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Relevance in Sitcom Discourse: The Viewer’s Perspective

100%
Wieczorek M.
Anglica. An International Journal of English Studies
|
2018
|
issue 27/2
127-142
XX
The present paper draws upon Sperber and Wilson’s ([1986] 1995) Relevance Theory to undertake a pragmatic analysis of situation comedy (sitcom) discourse. More specifically, special attention is paid to the cognitive interpretative paths the viewer needs to take in order to find a dialogue or monologue humorous. The analysis is premised upon the participation framework, which accounts for the bi-partite division of communication in fictional discourse: the character’s (fictional) layer and the recipient’s layer, the latter being in the centre of attention.
2
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Dowcipy (audio)wizualne w sitcomach amerykańskich

88%
Proczkowska K.
Studia Translatorica
|
2019
|
issue 10
147-160
EN
This paper deals with visual jokes consisting of aural verbal part and visual (non)verbal part that can be found e.g. in US-American sitcoms such as “Friends”, “The Big Bang Theory”, and “How I Met Your Mother”. The first part of the paper characterises audiovisual works in general, taking into consideration relations between visual and aural channel. Then, the characteristics of voice-over translations are described. The main part of the paper analyses chosen examples of the visual jokes and their official Polish translations. It is of main interest to see whether the analysed fragments have the same function, i.e. humorous function, also in the target version, and if the relations between the visual and the aural channel were respected by the translator.
3
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Kino i jego reprezentacje w brytyjskim sitcomie (od Spaced do Extras)

75%
Gierczak J.
Panoptikum
|
2011
|
issue 10(17)
183-195
EN
The article is a guide that mainly discusses the tendencies of the latest instances of the television form called Britcom. The paper deals with a series broadcasted on Channel 4 (Spaced) and the BBC coproduction with the HBO (Extras). A very specific alternation of so called cringe comedy genre, the politics of fandom and fan fiction as well as a celebrity figure – these are just the most gripping plots and strategies in the British situation comedy of the last decade. The paper also tackles on more general issue, namely the question whether sitcom is still a proper term for this kind of TV series? “Maybe this is all semantics that the term sitcom is just a handy shorthand for media writers, but that begs the question: what kind of situation is inherently funny, let alone not funny in and of itself (…) Successful comedies should be called «witcoms», not sitcoms” – considers David Horowitz. According to the various aspects of r(evolution) it is just the beginning of the subversive turn.
4
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The Use of Idioms and Wordplay in The Big Bang Theory Sitcom

71%
Kryeziu L.
Półrocznik Językoznawczy Tertium
|
2020
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vol. 5
|
issue 2
83-99
PL
Język jest potężnym narzędziem komunikacji. Zręczny mówca używa słów i manipuluje nimi dla osiągnięcia różnych celów: aby nakłonić klientów do zakupu pewnego typu produktów lub zachęcić ich do przyłączenia się do danej wspólnoty wyznaniowej; aby ukoić cierpienie pacjentów lub pocieszyć tych, którzy stracili swoich bliskich. Język ma za zadanie uczyć, informować, dostarczać rozrywki i wywoływać śmiech. Duża grupa osób publicznych, w tym nauczyciele, politycy i przywódcy, stosują humor, aby przełamać pierwsze lody i przykuć uwagę słuchaczy. Obecnie niezwykłą popularnością wśród wielu grup wiekowych cieszą się seriale komediowe tzw. sitcomy, nawiązujące do specyficznych tematów, problemów i zainteresowań widzów. Jednym z takich seriali, który wzbudził wielkie zainteresowanie wśród użytkowników platformy Netflix, jest The Big Bang Theory („Teoria wielkiego podrywu”). We wszystkich odcinkach tej serii codzienne rozmowy bohaterów wypełnione są różnego rodzaju wyrażeniami idiomatycznymi, grą słów, rymowankami, językiem pop kultury i żargonu naukowego, które nasycone są humorem. Przedmiotem analizy w niniejszej pracy jest zasób leksykalny serialu „Teoria wielkiego podrywu”, gdzie idiomy, gry słowne i inne struktury językowe stają się środkami przekazania publiczności treści humorystycznych.
EN
Language is a powerful communication tool. A skilful person uses words and manipulates them for different purposes; be that for persuading clients in buying different products or joining a congregation; soothing aggravated patients and consoling people who lost their loved ones. Language is used for teaching, informing, entertaining and making people laugh. Many public speakers, teachers, politicians and leaders use humour for breaking the ice and engaging the audience into listening. Moreover, nowadays a vast number of sitcoms are popular among different age groups based on the topics, genre and the audience’s field of interest. One such series which has caught the interest of a broader audience on Netflix is The Big Bang Theory. The usage of idioms, wordplays, puns, rhyming structures, pop culture language and scientific jargon, permeated with humour, are widely spread into the characters’ daily conversations through entire episodes. From the linguistic point of view, the corpus of The Big Bang Theory episodes will be thoroughly analysed for finding the relevance of using idioms, wordplays, puns and other structures in transmitting humorous messages to the audience.
5
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Humorous and Non-Humorous Effects in Sitcoms: a Relevance-Theoretic Perspective

51%
Wieczorek M.
Annales Universitatis Paedagogicae Cracoviensis. Studia Linguistica
|
2020
|
issue 15
312-323
EN
Humorous utterances can be divided into those which are created for their own sake (that is, to amuse others), dubbed autotelic humour, and those which communicate truthful and/or untruthful meanings germane to the ongoing conversation, dubbed speaker-meaning-telic humour (Dynel 2018). The present paper carries out a qualitative analysis of humorous units in sitcom discourse with a view to delineating a number of propositional meanings, which can be potentially derived by the TV recipients. Special attention is confined to one of the most powerful tools used to explain humour in various humorous manifestations, i.e. weak implicatures (Sperber and Wilson 1986 [1995]; Wilson and Sperber 2004). It is believed here that pragmatic COMPREHENSION mechanisms proposed within Relevance Theory and the notion of weakly communicated assumptions are two sides of the same coin since these account not only for the viewer’s recovery of a humorous interpretation but also of an array of non-humorous propositional meanings. Moreover, the participatory framework has been employed as an additional parameter to show the difference in the reception of a dialogue by fictional characters and the viewers.
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