《電視訪談語篇:合作與對抗的協商:以Larry King Live訪談節目為例》以系統功能語言學純理功能思想為理論框架，對美國CNN電視訪談節目LarryKingLive進行研究。全書共有7章。第1章闡述研究目的、語料及研究方法。第2章回顧口語語篇研究較有影響的理論流派及相關研究成果。第3章介紹研究的理論框架——系統功能語言學，並介紹以系統功能語言學為指導的口語語篇研究成果。第4～6章對主持人與受訪者的互動進行不同層面的分析，揭示電視訪談節目中人際意義的實現手段以及主持人與受訪嘉賓的互動過程。第7章對研究成果進行總結並指出本研究對其它研究領域的啟示作用。
基本介紹
- 書名：電視訪談語篇:合作與對抗的協商:以Larry King Live訪談節目為例
- 作者：廖海青
- 出版日期：2013年10月1日
- 語種：簡體中文, 英語
- ISBN：7306046497
- 品牌：中山大學出版社
- 外文名：Television Interview Discourse in Larry King Live: Negotiating Support and Confi'ontation
- 出版社：中山大學出版社
- 頁數：176頁
- 開本：32
- 定價：24.00
基本介紹,內容簡介,作者簡介,圖書目錄,文摘,
基本介紹
內容簡介
《電視訪談語篇:合作與對抗漿旬的協商:以Larry King Live訪談節目為例》討論語言交際過程中的互動情形，研究在言語交際過程中交際雙方是如何實現互動——如何協商以及如何對抗的。本研究以功能語言學理論為基本框架，分析交際者的較色、交際的語氣戒榜料臭系統、交際中表達態度和評價的手段、交際過程的話語模式等。本研究以美國著名的電視訪談節目LarryKingLive作為分析樣本，語例生動自然，分析獨到精闢。
作者簡介
廖海青，1962年出生於廣東省廣州市，中山大學外國語學院英語系副教授、碩士生導師。1983年獲得文學學士學位，1988年獲得文學碩嬸精坑士學位，2007年獲英語語言文學博士學位。曾赴美國加州大學洛杉戒估戶朵磯分校（1993—1994年）、英國劍橋大學（2006—2007年）作學術訪問。主要研究興趣包括功墊淚愚能語言學、語篇分析、二語習得。自2000年以來，先後發表論文數篇，主編叢書4套，主編教材1套。先漿阿肯後參加國家社拔故體科基金項目1項，省級橫向項目l項，校級項目2項。
圖書目錄
Acknowledgements
List of Figures
List of Tables
Abbreviations
Chapter 1 Introduction
1.1 The Research Background
1.2 Theoretical Development
1.3 Purpose of the Study
1.4 Data and Methodology
1.5 Book Overview
Chapter 2 Approaches to Verbal Interaction
2. 1 Introduction
2.2 Defining Interview
2.2. 1 Definitions
2.2.2 Features of television interview programmes
2.3 The Sociological Approache-Conversation Analysis
2. 3.1 Introduction and historical background
2.3.2 Conversational mechanism: turn-taking, adjacency pairs, and preferences
2.3.3 CA in the research of interview discourse
2. 3.4 Limitations of CA
2.4 Sociolinguistic Approaches
2.4. 1 Ethnography of speaking
2.4.2 Interactional sociolinguistics
2.5 Logico-philosophic Approaches
2. 5.1 Speech Act Theory
2. 5.2 Pragmatics approaches
2.6 Structural-functional Approach: The Birmingham School
2.7 Critical Discourse Analysis (CDA)
2. 8 Summary
Chapter 3 An Overview of Systemic Functional Linguistics
3.1 Introduction
3.2 Three Layers of Meanings: Ideational, Textual and Interpersonal
3.3 Context in the Systemic Model
3.3.1 Context of culture: genre
3.3.2 Context of situation: register
3.3.3 Tenor and social identity
3.3.4 Tenor and grammatical, semantic, discourse and generic patterns
3.4 Application of SFL to Conversation
3.5 Summary
Chapter 4 Grammatical Realizations of Interpersonal Meanings in the Television Interview
4. 1 Introduction
4.2 Definitions to the Elements of the Systems of Mood
4.2. 1 Mood classes
4.2.2 Constituents of a clause
4. 2.3 Mood types
4. 3 Studies on Status, Contact and Affect
4. 4 Status, Contact and Affect in Television Interviews
4.4. 1 Status, Contact and Affect in the openings
4. 4.2 Status, Contact and Affect in the main part
4. 4. 3 Status, Contact and Affect in the closings
4. 5 Summary
Chapter 5 Realizations of Attitudinal Meanings in the Television Interview
5.1 Introduction
5.2 Appraisal: an Overview
……
Chapter 6 The Discourse Structure of the Telvision Interview
Chapter 7 Conclusions
Appendix A: Data List
Appendix B: Coding Sheet for Appraisal in King's Interview with Andre Agassi
Appendix C: Coding Sheet for Speech Functions in King's Interview with Andre Agassi
References
文摘
著作權頁：
high proportion of circumstantial Adjuncts and non-presence of modalities in the interviewer's clauses reveal the information-giving nature of his turns. In short, the closing phase is characterized by asymmetrical exchanges between the interviewer and interviewee,granting greater authority to the interviewer, summarizing the current interview and forecasting the future one and thus reducing the interviewees' contributions to the minimum.
