In recent years, the Taiwan¡¦s TV talk shows about the political topic have a bias in favour of party. In Taiwan, there are two property of party, one is called Blue property of party, the other is called Green property of party. In order to get more audience rating, theTV stations make the program by the means of antagonism. In this background, it becomes more important that audience how to response the genus of TV program. In order to investigate the phenomenon, we use two main directions. One way is stimulus response, it assumes the audience is influnced by TV progarm. In this way, we apply the broaden-and-build theory of positive emotion. The other way is audience¡¦s subjectivity, it assumes that audience can reflex what TV program want to talk to them. In this way, we apply the political philosopher-Hannah Arendt¡¦s doctrine. We found that audience¡¦s emotion be influenced by TV talk show, and no matter what party identification they belong to, most emotions are negative. But, when the TV talk show has a bias in favour of party which is the same with their party identification, they have moer higher positive emotion than which is no the same. And when the TV talk show has a bias in favour of party which is not the same with their party identification, they have moer higher positive emotion than which is no the same. But we can¡¦t justify the the broaden-and-build theory of positive emotion. No mater what party indentification they are and no matter what TV talk show of property of party they watch, we can¡¦t found obvious subjectivity of audience. It¡¦s a crisis of public sphere.

Univ., Diss.--Halle, 1999. / Literaturverz. S. 291 - 321.

Zugl.: Marburg, Univ., Diss., 2005

O presente trabalho situa-se na convergência interdisciplinar entre a Análise do Discurso de linha francesa e os estudos da mídia na pós-modernidade. Nele pretende-se demonstrar, com base na observação de 10 episódios de um programa popular da televisão brasileira (o Programa do Ratinho), como existe no gênero uma tendência crescente de dispersão de identidades, poderes e saberes. Embora limitados por regras discursivas que determinam sua produção e exibição, esses programas se caracterizam pela constante negociação e redefinição dos limites de poder dos diferentes sujeitos envolvidos - apresentadores, convidados leigos e especialistas, público da platéia e audiência doméstica. Propõe-se que tal tendência à dispersão está ligada ao fenômeno marcadamente pós-moderno da dispersão dos sentidos, promovida por sua vez em grande parte pela multiplicidade de vozes que se fazem ouvir, com níveis desiguais de poder, nos formatos da mídia contemporânea. No programa popular brasileiro em questão, observa-se uma aparente contradição no que diz respeito à construção de poderes e saberes. Por um lado, a multiplicação potencial das diversas vozes no programa sugere uma situação mais ou menos caótica, na qual os discursos circulam sem uma hierarquia nítida ou estável. Por outro lado, há uma valorização visível das narrativas da experiência pessoal dos participantes, experiência essa que tende a desbancar a autoridade do discurso oficial da ciência - o discurso especializado dos psicólogos, advogados e médicos - e a assumir o status de parâmetro de autenticidade. Nesse sentido, a autenticidade do conhecimento (e também do poder) torna-se maior quanto melhor construída e articulada no espaço concreto do programa popular, ainda que isso implique em uma maximização do elemento performático, que nesse contexto se equivale à verdade autenticada. / This dissertation is situated in the interdisciplinary convergence between the French approach to discourse analysis and the Media Studies in postmodernity. We set out to demonstrate, based on the observation of 10 episodes of a popular Brazilian TV program (Programa do Ratinho), how the genre is marked by a growing tendency towards the dispersion of identities, power and knowledge. Despite being restrained by discursive rules which determine their production and exhibition, these programs are characterized by constant negotiation and redefinition of the limits of power of the different subjects involved - hosts, lay and expert guests, and the audiences at home and in the studio. We propose that such tendency towards dispersion is associated with the markedly postmodern phenomenon of the dispersion of meanings, which in turn is grounded partly on the multiplicity of voices which are heard, at unequal levels of power, in the contemporary media formats. On the Brazilian popular broadcast in question, we observe an apparent contradiction regarding the construction of power and knowledge forms. On the one hand, the potential multiplicity of voices on the show points to a rather chaotic situation, in which discourses circulate without a distinct or stable hierarchy. On the other hand, there is a clear emphasis on the participants\' narratives of personal experience, of the kind that tend to debunk the authority of the official discourse of science - the expertise discourse of psychologists, lawyers and doctors - and to take on the status of parameters of authenticity. In this connection, the authenticity of knowledge (and also of power) becomes all the greater the better it is constructed and articulated within the concrete space of the popular broadcast, even if this implies a maximization of the performative element, which in this context is equivalent to authenticated truth.

