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5 Case Study 1 - Leicester Research Archive - University of Leicester

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ACTIVE LANGUAGE ROLE REFLECTIVE<br />

A game <strong>of</strong> sports commentary sports reporting a history <strong>of</strong><br />

sport sport<br />

Figure 39 Continuum <strong>of</strong> language roles 346<br />

Ravelli argues that putting these two dimensions together enables us to make<br />

sense <strong>of</strong> different modes <strong>of</strong> language, independent <strong>of</strong> their medium. 347 In the<br />

context <strong>of</strong> the case study, looking at these two dimensions shows that: The press<br />

release lists a number <strong>of</strong> facts about the subjects and objects <strong>of</strong> the exhibition.<br />

Not only is much more information “squeezed in” the relatively short paragraph,<br />

more importantly is how differently the information is articulated. Whereas the<br />

press release lists the pieces <strong>of</strong> information one after the other, the podcast, the<br />

spoken mode, delivers the content in the shape <strong>of</strong> questions, thus, simulates a<br />

conversation. Neither the press release nor the podcast can actually receive<br />

immediate feedback from the reader/listener. However, the way RF phrases<br />

questions simulate a conversational tone that invites more feedback in<br />

comparison to the press release.<br />

The podcast is also more active compared to the press release. The way RF talks,<br />

invites the listener to view the work and to engage with it. On the enhanced video<br />

podcast, the listener can in fact see images <strong>of</strong> the work, so language is<br />

accompanying the social process and theoretically the listener could continue<br />

his/her engagement with the work without the commentary. Even more so if the<br />

listener is actually in the gallery in front <strong>of</strong> the work. The press release on the<br />

other hand, provides such detailed descriptions <strong>of</strong> the work that the journalist<br />

(the imaginary audience) could theoretically write something about the show<br />

without having seen it.<br />

346 Ibid., p.52.<br />

347 Ibid.<br />

225

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