4.5 Summary
In this chapter we have explained the dements involved in realizing interpersonal meanings of television interviews at the clause level. The analysis of tenor has followed divisions of the television interview, and in so doing it has followed a pattern of interpersonal meanings as well. We began with the opening of the television interview which is divided into two phases-the preview video clip of the interviewer's monologue and the first exchange between the interviewer and interviewee. Next, we examined the tenor aspects of the main part and proceeded to the closing part which consists of three units-pre-thanking, thanking proper and post-thanking.
The preview video clip phase is quite formal in its tenor,characterized by the monologic nature of the interviewer's introduction. The relationship between interviewer and interviewee and the audience is a distant one as they do not engage in any interaction at this stage. The initial exchange phase demonstrates a higher degree of contact, closer interaction between the interviewer and interviewee and between the interviewer and the audience. Both the interviewer and interviewee provide information to the audience in some degree of authority.
The main part is an interactive process among three parties-the interviewer, the interviewee and audience members. Both the interviewer and interviewee display a less formal degree of tenor in the main part than in the opening part. Their greater varieties of Mood choices demonstrate a higher degree of contact and affect in the main part of the interview.
2.3.3 CA in the research of interview discourse
2. 3.4 Limitations of CA
2.4 Sociolinguistic Approaches
2.4. 1 Ethnography of speaking
2.4.2 Interactional sociolinguistics
2.5 Logico-philosophic Approaches
2. 5.1 Speech Act Theory
2. 5.2 Pragmatics approaches
2.6 Structural-functional Approach: The Birmingham School
2.7 Critical Discourse Analysis (CDA)
2. 8 Summary
Chapter 3 An Overview of Systemic Functional Linguistics
3.1 Introduction
3.2 Three Layers of Meanings: Ideational, Textual and Interpersonal
3.3 Context in the Systemic Model
3.3.1 Context of culture: genre
3.3.2 Context of situation: register
3.3.3 Tenor and social identity
3.3.4 Tenor and grammatical, semantic, discourse and generic patterns
3.4 Application of SFL to Conversation
3.5 Summary
Chapter 4 Grammatical Realizations of Interpersonal Meanings in the Television Interview
4. 1 Introduction
4.2 Definitions to the Elements of the Systems of Mood
4.2. 1 Mood classes
4.2.2 Constituents of a clause
4. 2.3 Mood types
4. 3 Studies on Status, Contact and Affect
4. 4 Status, Contact and Affect in Television Interviews
4.4. 1 Status, Contact and Affect in the openings
4. 4.2 Status, Contact and Affect in the main part
4. 4. 3 Status, Contact and Affect in the closings
4. 5 Summary
Chapter 5 Realizations of Attitudinal Meanings in the Television Interview
5.1 Introduction
5.2 Appraisal: an Overview
……
Chapter 6 The Discourse Structure of the Telvision Interview
Chapter 7 Conclusions
Appendix A: Data List
Appendix B: Coding Sheet for Appraisal in King's Interview with Andre Agassi
Appendix C: Coding Sheet for Speech Functions in King's Interview with Andre Agassi
References
文摘
著作權頁：
high proportion of circumstantial Adjuncts and non-presence of modalities in the interviewer's clauses reveal the information-giving nature of his turns. In short, the closing phase is characterized by asymmetrical exchanges between the interviewer and interviewee,granting greater authority to the interviewer, summarizing the current interview and forecasting the future one and thus reducing the interviewees' contributions to the minimum.
4.5 Summary
In this chapter we have explained the dements involved in realizing interpersonal meanings of television interviews at the clause level. The analysis of tenor has followed divisions of the television interview, and in so doing it has followed a pattern of interpersonal meanings as well. We began with the opening of the television interview which is divided into two phases-the preview video clip of the interviewer's monologue and the first exchange between the interviewer and interviewee. Next, we examined the tenor aspects of the main part and proceeded to the closing part which consists of three units-pre-thanking, thanking proper and post-thanking.
The preview video clip phase is quite formal in its tenor,characterized by the monologic nature of the interviewer's introduction. The relationship between interviewer and interviewee and the audience is a distant one as they do not engage in any interaction at this stage. The initial exchange phase demonstrates a higher degree of contact, closer interaction between the interviewer and interviewee and between the interviewer and the audience. Both the interviewer and interviewee provide information to the audience in some degree of authority.
The main part is an interactive process among three parties-the interviewer, the interviewee and audience members. Both the interviewer and interviewee display a less formal degree of tenor in the main part than in the opening part. Their greater varieties of Mood choices demonstrate a higher degree of contact and affect in the main part of the interview.