O presente trabalho situa-se na convergência interdisciplinar entre a Análise do Discurso de linha francesa e os estudos da mídia na pós-modernidade. Nele pretende-se demonstrar, com base na observação de 10 episódios de um programa popular da televisão brasileira (o Programa do Ratinho), como existe no gênero uma tendência crescente de dispersão de identidades, poderes e saberes. Embora limitados por regras discursivas que determinam sua produção e exibição, esses programas se caracterizam pela constante negociação e redefinição dos limites de poder dos diferentes sujeitos envolvidos - apresentadores, convidados leigos e especialistas, público da platéia e audiência doméstica. Propõe-se que tal tendência à dispersão está ligada ao fenômeno marcadamente pós-moderno da dispersão dos sentidos, promovida por sua vez em grande parte pela multiplicidade de vozes que se fazem ouvir, com níveis desiguais de poder, nos formatos da mídia contemporânea. No programa popular brasileiro em questão, observa-se uma aparente contradição no que diz respeito à construção de poderes e saberes. Por um lado, a multiplicação potencial das diversas vozes no programa sugere uma situação mais ou menos caótica, na qual os discursos circulam sem uma hierarquia nítida ou estável. Por outro lado, há uma valorização visível das narrativas da experiência pessoal dos participantes, experiência essa que tende a desbancar a autoridade do discurso oficial da ciência - o discurso especializado dos psicólogos, advogados e médicos - e a assumir o status de parâmetro de autenticidade. Nesse sentido, a autenticidade do conhecimento (e também do poder) torna-se maior quanto melhor construída e articulada no espaço concreto do programa popular, ainda que isso implique em uma maximização do elemento performático, que nesse contexto se equivale à verdade autenticada. / This dissertation is situated in the interdisciplinary convergence between the French approach to discourse analysis and the Media Studies in postmodernity. We set out to demonstrate, based on the observation of 10 episodes of a popular Brazilian TV program (Programa do Ratinho), how the genre is marked by a growing tendency towards the dispersion of identities, power and knowledge. Despite being restrained by discursive rules which determine their production and exhibition, these programs are characterized by constant negotiation and redefinition of the limits of power of the different subjects involved - hosts, lay and expert guests, and the audiences at home and in the studio. We propose that such tendency towards dispersion is associated with the markedly postmodern phenomenon of the dispersion of meanings, which in turn is grounded partly on the multiplicity of voices which are heard, at unequal levels of power, in the contemporary media formats. On the Brazilian popular broadcast in question, we observe an apparent contradiction regarding the construction of power and knowledge forms. On the one hand, the potential multiplicity of voices on the show points to a rather chaotic situation, in which discourses circulate without a distinct or stable hierarchy. On the other hand, there is a clear emphasis on the participants\' narratives of personal experience, of the kind that tend to debunk the authority of the official discourse of science - the expertise discourse of psychologists, lawyers and doctors - and to take on the status of parameters of authenticity. In this connection, the authenticity of knowledge (and also of power) becomes all the greater the better it is constructed and articulated within the concrete space of the popular broadcast, even if this implies a maximization of the performative element, which in this context is equivalent to authenticated truth.

This thesis discusses the relationship between the two forces—the Internet and the conventional media, and the rules and etiquette that have governed these media from the mid-1990s to present day. I divide the history of interaction between them into three phases, corresponding to different power balances and stances in the field of cultural production. By analyzing three Internet-themed TV talk show episodes, I probe how the Internet has gradually evolved into an active competitor, and how the conventional media have correspondingly changed their stance in response to their thriving counterpart. / text

This interpretive study uses hermeneutic phenomenological methodology to understand the experience of six college students in Taiwan who participate in TV talk show as studio audience. Texts were collected from in-depth interviews. The result indicated a dramatic interaction framework toward the whole experience: participants as performers must ¡¥act¡¦ like undergraduate students, though the show ¡V from script, setting to personal front ¡V must be ratified by producer. Furthermore, two transformative effects are found in participants. First, they were socialized in the studio through the performance, and learned more social-performing skills and scripts. Second, they are bothered by mixing up their drama-roles with social-roles. It was the producer¡¦s purpose to represent ¡¥a world beneath¡¦ of college students in University. However it became ¡¥a public trial¡¦ on TV after excessive entertainment manipulation.

