Table of Contents for
Manual of Romance Languages in the Media

Manual of Romance Languages in the Media by Christiane Maaß, Kristina Bedijs Manual of Romance Languages in the Media

Cover
Title Page
Copyright
Table of Contents
Media and Linguistics
- 0 Preface
- 1 Media Linguistics: Interfaces to Media and Communication Studies
Text Linguistic Approaches to Language in the Media
Orality and Literacy of Media Text Types
Methods in Linguistic Media Research
Romance Matters
Media Texts and Multilingualism
Index

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Manual of Romance Languages in the Media

The French public saw an announcer on their screens for the first time in 1954; until 1971, more than one announcer followed each other in the same edition. A short intermezzo from 1963–1965 having tried to adopt the star-announcer format has not been continued (Bourdon 2001, 223).

The anchorman is called chef d’antenne in the French-speaking Canadian province of Quebec in order to avoid an Anglicism.

Cf. also <http://asl.univ-montp3.fr/fpm2013> (19. 10. 2016) and <http://www.aston.ac.uk/lss/news/events/francais-parle-dans-les-medias> (19. 10. 2016).

The concept text type has been used by various scholars in text linguistics with different meanings that deviate from the definition employed in this contribution (for a detailed overview cf. Heinemann 2000, 523ss.).

The conception of text types off and on the Internet has been widely debated and discussed (cf. Koch/Oesterreicher 22011). The questions are how these text types or text genres can be described and if they can be compared to oral communication (cf. Dürscheid 2003; Kattenbusch 2002; Thaler 2008). For studies regarding chats cf. Anis (2003), Frank-Job (2010), Spelz (2009); for blogs cf. Durkiewicz (2009), Schlobinski/Siever (2005); and regarding other text types or general reflections on the subject cf. Luzzati (1991), Moraldo (2012), Pistolesi (2004), Panckhurst (2006) and Véronis/Guimier de Neef (2006).

The social web is a designation for the web applications that allow the users to publish and easily upload texts, pictures, video and audio files, e. g., the blog platforms, the social networks and the microblogging sites.

A selfie is a picture taken with a smartphone or photo camera; the person seen in the photo takes a picture of him or herself by extending the arm with the cell phone.

‘Das Schriftbild fängt, der Wortlaut ist nachgeordnet’ (translation above by the author).

Große (2012) offers a critical discussion of the different e-mail typologies and the comparison between e-mails and paper-based letters.

Weblogs, or in short blogs, are websites that contain posts to various topics that are organized in reversed chronological order.

A study shows that tweets are more frequently retweeted when containing photos or pictures and generate more overall engagement (cf. Stadd 2014).

Schildhauer demonstrated a function differentiation between social networks and blogs: the former is used for short status updates and the latter for longer and in depth reflections (cf. Schildhauer 2014).

Macro images are a form of memes, often humorous or ironic cultural units that comment on current events or daily life.

A hashtag is a label or tag that includes # followed by a keyword added to a blog post or a message.

‘Therefore, film dialogue must not be negligent or colorless, but spontaneous. It must come out of the characters’ mouth and not of the actors’ memory. Furthermore, in moments of most animated conversation, the individuals must have time to think about what they say, just like in real life. Repeated, stumbled, stammered words […] can sometimes only add to the sensation of true reality’ (translation by the author).

‘Cinematic language is an entirety in which music and images melt with the multiplicity of voices to participate in the cinematographic illusion. In spite of their fictitious element, films allow us to observe through the prism of caricature the linguistic facts which cineastes and screenwriters consider characteristic of popular language and of which the acoustic traces subsist essentially in cinema’ (translation by the author).

‘… when the spectators may not understand the utterances of a person who speaks a particular dialect or in a form of French from another country, or simply in an incomprehensive French’ (translation by the author).

Note that the reverse effect is also observable: a voice-to-voice inhibiting the speaker due to the lack of paralinguistic (gestural and facial) information. This discomfort is solved in the case of CMWC where gestural and facial information are reintroduced through smileys and images. Thus, paradoxically, the double privation of face and voice of the interlocutor disinhibits even more the speaker than the simple privation of face in oral telephone communication does.

