“Minister, we will see how the public judges you.”

Fetzer, Anita

doi:10.1016/j.pragma.2005.06.017

Cited by 59 publications

(18 citation statements)

References 8 publications

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“…Irrespective of this prevalent parlance, TV viewers are indeed acknowledged as being ratified recipients of broadcast talk (Goffman 1981c(Goffman [1979(Goffman ], 1981dBell 1984Bell , 1991Heritage 1985;Scannell 1991;Livingstone and Lunt 1994;Fetzer 1999Fetzer , 2000Fetzer , 2006Hutchby 2006 . Similarly, in studies on film dialogue 12 , authors also tend to conceive film viewers as "overhearers" (Kozloff 2000;Bubel 2006Bubel , 2008Richardson 2010) or "eavesdroppers" (Goffman 1981b(Goffman [1978), who are, nonetheless, the primary audience for whose benefit films (series and serials) are released.…”

Section: The Viewer As the Recipientmentioning

confidence: 99%

Setting our House in order: The workings of impoliteness in multi-party film discourse

Dynel

2012

Journal of Politeness Research

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The primary objective of this paper is to elucidate the workings of (intentional) impoliteness in multi-party film talk. The departure point is the diversification of hearer types, coupled with the premise that film discourse operates on two communicative levels, namely the inter-character level and the recipient's level, at which the audience interprets characters' conversations. It is thus argued that the speaker's impolite utterance may carry different pragmatic effects when directed towards (yet not necessarily targeting), and interpreted by, his/her interlocutor(s) (an addressee or a third party), overhearers (a bystander or an eavesdropper), or when face-threatening to a non-participant. Moreover, the recipient (i. e., the viewer), is yet another hearer category, for whose pleasure impoliteness is interactionally rendered at the characters' level. The theoretical proposal to extend the dyadic model of impoliteness is illustrated with utterances produced by Gregory House, the main protagonist of the television series "House."

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Section: The Viewer As the Recipientmentioning

confidence: 99%

Setting our House in order: The workings of impoliteness in multi-party film discourse

Dynel

2012

Journal of Politeness Research

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“…Given that amateur engaged mediators cater for the needs of viewers on the same ideological wavelength, the 'recipient design' principle at work in this genre and the role which audiences play in the co-construction of meaning in these subtitled broadcasts require further investigation. As Pérez-González (2010) argues, communicativegenre and media-event specific constraints dictate that the study of political news interviews subtitled by amateurs should address the interplay between social, conversational and individual roles played by the participants at different stages of the encounter; and explore the ongoingly negotiated relations between the participants, who constitute the 'first-frame' interaction, and the intended audience, or 'second-frame' coparticipants (Fetzer 2006). As they navigate their way through the interview they chose to subtitle and re-circulate, amateur subtitlers ultimately make choices as to whether and how to promote factional allegiances at the expense of the factual narratives that media discourses have traditionally purported to propagate.…”

Section: Subtitling Political News Interviews: Disciplinary Implicationsmentioning

confidence: 99%

Translation and New(s) Media: Participatory Subtitling Practices in Networked Mediascapes

Pérez-González¹

2014

Translation: A Multidisciplinary Approach

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Abstract. This chapter sets out to investigate the role that amateur translation plays in the process of media convergence and gauge the extent to which the proliferation of cocreational practices pertaining to the production, translation and distribution of subtitled media content blur the distinction between the roles of producer and consumer in political news interviews. I begin by exploring how the role of translation within global news media has been theorized in recent years and teasing out the implications of technological changes for the blurring of news production, consumption and translation. I then focus on the social processes that have prompted the emergence of amateur communities of journalists/translators, whether in the form of structured activist networks or fluid groupings of engaged citizens, as influential agents in the digital mediascape. The chapter then articulates the implications of these developments for the discipline of translation studies, including the shift from referential accuracy towards narrative negotiation and the politics of affinity as the main drives informing amateur news mediation. The issues raised in this essay are illustrated with a case study involving the subtitling of a political news interview by amateur mediators.

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“…Originally a building block in the construction of daily life, the most recent applications are in research into mass media communication (cf. Habscheid and Gaus 2005), political discourse (Fetzer 2006), or communication forms in the World Wide Web (Crowston and Williams 2000). As Günthner and Knoblauch (1995) point out, the concept of communicative genre has been applied in the sociology of language and communication (Knoblauch 1991), as well as anthropological linguistics (Hanks 1987;Briggs and Bauman 1992).…”

Section: Communicative Genresmentioning

confidence: 99%

1820 Settler petitions in the Cape Colony

Włodarczyk

2013

JHP

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The received view has it that the language of petitions aims at elevating the addressee and demeaning the author. Recent studies into historical (im)politeness interpret it as epistolary facework, i.e. "politic" rather than "polite" behaviour (Bax 2010). Drawing on evidence of the genre dynamics present in nineteenthcentury petitions, this paper proposes that for a number of petitioners the conventionalised expression of deference could not have been their main motivation. Through close study of the structural models and their distribution in two collections of petitions related to British settlement in the Cape Colony (1819-1825), the study proposes an account for changes in users' preferences in this respect. The discussion employs Luckmann's (2009) theory of "communicative genres" and "projects", which allows one to reach beyond the textual evidence to the dimension of verbal interaction. The paper also focuses on the materiality of historical genres (cf. Barton and Hall 2000).

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“Minister, we will see how the public judges you.”

Cited by 59 publications

References 8 publications

Setting our House in order: The workings of impoliteness in multi-party film discourse

Setting our House in order: The workings of impoliteness in multi-party film discourse

Translation and New(s) Media: Participatory Subtitling Practices in Networked Mediascapes

1820 Settler petitions in the Cape Colony

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