The approach we have adopted in this study is again one that favours a shift in the analysis of televised messages from a strictly linguistic perspective to a wider one, in which the verbal text is not considered on its own but as part of the global communicative “text”. This total text, known as Whole Utterance, or Totext, includes both the verbal and the nonverbal (gestures, postures, etc.) components of communication. A televised Totext is an artefact. It contains totextual units (TU) which are modified as opposed to the natural non-mediated totext. The corpus we have analysed reveals at least four types of modifications which are performed in the production of television programmes: the reduction of some TU; the transformation of originally single-marked TU into double-marked ones; the turning of dialogic TU into a succession of monologic TU; the turning of some monologic TU into dialogic TU, during the editing process of the initial totext. While some of these changes have drawbacks for the viewer/receiver, others result in an increased dynamism of the final totext, which becomes more interesting.
Cuvinte-cheie:
newtelevision, totext, verbal component, nonverbal component, single-marked totextual unit, double-marked totextual unit, monologic totextual unit, dialogic totextual unit
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