From "blame by praise" to "praise by blame": Analysis of vocal patterns in ironic communication
From "blame by praise" to "praise by blame": Analysis of vocal patterns in ironic communication
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DOI：
10.1080/00207590244000106
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发表时间：
2002-10-01
影响因子：
3.2
通讯作者：
Infantino, MG
中科院分区：
文献类型：
--
作者：
Anolli, L;Ciceri, R;Infantino, MG
从传播心理学的角度来看，反讽不仅是一种修辞手法或一种狡猾的语言手段，而且是一种灵活的意义协商以及建立和维持与他人关系的明确策略。在“反讽家族”现象中，我们的注意力集中在冲突背景下产生的讽刺性反讽（“责备加赞扬”）和合作背景下产生的善意反讽（“赞扬加责备”）。研究了语境线索的可变性对反讽声音变量（Fo、能量、时间）的影响。通过对冲突或合作语境中标准短语的声音特征的分析，发现了由讽刺性的声音特征组成的讽刺主导模式，尽管两种讽刺表达存在差异。通过逐个分析，得出四种反讽模式：（1）在合作语境中（a）音调较高且多变、能量较强（“戏谑”的喜悦），以及（b）音调低沉而单调，能量较强（温柔的强调标志）； (2) 在冲突情境中，发现 (a) 音调非常高且多变，能量强劲，发音速度缓慢（“带口音的玩笑”），以及 (b) 音调低且变化不大，发音速度缓慢，能量稳定柔和（如轻蔑和冷漠的愤怒）。按照这四种声音模式，讽刺的声音可以被定义为“戏谑的声音”。这样一来，反讽就作为一种用来操纵间接言语分量的方法出现了，它让言语的功效和沉默的纯真得以发挥。而且，讽刺家可谓是一位能干的导演自己的形象，能够玩弄声音。事实上，在社会关系中，他可以用自己的声音来战略性地调整他在他人面前隐藏自己的方式。
From a communication psychology point of view, irony is not only a rhetorical figure or a cunning linguistic device, but also an articulated strategy for a flexible negotiation of meaning, as well as for establishing and maintaining relations with others. Within the "irony family" phenomena our attention is focused on the sarcastic irony generated in a conflict context ("praise by blame") and on the kind irony produced in a cooperation context ("blame by praise"). The effects of the variability of contextual cues on the vocal variables (Fo, energy, time) of irony were studied. Through the analysis of the vocal features of standard phrases in a conflict or cooperation context, an ironic dominant pattern has been found consisting of caricatured vocal traits, although differences referring to the two ironic expressions came out. From a subject-by-subject analysis, four ironic patterns were obtained: (1) in the cooperation context (a) a rather high and changeable pitch and strong energy ("bantering" joy) were observed, as well as (b) a low and monotone pitch and strong energy (emphatic mark of tenderness); (2) in the conflict context (a) a very high and changeable pitch, strong energy, and slow rate of articulation ("accented banter") were found, as well as (b) a low and not very changeable pitch, slow rate of articulation, and steadily soft energy (like scorn and cold anger). Following these four vocal patterns, the ironic voice could be defined as a "voice of banter." In such a way, irony appears as a method used to manipulate the weight of indirect speech, which allows the efficacy of the word and the innocence of silence. Moreover, the ironist can be described as an able director of his own image, able to play with the voice. Within social relationships, in fact, he can use his own voice for calibrating strategically his ways of (un) masking himself to the others.