Aproximación al estudio pragmático-discursivo del cine y las series televisivas en español

Autores/as

  • Luisa Chierichetti Università degli Studi di Bergamo
  • María Isabel Hernández Toribio Universidad Complutense de Madrid

DOI:

https://doi.org/10.14672/2.2021.1867

Resumen

El análisis de películas y series de televisión cuenta ya con una nutrida bibliografía realizada desde la perspectiva pragmática y el análisis del discurso, que puede servir de base para la investigación sobre estos productos audiovisuales. Por ello, en este artículo revisamos algunas de esas aproximaciones, abriendo las puertas a nuevas investigaciones para el estudio de películas y series de televisión en español, puesto que, especialmente estas últimas, han recibido menor atención desde esta perspectiva. Centramos nuestro interés en la propia delimitación del término “discurso telecinemático” bajo el que se engloban productos audiovisuales distintos como el cine y las series de televisión, así como en la caracterización del diálogo y otros temas de interés desde una aproximación pragmática: la revisión de los actos de habla y el humor.

Citas

Aliaga Aguza, Laura María (2014), “Mecanismos de humor visual en la comedia de

situación Cómo conocí a vuestra madre”, ELUA, 29: 7-28.

— (2017), “La estrategia narrativa como recurso humorístico en la comedia de situación: el caso de Cómo conocí a vuestra madre”, ELUA, 31: 9-25.

— (2020), Análisis lingüístico del humor en el medio audiovisual: las estrategias humorísticas en la comedia de situación, Tesis doctoral inédita, Universidad de Alicante.

Alter, Nora M. (2018), The Essay Film after Fact and Fiction, New York, Columbia University Press.

Alvarez-Pereyre, Michael (2011), “Using film as linguistic specimen”, Telecinematic discourse. Approaches to the language of film and television series, eds. Roberta Piazza; Monika Bednarek; Fabio Rossi. Amsterdam/Philadelphia, John Benjamins: 47-67.

Androutsopoulos, Jannis (2012), “Introduction: Language and society in cinematic discourse”, Multilingua, 31: 139-154.

Ang, Ien (1985), Watching Dallas: Soap Opera and the Melodramatic Imagination, London, Methuen.

— (2007), “Television Fictions around the World: Melodrama and Irony in Global Perspective”, Critical Studies in Television, 2 (2): 18-30.

Ariati, Dwi Tunggga (2008), A Study on the Compliment and Its Response in Movie Manuscripts: Pretty Woman and 10 Things Hate about You (Pragmatics Approach), Tesis, Universitas Muhammadiyah, Surakarta.

Attardo, Salvatore (1994), Linguistic Theories of Humor, Berlin/New York, De Gruyter Mouton.

— (2019), “Humor and mirth. Emotions, embodied cognition, and sustained humor”, Emotions in Discourse, eds. J. Lachlan Mackenzie; Laura Alba-Juez. Amsterdam/Philadelphia, John Benjamins: 189-211.

— (2020), The Linguistics of Humor. An Introduction, Oxford, Oxford University Press.

Bagué Quílez, Luis; Rodríguez Rosique, Susana (2013), “La ironía en segundo grado: (in)versiones discursivas en la poesía española reciente, Bulletin of Spanish Studies (BHS), 90: 295-309.

Baldry, Anthony; Thibault, Paul (2006), Multimodal Transcription and Text Analysis, London, Equinox.

Baños Piñero, Rocío (2009), “Estudios descriptivo-contrastivo del discurso oral prefabricado en un corpus audiovisual comparable en español: oralidad prefabricada de producción propia y de producción ajena”, Panorama de investigaciones basadas en corpus, ed. Pascual Cantos; Aquilino Sánchez. Murcia, Asociación Española de Lingüística de Corpus: 399-413.

Bateman, John; Schmidt, Karl-Heinrich (2011): Multimodal Film Analysis: How Films Mean, New York, Routledge.

Bednarek, Monika (2010), The language of fictional television: Drama and identity. London/New York, Continuum.

— (2011), “Expressivity and televisual characterization”, Language and Literature, 20/1: 1-19.

— (2012), “Constructing ‘nerdiness’. Characterization in The Big Bang Theory”, International Journal of Corpus Linguistics, 17/1: 35-63.

— (2015), “An overview of the linguistics of screenwriting and its interdisciplinary connections, with special focus on dialogue in episodic television”, Journal of Screenwriting, 6/2: 221-238.

