Phraseology and oral discourse in the TV series
La que se avecina
Fraseología y discurso oral en la serie
La que se avecina
doxa.comunicación |
nº 36, pp. 145-162
| 145
January-June of 2023
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Galloso Camacho, M. V. and Martín Márquez, E. (2023). Phraseology and oral discourse in the TV series
La que se avecina
.
Doxa Comunicación
,
36, pp. 145-162.
https://doi.org/10.31921/doxacom.n36a1717
María Victoria Galloso Camacho.
PhD in Spanish from the University of Salamanca and Senior Lecturer at the University
of Huelva. She is part of the research group
Estudios Lingüísticos: Diacronía/Sincronía
(HUM-1029) (HUM-1029) and
of the
Centro de Investigación en Pensamiento Contemporáneo e Innovación para el Desarrollo Social (COIDESO).
Her
lines of Research include social semiotics: linguistic & literary; pragma-linguistics & communication; linguistic identity;
language & gender. She directs numerous under-graduate, Master’s and Doctoral thesis in these elds. Some of her more
recent publications are dedicated to ‘balcony communication’, persuasion from the image of actresses, the linguistic
landscape of migration and immaterial linguistic-cultural patrimony.
University of Huelva, Spain
[email protected]
ORCID: 0000-0002-1555-7528
Elena Martín Márquez
. Researcher in the eld of Spanish at the University of Huelva. She is a collaborator and
researcher with the research group
Estudios Lingüísticos: Diacronía/ Sincronía (HUM-1029)
in the philology department
of the University of Huelva. Her doctoral research deals with Pragma-linguistics and Audio-Visual Communication,
specically the new conception of pragmatemes in ction series. She has conducted other studies in the eld, more
focused on American Spanish. She is part of the team working on the University of Huelva’s pre-call project on the
transfer of knowledge and innovation, currently awaiting conferment.
University of Huelva, Spain
[email protected]
ORCID: 0000-0002-3848-4368
Abstract
:
Television series exert considerable inuence on their consumers,
especially as regards linguistic and identity stereotypes. is paper
studies the phraseology in the ction series
La que se avecina
, which
is currently on air and has a large number of viewers. Apart from a
theoretical framework, the concept of pragmatemes has been used,
which refers to phraseological linguistic expressions, use of which is
restricted by particular extralinguistic situations. e analysis of this
eective and common element of communication through television
series involves identifying the communication model currently utilised
Resumen:
Las series televisivas ejercen una inuencia signicativa en sus consu
-
midores, especialmente en lo que atañe a estereotipos lingüísticos y, por
lo tanto, identitarios. Este trabajo estudia la fraseología en la cción
seriada La que se avecina, actualmente en emisión y que cuenta con
un considerable número de seguidores. Para ello, además de un marco
teórico, se ha partido del concepto de pragmatema, que hace referencia
a las expresiones lingüísticas fraseológicas que están restringidas por
situaciones extralingüísticas particulares en su uso. El análisis de este
ecaz y común elemento de comunicación a través del entorno seriado
Received: 09/06/2022 - Accepted: 27/07/2022 - Early access: 22/09/2022 - Published: 01/01/2023
Recibido: 09/06/2022 - Aceptado: 27/07/2022 - En edición: 22/09/2022 - Publicado: 01/01/2023
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Phraseology and oral discourse in the TV series
La que se avecina
ISSN: 1696-019X / e-ISSN: 2386-3978
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1. Introduction
Modern television oers many dierent forms of entertainment: game shows, reality TV, documentaries, and ction
productions. ere is great variety of genres among these latter, and considerable mixing between pure genres. From amongst
these ction formats, we are going to analyse the phraseology of some of the characters from
La que se avecina
. e action
in shows of this type revolves around established characters, dierent situations arising around them in each episode. e
story begins and ends in each programme. Daring though it may seem, the series has been compared to or thought of as an
adaptation of the Ibáñez comic,
La gran aventura de Mortadelo y Filemón
(made into a lm by director Javier Fesser in 2003):
the indebted neighbour, the shmonger (though he prefers to be called a wholesaler), the hair-dresser, the bar or the estate
agency. Linguistically, we would have to analyse such expressions as:
sapristi!, su padre!
or
ande y váyase a tomar el viento
a la farola!
from the point of view of phraseology or pragmalingusitics. It is hardly surprising that readers of Ibáñez’s work
have inherited in their form of speech a series of phrases which originated in the numerous volumes of the special agents’
adventures. Certain expressions read in the Mortadelo & Filemón strips have been branded into their readers’ memories and
are used when they nd themselves in similar situations. One of the most eective is
servidor de usted y picapedrero
, which
Mortadelo says when acting under orders and thumping the bad guy. e image below contains the expression
Rayos, me está
bien por bajar a por un duro para pipas
(Billy el Horrendo), normally used when he (Billy) has put his foot in it:
by the medium and its consumers’ behaviour. Methodologically, we
have strived to look at the type of set phrases or particular pragmatemes
employed by dierent characters in the series which have entered the
receivers’ colloquial speech. A Google online survey was posted on the
social media platforms Twitter, Instagram, Facebook and WhatsApp to
ensure that the results are anonymous, spontaneous and immediate.
e results show that these linguistic elements have been established
in Spanish society’s colloquial language.
Keywords:
La que se avecina
; phraseology; pragmateme; ction series; television.
televisivo supone reconocer el modelo de comunicación empleado por
este medio en la actualidad y el comportamiento de sus consumido
-
res. Metodológicamente, tratamos de averiguar qué tipo de frases he
-
chas o pragmatemas particulares de distintos personajes de la misma
se han establecido en la lengua coloquial de los receptores a partir de
una encuesta online de Google publicada en las redes sociales Twitter,
Instagram, Facebook y WhatsApp, de manera que los resultados obte
-
nidos pudieran ser anónimos, espontáneos e inmediatos. Los resultados
concluyen en que estos elementos lingüísticos se han establecido en la
lengua coloquial de nuestra sociedad.
Palabras clave:
La que se avecina; fraseología; pragmatema; series de cción; televisión.
