demonstrates that the logic of consumerism and entrepreneurship has redefined both the experience of mothering and the marketplace.
Featuring contributions from leading scholars in the field, The Handbook of Narrative Analysis is the first comprehensive collection of sociolinguistic scholarship on narrative analysis to be published. Organized thematically to provide an accessible guide for how to engage with narrative without prescribing a rigid analytic framework Represents established modes of narrative analysis juxtaposed with innovative new methods for conducting narrative research Includes coverage of the latest advances in narrative analysis, from work on social media to small stories research Introduces and exemplifies a practice-based approach to narrative analysis that separates narrative from text so as to broaden the field beyond the printed page
