The theoretical section of the thesis Comparison of the misanthropic Show Jana Krause and the philanthropic Mark Eben's show Na plovárně aims to characterize the talk show genre both abroad and in the Czech Republic. It briefly outlines the development of the genre and its arrival in the Czech television stations. It also gives a definition of a presenter, describes the ways of communication, construction of the interviews with the guests, their selection, introduces Jan Kraus and Marek Eben and characterises both talk shows - Na Plovárně and Show Jana Krause. The practical section deals with an analysis of production in which interviews with representatives of both production teams are analysed. A qualitative analysis aims to answer the question: "How do the philanthropic and misanthropic concepts of the talk show differ, from the perspective of content and production intentions?" The conclusion contains a summary of the collected data.

Não é raro encontrar na televisão brasileira, e mesmo na rádio, emissões que trazem depoimentos de pessoas comuns comentados por especialistas, sobretudo, psicólogos. Desentendimentos conjugais, problemas com filhos, desavenças com vizinhos, conflitos no trabalho, são alguns dos temas exibidos. Trata-se de versões cujo formato orienta também produções estadunidenses, europeias e latino-americanas, cuja temática, apropriada pela indústria cultural nacional, difunde um discurso terapêutico. Embora as ideias de manipulação dos participantes e de sensacionalismo na busca por audiência sejam justificativas para a veiculação desse tipo de emissão, existem outros sentidos que podem ser atribuídos quando se aproximam as razões que mobilizam pessoas a dar visibilidade a histórias e questões consideradas de foro íntimo. Foram esses outros sentidos aqui investigados. Uma abordagem, portanto, a partir dos participantes de No Divã do Gikovate (Rádio CBN), Casos de Família (SBT) e Márcia (Bandeirantes) norteou a pesquisa apresentada. A interação social no palco, nos bastidores e na plateia foram vias de acesso a dois grupos sociais envolvidos na produção e no consumo desses bens culturais. O estudo dessas interações apontou lógicas diferentes de produção: uma demanda espontânea, entre aqueles que integram as emissões animadas pelo Dr. Gikovate, e um sistema de produção da exibição, ou seja, uma cadeia produtiva por trás das emissões televisivas que abarca tanto profissionais formalmente contratados pelas emissoras quanto pessoas engajadas informalmente. Tais interações indicam ainda grupos que possuem universos mentais distintos, com repertórios expressivos e recursos afetivos específicos. Seus integrantes apropriam-se do discurso terapêutico difundido transformando-o em senso prático para sua vida afetiva. / Its not rare to find in Brazilian television and radio, transmissions that bring ordinary peoples testimonials commented by experts, mainly psychologists. Marital fights, problems with children, quarrels with neighbors are some of the themes presented. Those are Brazilian versions of programs which circulate around the United States reaching Latin American and European countries, which the thematic, taken by their own national culture industry, diffuses a therapeutic discourse. Although the participants ideas manipulation and the sensationalism in the quest for audience are explanations for placing this kind of transmission, there are other senses that may be attributed when one gets closer to the reasons that mobilize those people to bring out stories and affairs once considered intimate. These other senses were the ones studied here. Thus, an approach close to that of the participants of No Divã do Gikovate (Gikovates Divan, Radio CBN), Casos de Família (Family Affairs, SBT) and Márcia (Marcia, Bandeirantes) guided this research. The social interactions on stage and backstage were ways to reach these two social groups involved in the production and consumerism of these cultural products. The study of these interactions led to different logics of production: a spontaneous demand between those who compose the transmissions cheered by Dr. Gikovate, and a production system of exhibition, which means a productive chain behind the television transmissions that reach professionals formally hired by the networks and people informally involved. Those interactions have also indicated groups with different mental universes, with specific expressive repertoire and affective appeal. Their integrants employ the therapeutic discourse, transforming it into logic of practice to be used in their affective life.