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January-June of 2023
María Victoria Galloso Camacho and Elena Martín Márquez
ISSN: 1696-019X / e-ISSN: 2386-3978
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Image 1. Phraseological example of a panel from
Mortadelo y Filemón
Source: El rincón de Mortadelón. Frases heredadas
1.1. Fiction series, phraseology & pragmatemes
Utilising a linguistic and communicative analysis of ction series as popular as
La que se avecina,
this work is born from
observation of how language denes the society in which it is created due to the signicant inuence that television series have
on their viewers, particularly with regard to linguistic and identity stereotypes. It is for this reason that we were interested in
studying the phraseology of this particular series.
Numerous studies have sought to explain from a theoretical perspective what phraseology is. However, there are very few in
which this discipline is studied in a practical way. at is to say, few have looked into how phrasemes that appear in books,
television series, radio programs, etc., are later reected in the language of their audience. One such study is that of Tinoco
Pérez (2020), in which the pragmatemes of two works of ction are analysed: Star Wars and Harry Potter, and where it is
pointed out that:
In digital communication, especially on television, there is an extraordinary profusion of pragmatematic elements destined to
sublimate the everyday to stupefying extremes, to ask too much of the viewer’s evocative, representative ability, so that they reect
in their language a world full of these catchy pieces, each of which contains a story. ings happen in those stories –these are
minimal narratives– but their vitality comes from those who consume them (Tinoco Perez, 2020: 47).
us, the pragmatemes or phrasemes depend on the utilisation people assign them, that is, in the moment that users cease
utilising a set phrase, it vanishes from society’s collective vocabulary. If communication does not function, although the phrase
remains as a residual for some speakers, it will no longer be used. It could be said that, in the case of
La que se avecina,
its
pragmatemes are currently commonly used and can be found at all levels of society, and therefore possess great vitality. It is
safe to arm that when the series ceases to be broadcasted viewers will stop employing these pragmatemes in favour of others
in their lexicon deriving from a new fashionable TV series.
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Phraseology and oral discourse in the TV series
La que se avecina
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Although the Royal Spanish Academy dictionary states that phraseology is ‘a set of established phrases, gurative locutions,
metaphors and set comparisons, idioms and sayings, existing in a language, and utilised by individuals or some groups’,
one of the diculties facing researchers into phraseology is the diversity of proposed classications of phraseological units
(Corpas Pastor, 1996; Wotjak & Wotjak, 2014). is study is based on the proposal set out by Corpas (1996: 20), who denes
phraseological units as:
Lexical units made up of more than two graphical words and which may include the whole of a compound sentence. Such
units are characterised by their frequent usage, and the coappearance of their integral elements; by their institutionalisation,
understood in terms of their semantic specialisation and setting; by their idiomaticity and potential variations; as well as by
the degree in which all these aspects appear in the dierent types.
In line with this denition, a series of common linguistic characteristics can be observed such as being a polylexical unit, a
certain degree of axation, extended use that encourages its inclusion in a community of speakers’ cultural heritage and a
swift identication by native speakers. is proposal also oers the following classication for phraseological units:
Figure 1. Classication of phraseological units (Corpas Pastor, 1996: 50-52)
U
nidades léxicas formadas por más de dos palabras gráficas en su límite inferior, cuyo límite
superior se sitúa en el nivel de la oración compuesta. Dichas unidades se caracterizan por su alta
frecuencia de uso, y de coaparición de sus elementos integrantes; por su instituanalización,
entendida en términos de fijación y especialización semántica; por su idiomaticidad y variación
potenciales; así como por el grado en el cual se dan todos estos aspectos en los distintos
tipos.
De
acuerdo
con
esta
definición,
se
observan
una
serie
de
características lingüísticas
comunes como el hecho de ser una unidad poliléxica, cierto grado de fijación,
un
uso
extendido
que
fomenta
su
inclusión
en
el
acervo
cultural
de
una comunidad
de
hablantes
y
una
identificación
rápida
por
parte
de
los
hablantes
nativos
. Esta propuesta también
ofrece la siguiente clasificación para las unidades
fraseológicas:
Figura 1. Clasificación de las unidades fraseológicas (Corpas Pastor, 1996: 50
-52)
Fuente:
Manual de fraseología española
, Madrid, Gredos, 1996.
De esta manera, se presenta una clasificación basada en la combinación del acto de habla
con el de fijación, ya sea en la norma, en el sistema o en el habla. En primer lugar, se
presentan aquellas unidades que equivalen a
sintagmas
y
necesitan
otros
elementos
lingüísticos
para
combinarse,
en
una
primera
esfera
con
una fijación a nivel de norma las
colocaciones, y en la segunda esfera con una fijación a nivel de sistema las locuciones.
En el lado opuesto, se clasifican aquellas unida
des
que
sí
constituyen
un
acto
de
habla
en
sí
y
que
están
asociadas
al
acervo
so
ciocultural de una comunidad, es decir, los
enunciados fra
seológicos.
Martínez López propone una definición que se ajusta de forma sobresaliente a la teoría
de este
artículo
, en tanto implica al emisor y al receptor, a la forma del mensaje y al
contexto. Es la definición más apropiada de este tipo de unidades en los medios
televisivos:
La unidad fraseológica adquiere un nivel global capaz de adaptarse a determinadas circunstancias
o hechos típicos, producto de la interacción social de una comunidad. Esta expresión es captada
por la citada comunidad, que la hace suya, pues es capaz de expresar complejas ideas con una
estructura simple y de fácil memorización. (Martínez López. 1996: 30)
Es en este contexto en el que se considera el concepto de pragmatema, que hace referencia
a
las expresiones lingüísticas fraseológicas que están restringidas por situaciones
extralingüísticas particulares en su uso. Se trata de unos de los últimos frasemas que han
pasado a formar parte de la tipología propuesta por Mel’čuk en el seno de la Teorí
a
Sentido-
Texto (Ovejas Martín, 2021).
