‘Where have you been hiding this voice?’: Judges’ compliments on the TV talent show Arab Idol
FathiMigdadi,Muhammad A.Badarneh and AreejQudaisat
Jordan University of Science and Technology
Abstract
This study explores compliments given by judges to contestants on the TV talent show Arab Idol. A
total of 120 comments from the third season 2014–2015 were analyzed for compliment types, structures, lexicon, and supportive
remarks. Spenser-Oatey’s (2000, 2002, 2005a, 2005b, 2008) rapport management theory was employed to determine how judges managed rapport with contestants
through compliments. The analysis shows that the majority of judges’ compliments on the show were explicit
compliments that were based on three syntactic patterns and four types of positive semantic carriers conveying
complimenting adjectives, verbs, nouns, and adverbs. A smaller category of implicit compliments involved such
strategies as comparison/contrast, rhetoricalquestions, and
praising contestant’s country. Both categories were typically qualified by supportive or weakening elements
such as repetition, encouragement, and criticism, resulting in a third category
of ‘macro-compliments’. The study shows that rapport management accounts to a large extent for the judges’
complimenting behavior.
Since 2000, the reality television (RTV) genre has attracted the attention of many researchers, especially in academic
fields such as media, cultural studies, philosophy, and ethics (Collins 2009). The aim of
these studies is not to provide a text-level linguistic analysis, although some of them examine ‘language’ issues in a
macro-analytical sense. However, research on essential linguistic issues in RTV programs has recently flourished, focusing on
participants’ verbal behavior and interactive discourse (Culpeper 2005; Coyne et al. 2010; Culpeper and Holmes 2013).
Impoliteness has been an essential theme in the current literature (Culpeper and Holmes
2013; Garcés-Conejos Blitvich et al. 2013; Lorenzo-Dus et al. 2013; Migdadi et al. 2013) due to the attention it attracts
from the audience (Lin 2020).
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