Media is taken as one of ¡§ideological state apparatuses¡¨ which reproduces and delivers dominant ideologies, and audience always internalize these dominant ideologies and take them for granted. Talk-show program is one kind of television genre, its gender ideology is constructed by daily conversion. In addition, inviting normal people to attend talk-show programs is becoming a trend; it makes ideologies closer to reality, and not easy to be found. Aim to understand how gender ideologies work in talk-show program, this study uses Taiwanese talk-show program ¡§University¡¨ as an example, analyzing 22 texts of ¡§University¡¨ by textual analysis. Besides, the other main purpose of this research is to understand the progress of production, so the researcher interviewed a producer and four guests of ¡§University¡¨ to have clearer concept about production. This study found that there are many topics about gender issue in ¡§University¡¨, and most of them focus on woman. Analyzing these texts, the results show that gender stereotype and patriarchal concepts are usually delivered when talking about gender traits, and in this program, they always narrow down diverse viewpoints about gender with binary opposition. In addition, discussing about love, they not only maintain traditional gender order -¡§men are strong, and women are weak¡¨ and ¡§men are superior, and women are inferior¡¨, but also use hegemony of heterosexuality to oppress women with romantic love, and exclude homosexual. In this way, women will become inferior and subordinate to men. Finally, when talking about appearance and dressing, it¡¦s full of mainstreaming values in ¡§University¡¨, and these values make women to be an object which is gazed and desired by men. Thus, under kinds of pressures of beauty myth, women keep disciplining themselves, and they are used as a product for selling advertisement. These situations make women become victims of beauty in the end.

This is a comparative linguistic essay aimed to investigate how closing sections construct social interaction in a number of talk shows, primarily The Daily Show and The Colbert Report. The talk show data is analyzed by means of Conversation Analysis (CA) which considers how language performs social interaction and the structures and norms which give the frames for this. The results of the analysis are compared to the results of a study carried out in 2003 by Esperanza Rama Martinez on the same subject matter. Martinez´ study is in fact the foundation for this study. In her study Martinez concludes that the closing phase is initiated by the interviewer and that there are always pre-closing components before the closing components begin. The results of this study are in line with Martinez´ study.

Submitted by Renata Lopes (renatasil82@gmail.com) on 2017-05-22T14:55:51Z No. of bitstreams: 1 kriciahelenabarreto.pdf: 999212 bytes, checksum: 40cfbe9783d1f6e43607cb07c8402efe (MD5) / Approved for entry into archive by Adriana Oliveira (adriana.oliveira@ufjf.edu.br) on 2017-05-22T17:38:32Z (GMT) No. of bitstreams: 1 kriciahelenabarreto.pdf: 999212 bytes, checksum: 40cfbe9783d1f6e43607cb07c8402efe (MD5) / Made available in DSpace on 2017-05-22T17:38:32Z (GMT). No. of bitstreams: 1 kriciahelenabarreto.pdf: 999212 bytes, checksum: 40cfbe9783d1f6e43607cb07c8402efe (MD5) Previous issue date: 2012 / FAPEMIG - Fundação de Amparo à Pesquisa do Estado de Minas Gerais / O presente trabalho busca investigar como o envolvimento, a solidariedade e o vínculo entre os participantes de um dado evento comunicativo são sustentados através do uso do humor na interação. À luz de uma perspectiva interacional da linguagem (Couper-Kuhlen & Selting, 2001; Silveira, 2007), a partir da qual as expressões linguísticas são entendidas como coconstruídas pelos interlocutores, emergentes do uso, situadas, sensíveis ao contexto e adaptáveis às exigências interacionais (Duranti & Goodwin, 1992), analisou-se uma entrevista realizada no talk show “Programa do Jô”, comandado pelo humorista e apresentador Jô Soares, exibido pela Rede Globo. A produção do discurso humorístico foi entendida como uma co-construção conjunta (Clark, 1996) realizada de forma coordenada pelos interlocutores, tomando como base o modelo de geração do humor desenvolvido por Beeman (2000). Através das estratégias de envolvimento propostas por Tannen (1989), verificou-se que a natureza co-constitutiva do humor o faz funcionar, por si só, como uma macroestratégia de envolvimento, ajudando a estabelecer e desenvolver as relações interpessoais entre os participantes de uma dada interação, considerando-se as metas comunicativas de todos os seus membros. / The present work aims to investigate how involvement, solidarity and connection among participants of a given communicative encounter are sustained through the interactive use of humor. Building upon an interactional view of language (Couper-Kuhlen & Selting, 2001; Silveira, 2007) through which linguistic expressions are seen as co-constructed by interactants, emergent from use, situated, context-bound and adaptable to interactional demands (Duranti & Goodwin, 1992), we analyzed an interview which took place in a Brazilian talk show called “Programa do Jô”, hosted by the comedian and presenter Jô Soares, aired by Rede Globo. Building upon Beeman‟s (2000) model of humor production, the production of humorous discourse was understood here as a joint co-construction (Clark, 1996) developed in coordination by interactants. Through the involvement strategies proposed by Tannen (1989), it was found that the co-constitutive nature of humor enables it to work as a macro-strategy for involvement, helping establish and develop interpersonal relations among participants of a given interaction, taking into account the communicative aims of all of its members.