El resultado de este trabajo de campo realizado a partir
del
análisis de los pragmatemas
de esta serie de televisión, y la posterior encuesta, nos lleva a afirmar la importancia que
este aspecto (la fraseología, las fórmulas giros y expresiones hechas) puede llegar a tener
Source:
Manual de fraseología española
, Madrid, Gredos, 1996
us, a classication is presented based on the combination of the speech act with that of axation, be it in the norm, in the
system or in speech. Firstly, those units are presented that are equivalent to syntagmas and require other linguistic elements
in combination, collocations appearing in a rst sphere with axation as a norm, and in the second sphere we nd locutions
with xation as a system. On the other side, we nd those units that in themselves constitute a speech act and are associated
with the sociocultural heritage of a community, that is, phraseological statements.
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Martínez López propounds a denition which sits perfectly with the theory of this paper, as it involves both the sender and the
recipient, both the message’s form and context. It is the most appropriate denition of this class of units in televisual media:
e phraseological unit acquires a global level capable of adaptation to certain circumstances or typical facts, as a result of
the social interaction in a community. is expression is caught by the community, which adopts it, as it adequately expresses
complex ideas within a simple, easily memorised structure. (Martínez López. 1996: 30)
It is within this context that the concept of a pragmateme is considered, with reference to those phraseological linguistic
expressions which are limited in their usage by particular extra-linguistic situations. ese are some of the latest phrasemes
proposed by Mel’čuk at the core of Meaning-Text eory (Ovejas Martín, 2021).
e result of this eld work conducted by an analysis of the pragmatemes in this television series, and the later survey, leads
us to state the importance that this aspect (the phraseology, formulas, twists and set phrases) may attain in viewers’ oral
communication. Furthermore, though it is true that phraseological units present display high levels of axation, they are
also subject to variation (Legallois, 2013; Mogorrón Huerta, 2020; Penadés Martínez, 2022), adapting to the times and to the
personal and social circumstances of their users. It should be borne in mind that the series was rst broadcast on the 22
nd
of
Abril, 2007, and has been on for 15 years, as we detail below.
1.2. e linguistic success of ction series. e sitcom ‘La que se avecina’
Fictional series have invaded contemporary culture since television entered the home and established themselves as a part
of the daily rituals of family life, entertainment and access to information. As López Gutiérrez and Nicolás Gavilán (2015: 23)
put it:
Since the 50s, television series have been builders of symbolic universes for the articulation of social values, perspectives on
life and the aspirations of several generations to mirror the qualities of the characters. Changes in television series have been a
process subject not only to the growth in audiences or the medium’s technical possibilities, but to the gradual development of
viewers’ communicative competences, as they have assimilated styles, aesthetics, complex plots and characters who respond to
diverse socio-historical situations.
e success of television series is partly due to their day-to-day subject matter and also to the linguistic irony and humour used
to deal with the events by which the content is portrayed. In them, the construction of dialogues imitating spontaneous oral
discourse is fundamental to catching the viewer’s interest. In fact, analysis of the format strives to reproduce the great situational
variety found in spontaneous oral language. We nd in TV series a sample of an orality moulded on real speech: it goes from
‘parlato-recitato’ to ‘recitato naturale’ (Melloni, 2004) through the actor’s free interpretation or through improvised segments,
especially when lming before a live audience who actively participate with applause and laughter. is representation of
everyday speech is useful for the audience to have the illusion of watching a scene from real life, with real, credible, and
productive dialogue, employing formal linguistic elements of identication by the audience, such as pragmatemes or set
phrases, built on purpose to seduce the audience by reducing their distance from the actors. Mapelli (2016: 16-17) describes
how:
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La que se avecina
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In particular, we nd in situation comedies most of the resources of spoken language, such as, for example, a reduced lexicon,
coarse words, marginal slang, vocatives, conversation markers idioms…., and, even, those mechanisms that grant discourse its
discontinuity (hesitation, stammering, reformulations, unnished sentences …) typical of the improvisation of spontaneous
speech and which are often omitted in other genres of audio-visual ction, such as lms.
However, it must be pointed out that, in order to produce this comical-humorous eect, the main goal of the series, numerous
intensifying procedures are employed. Axes and quantiers are particularly common when wishing to arm the opposite,
metaphors, similes, hyperbole and puns, and especially, catchphrases (or pragmatemes) which serve to dene each character
and by which the audience recognizes them linguistically and socially. ese pragmatemes help the audience to identify with
this parallel reality created for their entertainment, satirically imitating the real world, and are turned into conversational
strategies to reinforce the relationship with the audience, who have to activate their pragmatic capacity to understand the
message and, later, use it in their daily life.
La que se avecina
shows the life of the neighbours living in Mirador de Montepinar, a “high class” apartment building on the
outskirts of Madrid. e series was created by the Caballero siblings (Alberto and Laura) in 2007 and has maintained a high
audience share, which has kept it on the small screen, ever since. ere have been 13 seasons, with a xed group of characters
since the beginning, such as those played by the actors: Jordi Sánchez (Antonio Recio), Pablo Chiapella (Amador Rivas), Eva
Isanta (Maite Figueroa), José Luis Gil (Enrique Pastor), Nacho Guerreros (Coque), or Nathalie Seseña (Berta Escobar). ere
are other characters who appear sporadically, who do not usually have as much inuence on viewers.
e series is a situation comedy. As mentioned above, just as television consumption has increased, so has that of series.
According to Padilla & Requeijo (2010: 189) sit coms are the cheapest genre to produce. e authors explain that the genre is so
successful due to “speaking to the society of now and, despite being ction, being the genre closest to reality”.
Situation comedies have a beginning and an end, that is, each episode is self-contained. A problem is presented at the
beginning and solved by the end. is means that the characters always behave the same in the dierent situations. erefore,
we know that they will utilise the same lines, making it very easy for the viewer to learn a specic phrase. For example, in
La
que se avecina
, one can see that each time one of the characters enters the bar, located in the building, everyone greets him/
her saying: Eh!, usually continuing with the phrase: caña, aquí! As pointed out by Padilla & Requeijo (2010: 199), the important
thing in these comedies is the dialogues, as the places and sets are always the same.