Não é raro encontrar na televisão brasileira, e mesmo na rádio, emissões que trazem depoimentos de pessoas comuns comentados por especialistas, sobretudo, psicólogos. Desentendimentos conjugais, problemas com filhos, desavenças com vizinhos, conflitos no trabalho, são alguns dos temas exibidos. Trata-se de versões cujo formato orienta também produções estadunidenses, europeias e latino-americanas, cuja temática, apropriada pela indústria cultural nacional, difunde um discurso terapêutico. Embora as ideias de manipulação dos participantes e de sensacionalismo na busca por audiência sejam justificativas para a veiculação desse tipo de emissão, existem outros sentidos que podem ser atribuídos quando se aproximam as razões que mobilizam pessoas a dar visibilidade a histórias e questões consideradas de foro íntimo. Foram esses outros sentidos aqui investigados. Uma abordagem, portanto, a partir dos participantes de No Divã do Gikovate (Rádio CBN), Casos de Família (SBT) e Márcia (Bandeirantes) norteou a pesquisa apresentada. A interação social no palco, nos bastidores e na plateia foram vias de acesso a dois grupos sociais envolvidos na produção e no consumo desses bens culturais. O estudo dessas interações apontou lógicas diferentes de produção: uma demanda espontânea, entre aqueles que integram as emissões animadas pelo Dr. Gikovate, e um sistema de produção da exibição, ou seja, uma cadeia produtiva por trás das emissões televisivas que abarca tanto profissionais formalmente contratados pelas emissoras quanto pessoas engajadas informalmente. Tais interações indicam ainda grupos que possuem universos mentais distintos, com repertórios expressivos e recursos afetivos específicos. Seus integrantes apropriam-se do discurso terapêutico difundido transformando-o em senso prático para sua vida afetiva. / Its not rare to find in Brazilian television and radio, transmissions that bring ordinary peoples testimonials commented by experts, mainly psychologists. Marital fights, problems with children, quarrels with neighbors are some of the themes presented. Those are Brazilian versions of programs which circulate around the United States reaching Latin American and European countries, which the thematic, taken by their own national culture industry, diffuses a therapeutic discourse. Although the participants ideas manipulation and the sensationalism in the quest for audience are explanations for placing this kind of transmission, there are other senses that may be attributed when one gets closer to the reasons that mobilize those people to bring out stories and affairs once considered intimate. These other senses were the ones studied here. Thus, an approach close to that of the participants of No Divã do Gikovate (Gikovates Divan, Radio CBN), Casos de Família (Family Affairs, SBT) and Márcia (Marcia, Bandeirantes) guided this research. The social interactions on stage and backstage were ways to reach these two social groups involved in the production and consumerism of these cultural products. The study of these interactions led to different logics of production: a spontaneous demand between those who compose the transmissions cheered by Dr. Gikovate, and a production system of exhibition, which means a productive chain behind the television transmissions that reach professionals formally hired by the networks and people informally involved. Those interactions have also indicated groups with different mental universes, with specific expressive repertoire and affective appeal. Their integrants employ the therapeutic discourse, transforming it into logic of practice to be used in their affective life.