“‘Being present’ or ‘absent’, ‘being here’ or ‘there’ […] are nothing but lexical labels in need of renegotiation” (translation by the authors).

“The rights, the obligations, the expectations and even the good manners of face-to-face participants are now to be negotiated according to the rights, obligations and expectations of ‘phantom participants’” (translation by the authors).

‘People seem to be taken by a certain incapacity to bear a moment of respite, a moment of reflection, an auspicious moment, a moment for themselves… a silence’ (translation by the editors).

‘It is no simple (neutral) vehicle for message transmission. It always contains a meta-communicative meaning which impacts the content of communication’ (translation by the authors).

This specificity tends to disappear with the massive use of smartphones allowing for mobile consultation of e-mails, social networks etc.

Cf. above: the other CMWC types are in the meantime contaminated by the properties of smartphones.

Note that these features may in part be attached to other CMWC types.

‘… an e-mail or SMS can sometimes be more similar to a letter and sometimes more to a phone call’ (translation by the editors).

‘… the social anchoring of discourse, […] its communicative nature, […] the compositional regularities and the formal characteristics of texts’ (translation by the authors).

‘… implicitly, based on shared presuppositions, insinuations and conversational inferences’ (translation by the authors).

‘First of all, we have to oppose the medium […] and the conception […]. The medium stems from the dichotomy, the conception from the continuum. Thus, an oral utterance may show discursive features of written, or the other way round’ (translation by the authors).

‘When the oral discourse is formal, we find characteristic phrasing of written discourse […], and on the opposite, informal written discourse uses the phrasing frequent in oral discourse (double marking, cleft sentences, etc.)’ (translation by the authors).

For more information: www.sms4science.org (01/17/2017).

For more information: <http://www.thumbs4science.org> (17.01.2017).

‘Netzkommunikation im Spannungsfeld zwischen distanz- und nähesprachlicher Konzeption’. In the figure: ‘lalic’ – ‘graphic’ – ‘chat / newsgroup / e-mail / mailing list / newspaper article etc.’ – ‘face-to-face conversation’ – ‘phonic and nonverbal’ – ‘immediacy / distance’ (translation by the editors).

‘Synchrone, quasi-synchrone und asynchrone Kommunikationsformen’. In the figure: ‘common communicative space / synchronous communication / phone call – common communicative space / quasi-synchronous communication / chat, instant messaging – no common communicative space / asynchronous communication / fax, e-mail, SMS, message on answering machine / extension of communicative situation’ (translation by the editors).

<http://cesi.uni-muenster.de/~SMSDB/>.

<http://www.sms4science.uzh.ch>.

<http://www.whatsup-switzerland.ch/en/project>.

<http://www.let.rug.nl/basile/twita>.

<http://www.intratext.com/IXT/ITA0192>.

<http://wse1.webcorp.org.uk/home/blogs.html>.

<http://www.chatkorpus.tu-dortmund.de>.

Universities of Münster, Potsdam and Munich, cf. <http://www.social-media-analytics.org/en>.

<http://www.ids-mannheim.de/cosmas2>.

‘I claim, quite aloud, the possibility for the researcher to express a word of denunciation, of indignation, of combat, that is, a militant word, but in other places and with other purposes’ (translation by the author).

‘Discourse has manifold procedures to add or reduce emphasis of meanings’ (translation by the author).

‘Discourse on the Web 2.0 should be approached wisely before saying that it is a radically new phenomenon’ (translation by the author).

‘But the digital conversations used anti-democratic, racist, xenophobic and anti-human rights content, despite the express prohibition of doing so’ (translation by the author).

‘The chat shows that the discourse about sex, far from being silenced, has proliferated and multiplied […]. In that incitement to talk about sex, however, as could be seen throughout the study, stereotypes arise that are part of an imaginary that is questioned and apparently overcome in the public sphere (translation by the author).

‘Zeichensysteme […], die regeln, wie Zeichen zusammengesetzt werden müssen, damit sich intendierte Bedeutungen ergeben’ (translation above by the author).

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Table of Contents for Manual of Romance Languages in the Media

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Table of Contents for
Manual of Romance Languages in the Media