Mapelli (2016: 2) considers it fundamental to study this type of series from a linguistic point of view. One nds in these comedies
what has been termed “prefabricated orality”, that is, these ctions try to reproduce the spontaneity of colloquial conversation
despite being part of a written script. Furthermore, Mapelli (2016: 2) recognises that the language utilised in these series is of
great importance and explains it thus: “Many of the characters’ expressions become clichés that characterise them and enter
common usage, creating a continuous transfer of spontaneous language to the series and from the series to daily speech”.
Mapelli also recognises that the communicative context of sit coms favours the use of a colloquial register, given that the
characters in these series are usually neighbours, friends, etc., and have often lived shared experiences or enjoy sucient
familiarity to foster a friendly and relaxed atmosphere. is favours the colloquial register in conversation.
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Moreover, conversation is face to face, allowing for there not being predetermined turns, but that it is cooperative, and the
actors can improvise or introduce elements typical of spontaneity, such as gestures, ller words or set phrases, which is the
part that most interests us. In this way, the characters’ lines are far more plausible and closer to the viewers’ reality, viewers
who in some cases can see themselves reected and on whom, at the end of the day, the series’ success depends.
1.3. Television series & socio-linguistic inuence on consumers
Consumption of television series has seen a considerable increase in recent times. e pandemic has meant we have spent
more time at home, and this has led to greater use of, not only television, but new technologies and social networks in general.
Many of us are subscribers to digital platforms. ese platforms give the viewer the option of choosing what they want to
watch, when they want to.
A study carried out by the consultants Barlovento Comunicación on television viewing during the rst wave of Coronavirus
reveals that records have been broken. In March and April, during the rst lockdown, consumption rose by 40 %, and have
remained high. As López Gutiérrez & Nicolás Gavilán indicated, TV series have never ceased to change, just as their characters
and storylines have. ey have adapted to current events. e result is what they term “series-audience pairing”.
“Series-audience pairing has been in constant ux. Characters and situations adapt to their times: fashions, ways of thinking,
topics change. e conuence of audio-visual and written discursive structures, such as lm, literature, theatre, journalism, shape
the narrative and aesthetic possibilities of series that are living a boom at the moment, favoured by the viewing options oered by
dierent formats (López Gutiérrez & Nicolás Gavilán, 2016: 24)
It is clear therefore that the public identify with the characters in television series. ese recreate daily life, in ways which
audiences can see themselves reected in. Furthermore, we should not forget that each TV programme and series is aimed at
a specic audience, that is, these stories are created for a particular population group.
Adolescents are the most vulnerable group, as indicated by Abad & Fernández (2016) in their article about adolescent
consumption of television series, as they are building their identity. Anything they see on the screen may aect their behaviour,
their way of thinking, their personality, etc. As Slater, Rouner & Igartua put it: “Numerous studies have shown a direct
relationship between viewers’ identication with characters in TV ction and the series’ inuence over them in emotional,
cognitive or behavourial terms, especially among younger viewers”. (Slater & Rouner, 2002; Igartua, 2010. Tomado de Abad &
Fernández, 2016: 132). In a similar tone, we nd very recent studies such as that of García Vega, De la Fuente Prieto & Martínez-
Borda (2022: 144) which says:
e way ction series are consumed is undergoing a transformation which places importance on the interaction between
viewers and the various narrative elements. is transition is mainly determined by the audience’s new consumption habits,
inuenced by social networks and the value they ascribe to participation with content and other viewers.
e relationships established between people and the characters can be highly varied. Abad & Fernández (2016: 135) highlight
three: emotional empathy, behavioural empathy and cognitive empathy. ey cite Cohen (2001), who also considers para-
social interaction and anity to be essential relationships. In addition, they cite Ruiz, Conde & Torres (2005), who think that
one of the features that the young take into consideration when choosing their favourite character is physical attractiveness.
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And, nally, Lacalle (2012) believes that identication takes place based more on character than age, greater interest being
aroused by the more rebellious and ambivalent.
However, young people are also interested in characters’ language in ction series, such as that in
La que se avecina
. It is
impossible not to accept that the language in series, that we see so often, changes our way of speaking. Nevertheless, one
should never forget that the characters’ lines are no more than the fruit of a scriptwriter’s imagination. at is, the actor utilises
vocabulary created exclusively for a character, while the recipients of the discourse take in part of it and employ it in their day-
to-day, normally without stopping to think about what the phrase they are using so frequently really means.
Mapelli (2016: 2) considers that the dialogues in television series are a clear example of recited orality, that is, it is not
spontaneous, as it is part of a script. However, introduced within these dialogues are elements typical of colloquial conversation.
erefore, consider that:
Language in series is so important that it leaves a legacy: many expressions which characters turn into clichés that characterise
their way of speaking and pass into common language, creating an ongoing transfer of spontaneous language to the series and
from these into daily speech.
As a result of this, it can be observed how youth and popular slang are modied. We are referring here to colloquial, not to
formal speech.
La que se avecina
is a clear example of this, being one of the TV ction series considered by linguistic studies such as that of
Luque Nadal (2021: 97), who states that “the language utilised in the series, whose characters and typical phrases have spilled
out of the screen in many cases, and are now, to a considerable degree, part of many Spanish speakers’ cultural heritage”.
In order to demonstrate that TV series inuence the speech of both the young and middle aged, a brief survey has been carried
out. Section 4 explains what this consisted of, and the results achieved.
2. Objectives
e chief objective of this study is to nd out how some phraseological constructions from the series
La que se avecina
(and
identication with some of its characters) interact with a part of society to the point that these formulas are imitated. In other
words, what type of catch phrase or pragmateme particular to certain characters in the series have established themselves in
recipients’ colloquial language.