本論文藉由檢視臺灣政論節目中所使用的語用策略（直接或間接）、語言行為類別、及語言行為目的，探討政治意識型態對於語言行為產生的影響。本研究以Grice（1975）的合作原則與Searle（1969）的語言行為理論作為分析框架，並以Leech（1983）的禮貌原則解釋語用策略及語言行為在不同政論節目中的分布差異。 　　本研究從臺灣主流的政論節目當中，政治光譜兩極的政論節目「大話新聞」（泛綠）與「2100全民開講」（泛藍）採集語料；並以Searle（1965年）的語言行為理論進行分析，總共識別12類直接語言行為和26類間接語言行為。 　　研究結果顯示，（一）語用策略方面，說話者在政論節目中使用間接語言行為的頻率比直接語言行為頻繁。（二）語言行為類別方面，直接語言行為中，排序則為：斷言（Assertive）、表述（Expressive）、指示（Directive）；而間接語言行為中，各類別使用頻率由高至低排序為：表述（Expressive）、斷言（Assertive）、指示（Directive）。（三）在政治意識型態的影響方面，支持執政黨的政論節目行使較多「直接且事實導向」的語言行為，而支持反對黨的政論節目則有較多的「間接且評論導向」的語言行為。（四）「譴責」是政論節中最常使用的語言行為，並且以間接方式表達居多。（五）推論過程中，推論步驟較多的「間接譴責」語言行為在政論節目中較常被使用。（六）「大話新聞」與「2100全民開講」雖偏向不同的政治意識型態，但是它們皆以斷言類（Assertive）或指示類（Directive）的語言行為來包裝，藉以間接達到「譴責」執政黨疏失的目的。 / This thesis investigates the political-ideological influence on speech acts in Taiwan political talk shows by examining the pragmatic strategies (directness and indirectness), the speech act categories, and the illocutionary purposes performed in the talk shows. In this thesis, Gricean maxims (1975) and Searle’s theory of speech acts (1969) are adopted as the analytic frames to study how speech acts are conducted, and Leech’s (1983) notions of politeness are the theoretical basis for explaining the distributional difference of pragmatic strategies. 　　The data analyzed in this study is composed of dialogues extracted from 6 episodes of two political talk shows with opposite stances on political issues, namely DaHuaXingWen (大話新聞), the pan-green talk show, and QuanMinKaiJiang (2100全民開講), the pan-blue one. Following Searle’s scheme of speech acts (1965), this study identifies the illocutionary act of every clause in the data and recognizes 12 types of direct speech acts and 26 types of indirect speech acts in the collected data. 　　The results of quantitative analysis show that, (1) indirect speech act is generally performed more frequently than indirect speech act in political talk shows. (2) The order of frequency in direct speech acts represents as: Assertive > Expressive > Directive; and in indirect speech acts, the order of frequency is: Expressive > Assertive > Directive. (3) In terms of the political-ideological influence, the political talks show supporting the ruling party (QuanMinKaiJiang) performs direct fact-orientated speech acts more, while the show that standing in the opposition to the ruling party (DaHuaXingWen) has more indirect opinion-oriented speech acts. (4) Condemnation is the most often used illocutionary act in political talk shows, and mainly done indirectly. (5) Indirect condemnations with longer length of inferential process are preferred in political talk shows. (6) Despite that DaHuaXingWen and QuanMinKaiJiang held different political stance, they share the same pattern of expressing indirect condemnation—wrapping it in speech acts of Assertives or Directives.

Les problématiques modernes de conservation du patrimoine numérique ont rendu les compagnies professionnelles d'archivage demandeuses de nouveaux outils d'indexation et en particulier de méthodes de structuration automatique. Dans cette thèse, nous nous intéressons à un genre télévisuel à notre connaissance peu analysé : le talk show. Inspirés de travaux issus de la communauté des sciences humaines et plus spécifiquement d'études sémiologiques, nous proposons, tout d'abord, une réflexion sur la structuration d'émissions de talk show. Ensuite, ayant souligné qu'un schéma de structuration ne peut avoir de sens que s'il s'inscrit dans une démarche de résolution de cas d'usage, nous proposons une évaluation de l'organisation ainsi dégagée au moyen d'une expérience utilisateur. Cette dernière met en avant l'importance des locuteurs et l'avantage d'utiliser le tour de parole comme entité atomique en lieu et place du plan (shot), traditionnellement adopté dans les travaux de structuration. Ayant souligné l'importance de la segmentation en locuteurs pour la structuration d'émissions de talk show, nous y consacrons spécifiquement la seconde partie de cette thèse. Nous proposons tout d'abord un état de l'art des techniques utilisées dans ce domaine de recherche et en particulier des méthodes non-supervisées. Ensuite sont présentés les résultats d'un premier travail de détection et regroupement des tours de parole. Puis, un système original exploitant de manière plus efficace l'information visuelle est enfin proposé. La validité de la méthode présentée est testée sur les corpus d'émissions Le Grand Échiquier et On n'a pas tout dit. Au regard des résultats, notre dernier système se démarque avantageusement des travaux de l'état de l'art. Il conforte l'idée que les caractéristiques visuelles peuvent être d'un grand intérêt -- même pour la résolution de tâches supposément exclusivement audio comme la segmentation en locuteurs -- et que l'utilisation de méthodes à noyau dans un contexte multimodal peut s'avérer très performante.

