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Chapter 10. The role of prosody in a Czech talk-show

  • Martin Havlík
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Spaces of Polyphony
Ein Kapitel aus dem Buch Spaces of Polyphony

Abstract

Prosody plays an important role in all types of speech and in every conversation. One important function of prosody is its ability to contextualise what has been said (Auer & de Luzio 1992). With the help of prosody in conversation, speakers can also transfer previous utterances of their conversational partners into another context, especially if responding to them. By doing this, they can alter the meaning of what their partners have said; they can change serious speech into non-serious speech and/or into irony, mockery, and so on. One important way of achieving this is “stylized prosodic orientation.” As the author of this concept says, “[b]y prosodically stylizing a previous non-stylized item or action, participants introduce a new perspective on it.” (Szczepek Reed 2006: 147). By using such prosodic stylization, the new speaker (former recipient) brings a voice into the conversation which is not only new, but is literally unexpected, and hence strange and alienated. In this paper, I will show how one particular host of a popular Czech TV talk show uses prosody as a means of joking or making fun of guests, and I will also show which particular aspects of prosody he uses to place the answers of his guests into another context and genre.

Abstract

Prosody plays an important role in all types of speech and in every conversation. One important function of prosody is its ability to contextualise what has been said (Auer & de Luzio 1992). With the help of prosody in conversation, speakers can also transfer previous utterances of their conversational partners into another context, especially if responding to them. By doing this, they can alter the meaning of what their partners have said; they can change serious speech into non-serious speech and/or into irony, mockery, and so on. One important way of achieving this is “stylized prosodic orientation.” As the author of this concept says, “[b]y prosodically stylizing a previous non-stylized item or action, participants introduce a new perspective on it.” (Szczepek Reed 2006: 147). By using such prosodic stylization, the new speaker (former recipient) brings a voice into the conversation which is not only new, but is literally unexpected, and hence strange and alienated. In this paper, I will show how one particular host of a popular Czech TV talk show uses prosody as a means of joking or making fun of guests, and I will also show which particular aspects of prosody he uses to place the answers of his guests into another context and genre.

Kapitel in diesem Buch

  1. Prelim pages i
  2. Table of contents v
  3. Introduction 1
  4. Part 1. Strategies in daily conversations
  5. Chapter 1. Strategy and creativity in dialogue 11
  6. Chapter 2. Conversational irony: Evaluating complaints 25
  7. Chapter 3. Speaking through other voices 43
  8. Part 2. Plural identities and viewpoints in acquisition and language learning
  9. Chapter 4. The self as other: Self words and pronominal reversals in language acquisition 57
  10. Chapter 5. The function of formulations in polyphonic dialogues 73
  11. Chapter 6. Observing the paradox: Interrogative-negative questions as cues for a monophonic promotion of polyphony in educational practices 87
  12. Chapter 7. Co-construction of identity in the Spanish heritage language classroom 101
  13. Part 3. The play of voices in mass media and politics
  14. Chapter 8. Polyphonic strategies used in polemical dialogue 117
  15. Chapter 9. Metacommunication and intertextuality in British and Russian parliamentary answers 129
  16. Chapter 10. The role of prosody in a Czech talk-show 143
  17. Chapter 11. Intertextuality as a means of positioning in a talk-show 161
  18. Part 4. Social and cultural polyphony and intertextuality
  19. Chapter 12. Rumour in the present Romanian press: Aspects of knowledge sources and their linguistic markers 175
  20. Chapter 13. Peritextual dialogue in the dynamics of poetry translatability 189
  21. Chapter 14. Voices through time in Meso-American textiles 205
  22. Part 5. Dialogism in literary discourse
  23. Chapter 15. “Finn Mac Cool in his mind was wrestling with his people”: Polyphonic dialogues in Flann O’Brien’s comic writing 225
  24. Chapter 16. Dialogization, ontology, metadiscourse 237
  25. Chapter 17. Ironic palimpsests in the Romanian poetry of the nineties 251
  26. Chapter 18. Polyphony in interior monologues 265
  27. General references 279
  28. Index 297
https://doi.org/10.1075/ds.15.14ch10

Kapitel in diesem Buch

  1. Prelim pages i
  2. Table of contents v
  3. Introduction 1
  4. Part 1. Strategies in daily conversations
  5. Chapter 1. Strategy and creativity in dialogue 11
  6. Chapter 2. Conversational irony: Evaluating complaints 25
  7. Chapter 3. Speaking through other voices 43
  8. Part 2. Plural identities and viewpoints in acquisition and language learning
  9. Chapter 4. The self as other: Self words and pronominal reversals in language acquisition 57
  10. Chapter 5. The function of formulations in polyphonic dialogues 73
  11. Chapter 6. Observing the paradox: Interrogative-negative questions as cues for a monophonic promotion of polyphony in educational practices 87
  12. Chapter 7. Co-construction of identity in the Spanish heritage language classroom 101
  13. Part 3. The play of voices in mass media and politics
  14. Chapter 8. Polyphonic strategies used in polemical dialogue 117
  15. Chapter 9. Metacommunication and intertextuality in British and Russian parliamentary answers 129
  16. Chapter 10. The role of prosody in a Czech talk-show 143
  17. Chapter 11. Intertextuality as a means of positioning in a talk-show 161
  18. Part 4. Social and cultural polyphony and intertextuality
  19. Chapter 12. Rumour in the present Romanian press: Aspects of knowledge sources and their linguistic markers 175
  20. Chapter 13. Peritextual dialogue in the dynamics of poetry translatability 189
  21. Chapter 14. Voices through time in Meso-American textiles 205
  22. Part 5. Dialogism in literary discourse
  23. Chapter 15. “Finn Mac Cool in his mind was wrestling with his people”: Polyphonic dialogues in Flann O’Brien’s comic writing 225
  24. Chapter 16. Dialogization, ontology, metadiscourse 237
  25. Chapter 17. Ironic palimpsests in the Romanian poetry of the nineties 251
  26. Chapter 18. Polyphony in interior monologues 265
  27. General references 279
  28. Index 297
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