To reach the objective, specic goals have been determined:
1. Identify the characters who generate most interest among viewers of the series.
2. Identify the socially best-known pragmatemes used by these characters.
3. Research and demonstrate the real introduction of said linguistic structures by consumers.
3. Method
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e methodology applied in this study is based on an analysis of the pragmatemes of some of the most popular characters
in the series
La que se avecina
, in order to determine the existence or not of the desired objectives. We have taken as our
initial reference Ovejas Martín’s (2021) denition of pragmatemes, although they are not classied, bearing in mind that, once
determined, they are so interiorised in our televisual culture that they are directly transmitted, and their classication would
call for deep and detailed analysis.
Furthermore, a socio-mediatic and demographic survey model has been utilised to study the oral discursive use of some of the
most popular phrases from the series. e sample is non-probabilistic and does not attempt to guarantee the representativeness
of a population group, but chiey to look into the phenomenon and to demonstrate the objectives proposed. To this end, we
conducted a Google online questionnaire
1
posted on Twitter, Instagram, Facebook and WhatsApp. e responses to the survey
were immediate, in only 48 hours 352 were received. e questionnaire opened on April 7th at 14:21. And closed on April 9th
at the same time.
Having gathered the information through the surveys, we proceeded to select the most widely-recognised pragmatemes and
to the interpretation and analysis of each of the questions in light of the analytical categories described in the conceptual
framework.
4. Results & discussion
e questionnaire is made up of thirteen questions. e rst three correspond to participants’ socio-linguistic proles while
the following two refer to television consumption. Moreover, participants were asked if they had ever seen the series. And,
from there, they were asked if they knew to which character the phrase in question corresponded and which was their favourite
character. Furthermore, they had to relate some phrases from the series with the character who said them, and, nally, they
were asked if they had ever utilised any of these phrases, and if so, to write them.
ree pragmatemes were chosen, corresponding to three characters.
-
e rst pragmateme es
mmm… ¡Merengue, merengue!
Spoken by the character Amador Rivas, played by Pablo Chiapella.
s character is known to be a “freeloader”, that is, he does not like to work and lives o a monthly alimony from his ex-wife,
Maite Figueroa. He is obsessed with sex, hence, the phrase selected. Another of the character’s typical phrases is:
salami,
salami
, again referring to the same subject. In fact, in some episodes he calls himself
Capitán Salami.
(is alter-ego is a
kind of super-hero with erotic connotations. At rst, Amador uses this Identity as a super-hero to work in a strip club, also
using
salami, salami
with the same connotation).
-
e second pragmateme is
Estás muy negativo… ¡Me minas la moral!
used by the character Antonio Recio, portrayed by
Jordi Sánchez. is character is homophobic and xenophobic. He is the proprietor of “Mariscos Recio” a samll company
selling sh and seafood. Perhaps one of his best-known phrases is:
Antonio Recio. Mayorista no limpio pescado
. e
character utilises the rst phrase to tell someone their attitude is “driving him mad”.
1
https://docs.google.com/forms/d/e/1FAIpQLSemUb0Cf_8I8-xarG7saToLIpMKp_1hQACDkar_VM0vvK7kIw/viewform?usp=sf_link
<p>[Enlace de URL / hc (has AS)]</p>
154
| nº 36, pp. 145-162 |
January-June of 2023
Phraseology and oral discourse in the TV series
La que se avecina
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
-
Finally, the third pragmateme is
Me caigo muerta
belonging to Maite Figueroa, played by Eva Isanta. In early seasons, the
character was married to Amador Rivas, and was referred to as “Cuqui”. She later broke up with her husband, and became
rich from the sales of a book, which she was supposed to have written, though in reality, the authoress was Chusa, the
cleaner. With the money made she recovered custody of her children and pays a monthly sum to Amador. She is cold,
easily inuenced by her friends (neighbours as well). She is also a sophisticated woman, who always tries to keep up
appearances. In the case of the expression used by Maite, we could say that it is synonymous with ‘I’m stunned’.
Having described each of these characters and fundamentally, the meaning of each of their best-known phrases, it can be
seen that each of them employs a very dierent way of expressing themselves orally, based on their social role, their mindset
and the objectives that the series wishes to achieve in terms of marketing. But especially, what is apparent in the series is that,
despite being ction, it is an ironic imitation of the reality on the streets, which is what really hooks the audience, us, these
set phrases or pragmatemes gure again and again over the seasons, given that they guarantee its success.
We now turn to explaining the most important results provided by the survey. e rst question asked the participants their
age, with the following results:
Graph 1. Age
ϱй
ϭϭй
ϱϮй
ϭϯй
ϯϭ͕ϵй
ϴй
Ϯй
ϭϮͲϭϳ
ϭϴͲϮϬ
ϮϭͲϮϵ
ϯϬͲϯϵ
ϰϬͲϰϵ
ϱϬͲϱϵ
ϲϬ Ž ŵĄƐ
Source: created by the authors
e majority are between 21 and 29 years of age, 183 people. However, there is representation of all age groups, which
considerably enriches the results. e series is not recommended for viewers under the age of 12, therefore, lower age groups
have not been included in the questionnaire.
e second question concerned gender:
doxa.comunicación |
nº 36, pp. 145-162
|
January-June of 2023
María Victoria Galloso Camacho and Elena Martín Márquez
ISSN: 1696-019X / e-ISSN: 2386-3978
155
Graph 2. Gender
Graph
2. G
ender
Source: created by the authors
The graph shows a majority of women (265), with fewer men
(84).
There were a total of
3 people who did not identify as either of the two genders.
This
result
could lead to
thinking that perhaps the most popular characters would be the female ones, due to
affinity with this group
,
however, it can be seen that this is not so. Gender does not
condition
the choice of a character.
The
t
hird and last question related to
participants
’ socio
-
linguistic profile concerned their
level of studies:
Graph
3. Level of studies
Source: created by the authors
Most
participants
are university graduates (203). This group is closely followed by those
with
secondary
studies
(108).
Therefore
, those with primary education or no education
make up a very small part of the sample. It is important to underline this
factor
, as it could
be thought that those with a higher educational level would not
incorpora
te set phrases or
expressions from TV series to their language, these phrases at times being coarse or
vulgar
. However, it can be seen that this is not so.