This paper examines the function of narrative discourse in television talk shows. Basing our analysis on five episodes of the Swedish talk show Skavlan, we illustrate how narratives are initiated and elaborated by the participants of the show. The analysis shows that the institutional roles are challanged and that the roles vary between the host ant the guests. The analysis also shows that when guests introduce and elaborate stories they use the same discursive actions and resources as the host. When participants enter an actvie role in their storytelling the hos takes a more restrained role in which he lets the the conversation evolve spontaneously. The analysis identifies yet another participant role which was not included in the studies of Ochs & Taylor and Thornborrow. The role appears when the host uses indirect form of address to both the studio audience and the overhearing audience. This role is relevant in the study of broadcast talk because of the very nature of television.

The aim of this diploma thesis is to analyze the spectrum of participants in the Questions of Václav Moravec talk show between the years 2016 and 2018. It investigates its political balance, changes over the monitoring period and the impact the 2017 election had on it. Theoretical part deals with qualitative indicators of bias and circumstances that might affect it. It discusses the alternatives to public media and obligations the Czech Television must meet in its shows as defined by law. Content analysis has been chosen as the research method. In the analytical part of the thesis, participants are coded based on their sex, age, political affiliation and function. Obtained results about the spectrum of participants are then confronted with the CT Code to either confirm or refute its compliance.

Made available in DSpace on 2016-04-28T18:23:51Z (GMT). No. of bitstreams: 1 Tatiana Rigante.pdf: 416966 bytes, checksum: 76bccb756e4505bf854672aeeb1af416 (MD5) Previous issue date: 2008-08-13 / The amount of research about interviews in talk-shows and the way this gender is approached is scarce in Brazil. In this perspective, the present study aims at analyzing the persuasion which permeates the conversation turns in an interview with the deputy Denise Frossard, on Jô talk show program, with a view to answering the following question: what discursive resources Jô Soares and Denise Frossard mostly employ to persuade their audience in the interview? Considering the dynamics of the realizations of various meaning combinations which this analysis implies, my study has an eclectic theoretical support, including Fowler (1991), based on Critical Discourse Analysis, and theories complementing the Systemic-Functional Linguistics, particularly the interpersonal metafunction. In so being, I make use of these persuasive notions which help me understand both explicit and implicit persuasion that pervade the interview interloctions, according to the following elements: dialogism (Bakhtin, 1981); frame and footing (Goffman, 1981), smuggling information (Luchjenbroers e Aldridge, 2007); directed information (Coffin e O Halloran, 2006), notions of cryptic-argumentation (Kitis e Milapides, 1996) and finally Analysis of Conversation (Eggins e Slade, 1997), which sheds light on the existing phenomena in the conversation turns. The data showed that amongst the occurrent persuasive elements, the implicit ones are the most frequent in the speech of the interlocutors. However, the host resorts to a discourse apparently friendly and capable of facilitating the exposure of the interviewee s opinion. The interviewee in most of her turns use monoglossic utterances / É pequeno o número de trabalhos sobre entrevistas em talk show e a abordagem desse gênero sofre carência de pesquisas no Brasil. Nessa perspectiva, o presente estudo objetiva analisar a persuasão que percorre os turnos conversacionais, na entrevista realizada com a deputada Denise Frossard, no talk show Programa do Jô, e deve responder à seguinte pergunta: que recursos discursivos são mais utilizados por Jô Soares e por Denise Frossard, visando a persuadir seu interlocutor na entrevista? Para abranger a dinâmica da realização da conjunção de significados diversos que essa análise implica, meu estudo tem um suporte teórico eclético , na esteira de Fowler (1991), com base na Análise Crítica do Discurso, formado por teorias que complementam a proposta da Lingüística Sistêmico-Funcional, em especial, no que diz respeito à metafunção interpessoal dessa teoria. Assim, apóiome em noções discursivas que ajudam a compreender a persuasão, por meios explícitos e implícitos, que entremeiam as interlocuções da entrevista, conforme os seguintes elementos: o dialogismo (Bakhtin, 1981); o frame e o alinhamento (Goffman, 1981); a inserção sub-reptícia de informação (Luchjenbroers e Aldridge, 2007); a informação direcionada (Coffin e O Halloran, 2006), e a noção de criptoargumentação (Kitis e Milapides, 1996) e, finalmente, à Análise da Conversação (Eggins e Slade, 1997), que esclarece fenômenos ocorrentes nos turnos conversacionais. Os dados permitiram apurar que, dentre os elementos persuasivos ocorrentes, os implícitos são os mais freqüentes na fala dos interactantes. Contudo, o apresentador recorre a um discurso aparentemente amigável e facilitador para que a entrevistada exponha a sua opinião. Esta, por sua vez, na maior parte de seus turnos, produz enunciados monoglóssicos