— (2017), “The role of dialogue in fiction”, Pragmatics of Fiction, eds. Miriam Locher; Andreas Jucker. Berlin/Boston, De Gruyter Mouton: 129-156.

— (2018), Language and Television Series. A Linguistic Approach to TV Dialogue, Cambridge, Cambridge University Press.

Bell, Alan; Gibson, Andy (2011), “Staging language: An introduction to the sociolinguistics of performance, Journal of Sociolinguistics,15/5: 555-572.

Bonsignori, Veronica; Bruti, Silvia (2015), “How people greet each other in TV series and dubbing”, The Languages of Dubbing. Mainstream Audiovisual Translation in Italy, eds. Maria Pavesi; Maicol Formentelli; Elisa Ghia, Bern, Peter Lang: 89-111.

Bonsignori, Veronica; Bruti, Silvia; Masi, Silvia (2011), “Formulae across languages: English greetings, leave-takings and good wishes in dubbed Italian”, Audiovisual translation in close-up: Practical and theoretical approaches, eds. Adrian Serban; Anna Matamala; Jean-Marc Lavour. Bern, Peter Lang: 23-44.

— (2012), “Exploring greetings and leave-takings in original and dubbed language”, Audiovisual translation and media accessibility at the crossroads — Media for all 3, eds. Aline Remael; Pilar Orero; Mary Carroll. Leiden, Brill: 357-379.

Bousfield, Derek (2008), Impoliteness in interaction, Amsterdam/Philadelphia, John Benjamins.

Bousfield, Derek; McIntyre, Dan (2011), “Emotion and empathy in Martin Scorsese’s Goodfellas. A case study of the ‘funny guy’ scene”, Telecinematic discourse. Approaches to the language of film and television series, eds. Roberta Piazza; Monika Bednarek; Fabio Rossi. Amsterdam/Philadelphia, John Benjamins: 105-123.

— (2018), “Creative linguistic impoliteness as aggression in Stanley Kubrick’s Full Metal Jacket”, Journal of literary semantics, 47/1: 43-65.

Bruti, Silvia (2006), “Cross-Cultural Pragmatics: The Translation of Implicit Compliments in Subtitles”, Proceedings of Media for All-International Conference on Audiovisual Translation, Barcelona, 6-8 de junio de 2005.

— (2009), “Translating Compliments and Insults in the Pavia Corpus of Film Dialogue: Two Sides of the Same Coin”, Analysing Audiovisual Dialogue: Linguistics y Translational Insights, eds. Maria Freddi; Maria Pavesi. Bologna, CLUEB: 143-163.

Bublitz, Wolfram (2017), “Oral features in fiction”, Pragmatics of Fiction, eds. Miriam Locher; Andreas Jucker. Berlin/Boston, De Gruyter Mouton: 235-263.

Catalá, Josep M.ª (2009), “Los límites de lo risible. Cuestiones epistemológicas y estéticas en torno a la confluencia del documental y el humor”, La sonrisa oblicua. Tangentes, paralelismos e intersecciones entre el documental y el humor, eds. Elena Oroz; Gonzalo de Pablo Amatria. Madrid, Ocho y Medio: 43-74.

Charaudeau, Patrick (2006), “Des catégories pour l’Humour?”, Questions de communication, 2: 19-41.

Chierichetti, Luisa (2021a), Diálogos de serie. Una aproximación a la construcción discursiva de personajes basada en corpus, Bern, Peter Lang.

— (2021b), “(Des)cortesía y poder en el discurso telecinemático de ficción”, Studi Italiani di Linguistica Teorica e Applicata, L, 3 (en prensa).

Cohen, Jonathan (2011), “Defining Identification: A Theoretical Look at the Identification of Audiences with Media Characters”, Mass Communication & Society, 4, 3: 245-264.

Coupland, Nikolas (2007), Style: Language Variation and Identity, Cambridge, Cambridge University Press.

Culpeper, Jonathan (2001), Language and Characterisation. People in Plays and Other Text, London and New York, Routledge, Taylor & Francis Group.

Culpeper, Jonathan; Fernández-Quintanilla, Carolina (2017), “Fictional characterisation”, Pragmatics of Fiction, eds. Miriam Locher; Andreas Jucker. Berlin/Boston, De Gruyter Mouton: 93-128.

D’Souza, Jean (1991), “Speech Acts in Indian English Fiction”, Word Englishes, 10/3: 307-316.

