【摘要】：自2000年開(kāi)始,著名的主持人朱軍主持的《藝術(shù)人生》在中央電視臺(tái)播出,這一檔溫情的談話類節(jié)目開(kāi)播至今,為觀眾展示了不同藝術(shù)家的藝術(shù)歷程,也為其他電視談話類節(jié)目的制作提供了新的視角�！对仒�(lè)會(huì)》于2008年首次在央視播出,由李詠主持,秉承“每個(gè)人都是自己的英雄,每個(gè)人都有自己的傳奇”這一節(jié)目宗旨,在推出的短短幾年中,以其獨(dú)特的形式和視角,讓人耳目一新。 本文通過(guò)會(huì)話分析的方法,對(duì)《藝術(shù)人生》和《詠樂(lè)會(huì)》兩個(gè)談話節(jié)目進(jìn)行了對(duì)比研究,試圖找出兩個(gè)節(jié)目不同風(fēng)格形成的原因,也試圖探尋出兩位名嘴所主持的談話類節(jié)目的語(yǔ)言運(yùn)用規(guī)律及結(jié)構(gòu)模式。 首先通過(guò)對(duì)兩個(gè)節(jié)目整體結(jié)構(gòu)的比較,找出節(jié)目在開(kāi)端、主體及結(jié)尾方面的不同點(diǎn)。兩個(gè)節(jié)目的基調(diào)在節(jié)目開(kāi)始時(shí)就奠定了,開(kāi)場(chǎng)方式各有不同,主體部分的比較在下文中進(jìn)行了詳細(xì)的闡釋,結(jié)尾處《詠樂(lè)會(huì)》較《藝術(shù)人生》更加隨意。 其次對(duì)兩個(gè)節(jié)目的局部細(xì)節(jié)結(jié)構(gòu)進(jìn)行了比較。在話題的選擇、發(fā)起方式及語(yǔ)篇的連貫方式上有所不同,《藝術(shù)人生》側(cè)重對(duì)話題的深度挖掘,主持人牢牢地控制住了話題,話題銜接緊密,而《詠樂(lè)會(huì)》話題選擇相對(duì)比較自由,主持人和嘉賓都可以發(fā)起話題,話題的銜接采用了多種方式；同時(shí)在話輪及話輪的轉(zhuǎn)換上也存在明顯差異,《藝術(shù)人生》話輪較長(zhǎng),采用毗鄰雙部式的對(duì)答結(jié)構(gòu),話輪轉(zhuǎn)換方式比較單一,《詠樂(lè)會(huì)》話輪較短,采用毗鄰多部式的對(duì)答結(jié)構(gòu),話輪轉(zhuǎn)換方式靈活多樣,兩個(gè)節(jié)目的話語(yǔ)打斷的原因也有所不同。這是文章的主體部分,通過(guò)對(duì)語(yǔ)料的分析,我們可以看出兩個(gè)節(jié)目不同風(fēng)格的形成原因。 再次對(duì)兩位主持人朱軍和李詠的主持風(fēng)格進(jìn)行了對(duì)比,分別從形象、語(yǔ)言、體態(tài)語(yǔ)三個(gè)方面進(jìn)行了分析,可以看出主持人的風(fēng)格對(duì)節(jié)目風(fēng)格的影響。 最后通過(guò)以上對(duì)語(yǔ)料的詳細(xì)分析,試圖從節(jié)目定位、話題選擇、主持人角色定位和語(yǔ)境手段的利用上找出《藝術(shù)人生》輝煌至今和《詠樂(lè)會(huì)》開(kāi)播兩年多卻草草收?qǐng)龅脑颉?br/>[Abstract]:Since 2000, "art life", presided by the famous host Zhu Jun, has been broadcast on CCTV. This kind of warm talk shows the art history of different artists and provides a new perspective for the production of other TV talk shows. The purpose of the program is to chant "everyone is his own hero, everyone has his own legend". In the short years that has been introduced, it is refreshing with its unique form and perspective.
Through the method of conversational analysis, this paper makes a comparative study of the two talk shows of "art life" and "chanting music", trying to find out the reasons for the formation of the different styles of the two programs, and trying to find out the rules of language use and the structure model of the two talk shows.
First of all, through the comparison of the overall structure of the two programs, find out the different points of the program in the beginning, the subject and the end. The keynote of the two programs is laid out at the beginning of the program, the way of opening is different, the comparison of the main part is explained in detail in the following, and the end of the song is more casual than the art life.
Secondly, the local detail structure of the two programs is compared. The choice of the topic, the mode of initiation and the coherence of the text are different. < art life > focuses on the depth of the topic; the host firmly controls the topic, the topic is closely connected, and the theme selection is relatively free, the host and the guest are all available. At the same time, there are many different ways to connect the topic and the topic. At the same time, there are obvious differences between the turn of the talk and the turn of the talk. The reasons for the interruption of the two programs are also different. This is the main part of the article. Through the analysis of the corpus, we can see the reasons for the formation of the different styles of the two programs.
Again, the style of the two hosts, Zhu Jun and Li Yong, was compared and analyzed from three aspects of image, language and body language, and the influence of the style of the host on the style of the program could be seen.
Finally, through the detailed analysis of the language materials, this paper tries to find out the reasons of "art life", "art life" and "singing music club" for more than two years, from the program positioning, topic selection, the position of the host role and the use of contextual means.
【學(xué)位授予單位】：華中師范大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類號(hào)】：H13

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 楊思明;兩岸電視情感類訪談節(jié)目會(huì)話分析比較研究[D];暨南大學(xué);2013年

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本文編號(hào)：2171477