Questions four and five are analysed together as they have points in common. These two
questions first ask participants how many hours a day they spend watc
h
ing television,
within the
parameters
provided
, and secondly, if their TV viewing had increased during
the confinement caused by
Covid-
19.
ϳϱй
Ϯϰй
ϭй
Woman
DĂŶ
KƚŚĞƌ
Ϯй
ϭϬй
ϯϭй
ϱϳй
No studies
PrimarySecondaryUniversity
Source: created by the authors
e graph shows a majority of women (265), with fewer men (84). ere were a total of 3 people who did not identify as either
of the two genders. is result could lead to thinking that perhaps the most popular characters would be the female ones, due
to anity with this group, however, it can be seen that this is not so. Gender does not condition the choice of a character.
e third and last question related to participants’ socio-linguistic prole concerned their level of studies:
Graph 3. Level of studies
Graph
2. G
ender
Source: created by the authors
The graph shows a majority of women (265), with fewer men
(84).
There were a total of
3 people who did not identify as either of the two genders.
This
result
could lead to
thinking that perhaps the most popular characters would be the female ones, due to
affinity with this group
,
however, it can be seen that this is not so. Gender does not
condition
the choice of a character.
The
t
hird and last question related to
participants
’ socio
-
linguistic profile concerned their
level of studies:
Graph
3. Level of studies
Source: created by the authors
Most
participants
are university graduates (203). This group is closely followed by those
with
secondary
studies
(108).
Therefore
, those with primary education or no education
make up a very small part of the sample. It is important to underline this
factor
, as it could
be thought that those with a higher educational level would not
incorpora
te set phrases or
expressions from TV series to their language, these phrases at times being coarse or
vulgar
. However, it can be seen that this is not so.
Questions four and five are analysed together as they have points in common. These two
questions first ask participants how many hours a day they spend watc
h
ing television,
within the
parameters
provided
, and secondly, if their TV viewing had increased during
the confinement caused by
Covid-
19.
ϳϱй
Ϯϰй
ϭй
Woman
DĂŶKƚŚĞƌ
Ϯй
ϭϬй
ϯϭй
ϱϳй
No studies
Primary
Secondary
University
Source: created by the authors
Most participants are university graduates (203). is group is closely followed by those with secondary studies (108). erefore,
those with primary education or no education make up a very small part of the sample. It is important to underline this factor,
as it could be thought that those with a higher educational level would not incorporate set phrases or expressions from TV
series to their language, these phrases at times being coarse or vulgar. However, it can be seen that this is not so.
156
| nº 36, pp. 145-162 |
January-June of 2023
Phraseology and oral discourse in the TV series
La que se avecina
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
Questions four and ve are analysed together as they have points in common. ese two questions rst ask participants how
many hours a day they spend watching television, within the parameters provided, and secondly, if their TV viewing had
increased during the connement caused by Covid-19.
Graph 4. Time spent watching television
Graph
4. Time spent watching
television
Source: created by the authors
Graph
5. Do you spend longer watching
television?
Source: created by the authors
135
of the participants answered that they watched TV for an hour and a half per day. 134
stated that they watch television for over two hours a day. These two groups make up
76% of the sample.
Only
15 % said they do not watch TV and 9 % watch it for more than
four hours.
They were asked if their TV watching had increased during lockdown so as to
corrobora
te
the above
informatio
n. That is
,
section two of this paper stated that during lockdown the
Spanish had increased the time dedicated to watching TV, and the data confirms this. 76%
(217) of participants
confirm
ed an increase in the time spent watching television; as
opposed
to
24
%
who
respond
ed that they had
not
spent longer, or that the time had
remained the same.
The following refers to the questions dealing directly with
the
series
La que se avecina
.
The first question from this group asked how many of the participants had ever seen the
series
, as it was not a requirement of the survey to have seen the programme. Thusly we
checked whether, although they had not seen the series, they recognized the characters’
typical phrases.
Furthermore
, it could also be seen how these
phrases
are more common in our language
than may have been thought. The results were as follows:
ϯϴй
ϯϴй
ϵй
ϭϱй
Ϭϭ͘ϯϬ Ś
KǀĞƌ Ϯ Ś
KǀĞƌ ϰŚ
"ŽĞƐŶΖƚ ǁĂƚĐŚ
ϲϮй
ϭϵй
ϭϵй
YesNo
No change
Source: created by the authors
Graph 5. Do you spend longer watching television?
Graph
4. Time spent watching
television
Source: created by the authors
Graph
5. Do you spend longer watching
television?
Source: created by the authors
135
of the participants answered that they watched TV for an hour and a half per day. 134
stated that they watch television for over two hours a day. These two groups make up
76% of the sample.
Only
15 % said they do not watch TV and 9 % watch it for more than
four hours.
They were asked if their TV watching had increased during lockdown so as to
corrobora
te
the above
informatio
n. That is
,
section two of this paper stated that during lockdown the
Spanish had increased the time dedicated to watching TV, and the data confirms this. 76%
(217) of participants
confirm
ed an increase in the time spent watching television; as
opposed
to
24
%
who
respond
ed that they had
not
spent longer, or that the time had
remained the same.
The following refers to the questions dealing directly with
the
series
La que se avecina
.
The first question from this group asked how many of the participants had ever seen the
series
, as it was not a requirement of the survey to have seen the programme. Thusly we
checked whether, although they had not seen the series, they recognized the characters’
typical phrases.