De Pablos Ortega, Carlos (2020), “Directive Speech Acts in English and Spanish Filmspeak”, Pragmática Sociocultural/Sociocultural Pragmatics, 8/1: 1-21.

Deltell Escolar, Luis; Hernández Toribio, María Isabel (en prensa), “Ensayo audiovisual español y humor. La casa Emak Bakia, Mapa y Muchos hijos, un mono y un castillo”.

Desilla, Louisa (2012), “Implicatures in film: Construal and functions in Bridget Jones romantic comedies”, Journal of Pragmatics, 44/1: 30-53.

Dynel, Marta (2010), Not hearing things – Hearer/listener categories in polylogues”, mediAzioni 9, http://mediazioni.sitlec.unibo.it [Acceso 27/10/2018].

— (2011a), “I’ll be there for you” On participation-based sitcom humour”, The Pragmatics of Humour across Discourse Domains, ed. Marta Dynel. Amsterdam/Philadelphia, John Benjamins: 311-333.

— (2011b), “You talking to me? The viewer as ratified listener to film discourse”, Journal of Pragmatics, 43/6: 1628-1644.

— (2011c), “Stranger than fiction? A few methodological notes on linguistic research in film discourse”, Brno Studies in English, 37: 41-61.

— (2012), “Setting our House in order: The workings of impoliteness in multi-party film discourse”, Journal of Politeness Research, 6: 161-194.

— (2016), “With or without intentions: accountability and (un)intentional humour in film talk”, Journal of Pragmatics, 95: 67-78.

— (2017), “(Im)politeness and telecinematic discourse”, Pragmatics of Fiction, eds. Miriam Locher; Andreas Jucker. Berlin/Boston, De Gruyter Mouton: 455-487.

Escandell Vidal, María Victoria (2015), La comunicación. Lengua, cognición y sociedad, Madrid, Akal.

Fernández Tubau, Valentín (2012), “Diálogos en el guion. Arte y técnica”, El guion para series de televisión, coord. Manuel Ríos San Martín. Madrid, Instituto RTVE: 169-207.

Ganz, Adam. (2013), “To make you see: Screenwriting, description and the ‘lensbased’ tradition”, Journal of Screenwriting, 4,1: 7-24.

García, Alberto N. (ed.) (2016), Emotions in Contemporary TV Series, Basingstoke / New York, Palgrave Macmillan.

Goffman, Erving (1981), Forms of talk, Philadelphia, University of Pennsylvania Press.

Gregory, Michael; Carroll, Suzanne (1978): Language and situation: Language varieties and their social contexts, London, Routledge and Kegan Paul.

Hernández Flores, Nieves (2013), “Actividad de imagen: caracterización y tipología en la interacción comunicativa”, Pragmática Sociocultural / Sociocultural Pragmatics, 1/2: 175-198.

Hernández Toribio, María Isabel; Deltell Escolar, Luis (2014), “Actos de cortesía valorizadora (cumplidos y halagos) en el cine argentino actual”, Spanish in Context, 11/1: 97-116.

— (2017), “Cumplidos y halagos en el español peninsular: ¿cuestión de términos?”, Onomázein, 37: 188-210.

Hernández Toribio, María Isabel; Mariottini, Laura (2016), “TripAdvisor y actos de habla. Delimitaciones teóricas y propuestas metodológicas para el análisis de las estrategias de atenuación de los actos directivos”, Pragmática Sociocultural / Sociocultural Pragmatics, 4/ 2: 149-181.

— (2018), “Actos de habla y atenuación 2.0: TripAdvisor”, Círculo de Lingüística Aplicada a la Comunicación, 73: 15-32.

Hamilton, David; Sherman, Jeffrey W. (1994), “Stereotypes”, Handbook of Social Cognition,

Volume 2: Applications, eds. Robert S. Wyer, Jr.; Thomas K. Srull,. New Jersey, Lawrence Erlbaum Associates: 1-68.

Hoffmann, Christian (2020), “Introduction”, Telecinematic Stylistics, eds. Christian Hoffmann; Monika Kirner-Ludwig. London, Bloomsbury Academic: 1-18.

Holmes, Janet (1988), “Paying Compliments. A Sex Preferential Politeness Strategy”, Pragmatics, 12/4: 445-465.

Janney, Richard (2012), “Pragmatics and cinematic discourse”, Lodz Papers in Pragmatics, 8/1: 85-113.

