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Speech Style Shifts in Korean and Japanese TV Cooking Shows: A Comparative Study
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|Title:||Speech Style Shifts in Korean and Japanese TV Cooking Shows: A Comparative Study|
|Keywords:||Korean speech styles|
Japanese speech styles
|Date Issued:||May 2015|
|Publisher:||[Honolulu] : [University of Hawaii at Manoa], [May 2015]|
|Abstract:||This dissertation examines the speech style shifts occurring in TV cooking shows in Korean and Japanese, where multiple speech styles are available for the speaker on the same propositional meaning. Recent discourse-based studies on style mixtures in various contexts have observed that the speaker naturally shifts marked form to foreground a certain situational meaning over the others (Chang, 2014; Cook, 1998; Geyer, 2008; Okamoto, 1997; M. Y. Park, 2014; Saito, 2010; S. Yoon, 2010). Consequently, matching the linguistic form to social attributes of the speaker on a one-to-one basis cannot fully elucidate the fluidity and dynamism of the style shifts. The analysis of the distributions of each speech style uncovers that –eyo/ayo form (–supnita form is the default in the opening/closing remarks) in Korean data and –desu/masu form in Japanese data are used as the default style throughout the entire TV cooking show discourse. However, the host and the chef do not maintain the default speech style and occasionally shift to other speech styles such as the -ta, -e/a, -supnita forms in Korean and to the naked or non-naked plain forms in Japanese. In Korean data, the style shifts occur in both task-oriented and non-task-oriented talk, whereas in Japanese data, the alterations only occur in task-oriented talk. Micro-analytic qualitative approach from an indexical perspective of this comparative study reveals that multiple social meanings are created for one speech style and negotiated to be chosen by the speaker to obtain the desired communicative goals. Therefore, simple generalization and categorization of four speech styles in Korean and two speech styles in Japanese in terms of (+/-) distance and (+/-) interaction cannot be made. For example, the most formal -supnita form is employed as a joke to create a playful speech environment, whereas -ta form is employed to foreground an important content and to give an evaluative remark with an emotional-laden voice. From an indexical perspective, however, I argue that in TV cooking show discourse, -supnita and -eyo/-ayo forms in Korean and -desu/masu forms in Japanese are employed to index the speaker's presentational stance on public stage. -supnita forms function similarly to the high end of -desu/masu forms in terms of formality. On the other hand, -ta and -e/a forms in Korean are employed to index the speaker's solidary toward the addressee. -ta form is functionally similar to the naked plain form in Japanese in that both forms are utilized to index content focus of the information conveyed. -ta form is also similar to the non-naked plain form in that both forms index self-addressed spontaneity and solidarity. -e/a forms and the non-naked plain forms are also similar in that both forms index solidarity and intimacy. This study illustrates how conscious choice of the style shifts by the speaker creates multiple situational meanings and further helps the speaker construct his/her identities.|
|Description:||Ph.D. University of Hawaii at Manoa 2015.|
Includes bibliographical references.
|Appears in Collections:||
Ph.D. - East Asian Languages and Literatures (Korean)|
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