Furthermore
, it could also be seen how these
phrases
are more common in our language
than may have been thought. The results were as follows:
ϯϴй
ϯϴй
ϵй
ϭϱй
Ϭϭ͘ϯϬ ŚKǀĞƌ Ϯ ŚKǀĞƌ ϰŚ"ŽĞƐŶΖƚ ǁĂƚĐŚ
ϲϮй
ϭϵй
ϭϵй
Yes
No
No change
Source: created by the authors
135 of the participants answered that they watched TV for an hour and a half per day. 134 stated that they watch television for
over two hours a day. ese two groups make up 76% of the sample. Only 15 % said they do not watch TV and 9 % watch it for
more than four hours.
ey were asked if their TV watching had increased during lockdown so as to corroborate the above information. at is,
section two of this paper stated that during lockdown the Spanish had increased the time dedicated to watching TV, and the
data conrms this. 76% (217) of participants conrmed an increase in the time spent watching television; as opposed to 24%
who responded that they had not spent longer, or that the time had remained the same.
doxa.comunicación |
nº 36, pp. 145-162
|
January-June of 2023
María Victoria Galloso Camacho and Elena Martín Márquez
ISSN: 1696-019X / e-ISSN: 2386-3978
157
e following refers to the questions dealing directly with the series
La que se avecina
.
e rst question from this group asked how many of the participants had ever seen the series, as it was not a requirement of
the survey to have seen the programme. usly we checked whether, although they had not seen the series, they recognized
the characters’ typical phrases.
Furthermore, it could also be seen how these phrases are more common in our language than may have been thought. e
results were as follows:
Graph 6. Have you ever seen the series
La que se avecina
?
Graph
6. Have you ever seen the
series
La que se avecina
?
Source: created by the authors
A large majority, 93% (329), have seen the programme at least once.
Only
7% (23) have
never seen it. Bearing in mind that the participants were not selected, but freely chose to
take part, there are many who have at some time seen the series.
The next three questions ask the interviewees which of the characters the particula
r
pragmatem
e corresponded to.
Graph
7. To whom does the pragmateme
Mmm… ¡Merengue, merengue!
Source: created by the authors
The great majority of participants answered this question correctly. It is
indeed
Amador
Rivas
who employs the phrase.
Therefore
, it can be seen that although there are some
who have not seen the series, they do identify the character with his catch
phrase.
Only
18
participants
did not know to which character the phrase corresponded. Four of them
c
hose an option other than the correct response.
Graph
8. To whom does the pragmateme
Estás muy negativo… ¡Me minas la moral!
Source: created by the authors
ϵϯй
ϳй
Yes
No
Ϯй
ϵϮй
ϭй
ϱй
Antonio Recio
Amador RivasBerta EscobarI don't know
ϯй
ϴй
ϴϰй
ϱй
Javier Maroto
Fermín TrujilloAntonio RecioI don't know
Source: created by the authors
A large majority, 93% (329), have seen the programme at least once. Only 7% (23) have never seen it. Bearing in mind that the
participants were not selected, but freely chose to take part, there are many who have at some time seen the series.
e next three questions ask the interviewees which of the characters the particular pragmateme corresponded to.
Graph 7. To whom does the pragmateme
Mmm… ¡Merengue, merengue!
Graph
6. Have you ever seen the
series
La que se avecina
?
Source: created by the authors
A large majority, 93% (329), have seen the programme at least once.
Only
7% (23) have
never seen it. Bearing in mind that the participants were not selected, but freely chose to
take part, there are many who have at some time seen the series.
The next three questions ask the interviewees which of the characters the particula
r
pragmatem
e corresponded to.
Graph
7. To whom does the pragmateme
Mmm… ¡Merengue, merengue!
Source: created by the authors
The great majority of participants answered this question correctly. It is
indeed
Amador
Rivas
who employs the phrase.
Therefore
, it can be seen that although there are some
who have not seen the series, they do identify the character with his catch
phrase.
Only
18
participants
did not know to which character the phrase corresponded. Four of them
c
hose an option other than the correct response.
Graph
8. To whom does the pragmateme
Estás muy negativo… ¡Me minas la moral!
Source: created by the authors
ϵϯй
ϳй
YesNo
Ϯй
ϵϮй
ϭй
ϱй
Antonio Recio
Amador Rivas
Berta Escobar
I don't know
ϯй
ϴй
ϴϰй
ϱй
Javier Maroto
Fermín TrujilloAntonio RecioI don't know
Source: created by the authors
158
| nº 36, pp. 145-162 |
January-June of 2023
Phraseology and oral discourse in the TV series
La que se avecina
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
e great majority of participants answered this question correctly. It is indeed Amador Rivas who employs the phrase.
erefore, it can be seen that although there are some who have not seen the series, they do identify the character with his
catch phrase. Only 18 participants did not know to which character the phrase corresponded. Four of them chose an option
other than the correct response.
Graph 8. To whom does the pragmateme
Estás muy negativo… ¡Me minas la moral!
Graph
6. Have you ever seen the
series
La que se avecina
?
Source: created by the authors
A large majority, 93% (329), have seen the programme at least once.
Only
7% (23) have
never seen it. Bearing in mind that the participants were not selected, but freely chose to
take part, there are many who have at some time seen the series.
The next three questions ask the interviewees which of the characters the particula
r
pragmatem
e corresponded to.
Graph
7. To whom does the pragmateme
Mmm… ¡Merengue, merengue!
Source: created by the authors
The great majority of participants answered this question correctly. It is
indeed
Amador
Rivas
who employs the phrase.
Therefore
, it can be seen that although there are some
who have not seen the series, they do identify the character with his catch
phrase.
Only
18
participants
did not know to which character the phrase corresponded. Four of them
c
hose an option other than the correct response.
Graph
8. To whom does the pragmateme
Estás muy negativo… ¡Me minas la moral!
Source: created by the authors
ϵϯй
ϳй
Yes
No
Ϯй
ϵϮй
ϭй
ϱй
Antonio Recio
Amador RivasBerta EscobarI don't know
ϯй
ϴй
ϴϰй
ϱй
Javier Maroto
Fermín TrujilloAntonio RecioI don't know
Source: created by the authors
In this case, again there was little doubt about which character to choose. e majority selected the correct option, that of
Antonio Recio. Just 5% of participants said they did not know. 13 % selected the wrong character. erefore, it can be concluded
that although the interviewee did not know which character the phrase belonged to, they did relate it to someone from the
series.
Graph 9. To whom does the pragmateme ¡
Me caigo muerta!
correspond?
In this case, again there was little doubt about which character to choose. The majority
selected the correct option, that of Antonio Recio.
Just
5% of participants said they did
not know. 13 % selected the wrong character.