Jucker, Andreas (2009), “Speech Act Research between Armchair, Field and Laboratory. The Case of Compliments”, Journal of Pragmatics, 41/8: 1611-1635.

Kaplan, Nora (2004), “Nuevos desarrollos en el estudio de la evaluación en el lenguaje: La Teoría de la Valoración”, Boletín de Lingüística, 22: 52-78.

Kaul de Marlangeon, Silvia; Alba-Juez, Laura (2012), “A typology of verbal impoliteness behaviour for the English and Spanish cultures”, RESLA, 25: 69-92.

Kerbrat-Orecchioni, Catherine (2010), “L’impolitesse en interaction: Aperçus théoriques et étude de cas”, Lexis Special [Impoliteness / Impolitesse], 2: 35-61.

Koike, Dale (1998), “La sugerencia en español: una perspectiva comparativa”, La pragmática lingüística del español. Recientes desarrollos, eds. Henk Haverkate; Gijs Mulder; Carolina Fraile Maldonado. Amsterdam, Rodopi: 211-235.

Kozloff, Sarah (2000), Overhearing Film Dialogue, Berkeley/Los Angeles, University of California Press.

Kress, Gunther; van Leeuwen, Theo (2017 [2001]), Multimodal Discourse. The Modes and Media of Contemporary Communication, London/ New York, Bloomsbury.

— (2006), Reading Images: The Grammar of Visual Design, London, Routledge. Landert, Daniela (2017), “Participation as user involvement”, Pragmatics of Social Media, eds. Christian R. Hoffmann; Wolfram Bublitz. Berlin/Boston, De Gruyter Mouton

— (2021), “The spontaneous co-creation of comedy: Humour in improvised theatrical

fiction”, Journal of Pragmatics, 173: 68-87.

Langlotz, Andreas (2017), “Language and emotion in fiction”, Pragmatics of Fiction, eds.

Miriam Locher; Andreas Jucker. Berlin/Boston, De Gruyter Mouton: 515-552.

Leech, Geoffrey N. (1983), Principles of Pragmatics, London/New York, Longman.

Locher, Miriam. A.; Jucker, Andreas H. (2017) “Introducing PPragmatics of Fiction:

Approaches, trends and developments”,eds. Miriam A. Locher; Andreas Jucker. Berlin / Boston, De Gruyter Mouton, 1-21.

Lorenzo Dus, Nuria (2009), Television Discourse: Analysing Language in the Media, Basingstoke/ New York, Palgrave Macmillan.

Macdonald, Ian W. (2013), Screenwriting Poetics and the Screen Idea, Basingstoke/New York, Palgrave Macmillan.

Mapelli, Giovanna (2016), “Aspectos de la oralidad en las series televisivas españolas: los procedimientos de intensificación”, Orillas, 5 http://orillas.cab.unipd.it/orillas/es/05_09mapelli_astilleros/ [Acceso 27/10/2018].

— (2017), “Los procedimientos de atenuación en las series televisivas españolas entre humorismo y construcción del ethos”, Normas, 7/2: 139-153.

McIntyre, Dan (2015), “Dialogue: Credibility versus realism in fictional speech”, The Bloomsbury Companion to Stylistics, ed. Violeta Sotirova. London, Bloomsbury: 430–443.

McIntyre, Dan; Bousfield, Derek (2017), “Impoliteness in fictional texts”, The Palgrave Handbook of Linguistic (Im)Politeness, eds. Michael Haugh; Jonathan Culpeper; Daniel Z. Kadar. Basingstoke, Palgrave Macmillan: 759–783.

Messerli, Thomas C. (2016), “Extradiegetic and character laughter as markers of humorous intentions in the sitcom 2 Broke Girls”, Journal of Pragmatics, 95: 79-92.

Messerli, Thomas C.; Locher, Miriam. A. (2021), “Humour support and emotive stance in comments on Korean TV drama, Journal of Pragmatics, 178: 408-425.

Mínguez, Norberto; Manzano Espinosa, Cristina (2020), “El ensayo en el audiovisual español contemporáneo: definición, producción y tendencias”, Communication & Society, 33/3: 17-32.

Nelson, Cecil (1991), “New Englishes, New Discourses, New Speech Acts”, Word Englishes, 10/3: 317-323.

Nencioni, Giovanni (1976), “Parlato-parlato, parlato-scritto, parlato-recitato”, en Di scritto e di parlato. Discorsi linguistici, Bologna, Zanichelli: 126-179.