Fear is a challenge for European democracies today that is discussed in the same breath as rising populism and anti-immigrant speech. However, it seems that fear has also become a defining principle for Western (post)modern society in many other areas of life. This observation has been framed by the term culture of fear and described by recognized sociologists like Ulrich Beck, Zygmunt Bauman and Frank Furedi. They argue that changing social conditions like individualisation and globalisation have altered Western society’s preoccupation with security, uncertainty and risk. In consequence, Bauman and Furedi talk about a fear that has become “free-floating” and “liquid”. This research project asks about the implications of such a culture of fear for society and takes a closer look at what has been described as politics of fear. By conducting a critical political discourse analysis of the political talk show hart aber fair, this paper aims at tracing politics of fear in the German discourse over migration during the “refugee crisis” (2015-2017). In a three-tiered approach, the investigation embarks by defining culture of fear and its social premises, followed by a discussion of politics of fear theories drawing upon such concepts as precaution, prevention and securitisation. Emerging from this discussion, both a “traditional” politics with fear and a (post)modern politics of uncertainty are identified. The subsequent analysis of a selected hart aber fair episode from the 5th September 2016 bases on Siegfried Jäger’s approach to Critical Discourse Analysis (CDA) and examines the argumentation and interaction of the guests in the debate. The findings indicate that in addition to the use of fear as a political means for populist politicians, the narrative of the “fearful society” has on a whole permeated the German political discourse over migration. Hence, culture of fear offers a new perspective for the understanding of political discourse and the current developments in political practice.

Följande studie utforskar hur kulturella stereotyper framställs genom interaktionen under två separata intervjuer i talkshowen Malou Efter Tio. Programledaren Malou von Sivers har fått kritik för hur hon intervjuar två rapartister med skilda kulturella bakgrunder. Greekazo som associeras med minoritetsbefolkningen och Einár som associeras med majoritetsbefolkningen. Studien undersöker och jämför interaktionerna i de två intervjuerna utifrån teorierna samtalsanalys, intersektionalitet och olika koncept för representation i media. Analysen genomförs med samtalsanalys som metod och utgår från två separata transkriberingar av materialet. Resultatet visar att Malou von Sivers samspel med de två gästerna skiljer sig, där båda intervjuerna formar stereotypa uppfattningar kring rappgenren. Genom slutdiskussionen förs en diskussion om att det sker en problematisk representation av båda rapartisterna. Framför allt eftersom det upprättas en skillnad mellan rapartisterna genom intervjuerna då de tillskrivs olika egenskaper som baseras på deras etniska tillhörighet. Detta visar på starka maktrelationer som existerar i talkshowen och också på hur ojämlikhet som finns i samhället uppkommer i programmet. Utifrån vårt resultat kan vår studie synliggöra och uppmärksamma hur samtalsstrukturen i den här talkshowen flätas samman med maktstrukturen i vårt samhälle. / The following study examines how cultural stereotypes are reproduced through the interaction during two separate interviews from the talk show Malou Efter Tio. The host Malou von Sivers has been criticized for how she is interviewing two rap artists with different cultural backgrounds. Greekazo, associated with the minority population and Einár, associated with the majority population. The study examines and compare the two interviews based on the theories conversation analysis, intersectionality and several concept of representation in media. Conversation analysis is also used as a method and the analyzation is based on two separate transcriptions of the material. The results showed that Malou von Sivers interplay between two guests were different, however both interviews reproduce stereotypical perceptions about the rap genre. Furthermore, the results are discussed which shows that both representations of the rap artist are problematic. Especially since a difference is established between the rap artists through the interviews as they are attributed different characteristics based on their ethnicity. This shows the strong power relations that exist in the talk show and also how inequality that exist in our society arises in the program. Based on our results, our study exposes and pays attention to how the conversational structure of this talk show is intertwined with the power structure in our society.