Therefore,
it can be concluded that although
the interviewee did not know which character the phrase belonged to, they did relate it to
someone from the series.
Graph
9. To whom does the
pragmateme
¡
Me caigo muerta!
correspond?
Source: created by the
authors
Participants were less certain about the last question than the previous ones. 72% chose
the correct answer, corresponding to Maite Figueroa.
However
, 98
interviewees
either
decided that other characters use this phrase or that they were not sure who said it. It can
be concluded that
,
a
s a character is less popular
,
viewers are less certain which phrase
each character corresponds to.
Apart from the quantitative analysis, it is
important
to point out that the degree of
lexicalisatio
n of these
phrases
and their utilisation in
informal
language by a part of
society is very
significant
, as shown by the
existenc
e of web pages that contain these
characters’ most significant phrases
,
what they mean, when they are used, etc. In fact, the
image below
i
s the
result
of writing
“frases míticas de la serie
La que se avecina
”
in the
Google search engine,
where
1,300,
000 results appear in
1.
01 se
conds
, which means that
there are a great number of pages related to the concept.
Figure
9
shows the first five
results.
Figure
9. Results
of
Google
search
Source:
Google
ϭϮй
ϳй
ϳϮй
ϵй
Lola Trujillo
Judith Bécker
Maite Figueroa
I don't know
Source: created by the authors
doxa.comunicación |
nº 36, pp. 145-162
|
January-June of 2023
María Victoria Galloso Camacho and Elena Martín Márquez
ISSN: 1696-019X / e-ISSN: 2386-3978
159
Participants were less certain about the last question than the previous ones. 72% chose the correct answer, corresponding
to Maite Figueroa. However, 98 interviewees either decided that other characters use this phrase or that they were not sure
who said it. It can be concluded that, as a character is less popular, viewers are less certain which phrase each character
corresponds to.
Apart from the quantitative analysis, it is important to point out that the degree of lexicalisation of these phrases and their
utilisation in informal language by a part of society is very signicant, as shown by the existence of web pages that contain
these characters’ most signicant phrases, what they mean, when they are used, etc. In fact, the image below is the result
of writing “frases míticas de la serie
La que se avecina
” in the Google search engine, where 1,300,000 results appear in 1.01
seconds, which means that there are a great number of pages related to the concept. Figure 9 shows the rst ve results.
Figure 9. Results of Google search
In this case, again there was little doubt about which character to choose. The majority
selected the correct option, that of Antonio Recio.
Just
5% of participants said they did
not know. 13 % selected the wrong character.
Therefore,
it can be concluded that although
the interviewee did not know which character the phrase belonged to, they did relate it to
someone from the series.
Graph
9. To whom does the
pragmateme
¡
Me caigo muerta!
correspond?
Source: created by the
authors
Participants were less certain about the last question than the previous ones. 72% chose
the correct answer, corresponding to Maite Figueroa.
However
, 98
interviewees
either
decided that other characters use this phrase or that they were not sure who said it. It can
be concluded that
,
a
s a character is less popular
,
viewers are less certain which phrase
each character corresponds to.
Apart from the quantitative analysis, it is
important
to point out that the degree of
lexicalisatio
n of these
phrases
and their utilisation in
informal
language by a part of
society is very
significant
, as shown by the
existenc
e of web pages that contain these
characters’ most significant phrases
,
what they mean, when they are used, etc. In fact, the
image below
i
s the
result
of writing
“frases míticas de la serie
La que se avecina
”
in the
Google search engine,
where
1,300,
000 results appear in
1.
01 se
conds
, which means that
there are a great number of pages related to the concept.
Figure
9
shows the first five
results.
Figure
9. Results
of
Google
search
Source:
Google
ϭϮй
ϳй
ϳϮй
ϵй
Lola TrujilloJudith BéckerMaite FigueroaI don't know
Source: Google
160
| nº 36, pp. 145-162 |
January-June of 2023
Phraseology and oral discourse in the TV series
La que se avecina
ISSN: 1696-019X / e-ISSN: 2386-3978
doxa.comunicación
5. Conclusion
e set phrases or pragmatemes in the series
La que se avecina
have almost imperceptibly entered into our colloquial language.
e same has been said of comic characters such as Mortadelo & Filemón, or of many more phrasemes which recipients
hear daily on TV or the radio and incorporate into their discourse. Such is the case with the TV programme ¡
Ahora Caigo!,
presented by Valencian Arturo Valls on Antena 3. is daily afternoon show has millions of viewers, and has developed its own
vocabulary, for example, they use of phrases such as:
el euro, el euro…!
pensaba que se había roto el peroné
,
pero no
,
Oh jolín,
has perdido un comodín!
ere has grown little by little a sort of dictionary with the repeated phrases that give personality to
the dierent programmes, which suggests that the use of these pragmatemes is common, like the typical verbal tics in oral
conversations, full of creativity and humour. ey are recognised by society and employed by the consumers of each of these
media products.
Furthermore, the social networks show themselves to be crucial tools in conducting this type of research, as responses are
almost immediate. It is important to note the subjectivity of the results, the number of surveys, the absence of discrimination
by socio-demographic or cultural criteria and the survey format (directed more towards the catch phrases of the male
characters), among other aspects. Nonetheless, this study is intended as an initial work, with other future research planned.
So, we don’t nish this paper with ¡
Campana y… se acabó!
(from Un, dos, tres), but with ¡Hasta luego, Lucas! (catch phrase of
the famous comic Chiquito de la Calzada), ¡Hasta aquí puedo leer! (also from Un, dos, tres) and
at’s all, folks
(Bugs Bunny).
6. Acknowledgements
Our thanks to Brian O’Halloran for the English translation of this paper.
7. Specic contributions made by each author
Name and Surename
Conception and work designMª Victoria Galloso Camacho
Methodology
Mª Victoria Galloso
Camacho
Data collection and analysisElena Martín Márquez
Data collection and analysisMª Victoria Galloso Camacho and Elena Martín Márquez
Drafting, formatting, review, and version approvalMª Victoria Galloso Camacho and Elena Martín Márquez
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