Nuzzo, Elena (2015), “Comparing textbooks and TV series as sources of pragmatic input for learners of Italian as second language: the case of compliments and invitations”, Teaching, Learning and Investigating: Pragmatics, Principles, Methods and Practices, eds.

Sara Gesuato; Francesca Bianchi; Winnie Chang. Cambridge, Cambridge Scholars Publishing: 85-107.

Pérez Hernández, Lorena (2001), Illocution and Cognition: A Constructional Approach,

Logroño, Servicio de Publicaciones de la Universidad de La Rioja.

Piazza, Roberta (2006), “The representation of Conflict in the Discourse of Italian Melodrama”,

Journal of Pragmatics, 38: 2087-2104.

— (2011), The Discourse of Italian Cinema Beyond. Let Cinema Speak, London, Continuum.

Piazza, Roberta; Bednarek, Monika; Rossi, Fabio, eds.(2011a), Telecinematic discourse:

Approaches to the language of film and television series, Amsterdam/Philadelphia, John

Benjamins.

— (2011b), “Introduction: Analising telecinematic discourse”, en Telecinematic discourse:

Approaches to the language of film and television series, eds. Roberta Piazza; Monika Bednarek; Fabio Rossi. Amsterdam/Philadelphia, John Benjamins: 1-17.

Quaglio, Paulo (2009), Television Dialogue. The Sitcom Friends vs. Natural Conversation, Amsterdam/Philadelphia, John Benjamins.

Queen, Robin (2015), Vox popular: The Surprising Life of Language in the Media, Malden, Wiley-Blackwell.

Rascaroli, Laura (2009), The personal camera. Subjective cinema and the essay film, London, Wallflower Press.

Richardson, Kay (2010), Television dramatic dialogue: A sociolinguistic study, Oxford, Oxford University Press.

Richardson, Kay; Queen, Robin (2012), “Describing, analysing and judging language codes in cinematic discourse”, Multilingua, 31: 327-336.

Roas, David (2009), “Humores posmodernos. Hacia una epistemología de la risa en la (supuesta) Era del Vacío”, La sonrisa oblicua. Tangentes, paralelismos e intersecciones entre el documental y el humor, eds. Elena Orozco; Gonzalo de Pedro Amatria. Madrid, Ocho y Medio: 75-94.

Rodríguez Rosique, Susana y Bagué Quílez, Luis (2021), “La chispa de la rima: rasgos de oralidad en la poesía española reciente”, Oralia, 24/2.

Rose, Kenneth (2001), “Compliments and Compliment Responses in Film: Implications for Pragmatics Research and Language Teaching”, IRAL-International Review of Applied Linguistics in Language Teaching, 39/4: 309-326.

Rossi, Fabio (2011), “Discourse Analysis of Film Dialogue. Italian Comedy between Linguistic. Realism and Pragmatic Non-realism”, Telecinematic Discourse Approaches to the language of film and television series, eds. Roberta Piazza; Monika Bednarek; Fabio Rossi. Amsterdam/Philadelphia, John Benjamins: 21-46.

Searle, John (1969), Speech Acts. An Essay in the Philosophy of Language, Cambridge, Cambridge University Press.

Thibault, Paul (2000) “The multimodal Transcription of a Television Advertisement: Theory and Practice”, Multimodality and Multimediality in the Distances Learning Age, ed. Anthony Baldry. Campobasso, Palladino Editore: 311-385.

Vandaele, Jeroen (2011), “Narrative Humor (I): Enter Perspective”, Poetics Today, 31: 721-785.

— (2012), “Narrative Humor (II): Exit Perspective”, Poetics Today, 33/1: 59-126.

Weinrichter, Antonio (2007), “El concepto fugitivo. Notas sobre el film-ensayo”, La forma que piensa. Tentativas en torno al cine ensayo, ed. Antonio Weinrichter. Navarra, Fondo de Publicaciones del Gobierno de Navarra: 18-49.

Wierzbicka, Anna (1987), English Speech Acts Verbs: A Semantic Dictionary, Sydney, Academic Press.

Yus Ramos, Francisco (2016), Humour and Relevance, Amsterdam/Philadelphia, John Benjamins.

— (2018), “A cognitive pragmatics of the phatic Internet”, Emotions in discourse, eds. Laura Alba-Juez; J. Lachlan Mackenzie. Amsterdam/Philadelphia, John Benjamins: 161-187.

Descargas

Publicado

2021-12-23