'Don't stop': re-thinking the function of endings in narrative television

This thesis argues that the study of narrative television has been limited by an adherence to accepted and commonplace conceptions of endings as derived from literary theory, particularly a preoccupation with the terminus of the text as the ultimate site of cohesion, structure, and meaning. Such common conceptions of endings, this thesis argues, are largely incompatible with the realities of television’s production and reception, and as a result the study of endings in television needs to be re-thought to pay attention to the specificities of the medium. In this regard, this thesis proposes a model of intra-narrative endings, islands of cohesion, structure, and meaning located within television texts, as a possible solution to the problem of endings in television. These intra-narrative endings maintain the functionality of traditional endings, whilst also allowing for the specificities of television as a narrative medium. The first two chapters set out the theoretical groundwork, first by exploring the essential characteristics of narrative television (serialisation, fragmentation, duration, repetition, and accumulation), then by exploring the unique relationship between narrative television and the forces of contingency. These chapters also introduce the concept of intra-narrative endings as a possible solution to the problems of television’s narrative structure, and the medium’s relationship to contingency. Following on from this my three case studies examine forms of television which have either been traditionally defined as particularly resistant to closure (soap opera and the US sitcom) or which have received little analysis in terms of their narrative structure (sports coverage). Each of these case studies provides contextual material on these televisual forms, situating them in terms of their narrative structure, before moving on to analyse them in terms of my concept of intra-narrative endings. In the case of soap opera, the chapter focusses on the death of the long running character Pat Butcher in the British soap EastEnders (BBC, 1985-), while my chapter on the US sitcom focusses on the varying levels of closure that can be located within the US sitcom, using Friends (NBC, 1993-2004) as a particular example. Finally, my chapter on sports coverage analyses the BBC’s coverage of the 2012 London Olympics, and focusses on the narratives surrounding cyclists Chris Hoy and Victoria Pendleton. Each of these case studies identifies their chosen events as intra-narrative endings within larger, ongoing texts, and analyses the various ways in which they operate within those wider texts. This thesis is intended to make a contribution to the emerging field of endings studies within television by shifting the understanding of endings away from a dominant literary model which overwhelmingly focusses on the terminus of the text, to a more televisually specific model which pays attention to the particular contexts of the medium’s production and reception.

Russian social networks on the web: cohesion and coherence in Vkontakte

In this thesis connections between messages on the public wall of the Russian social network Vkontakte are analysed and classified. A total of 1818 messages from three different Vkontakte groups were collected and analysed according to a new framework based on Halliday and Hasan’s (1976) research into cohesion and Simmons’s (1981) adaptation of their classification for Russian. The two categories of textuality, cohesion and coherence, describe the linguistic connections between messages. The main aim was to find out how far the traditional categories of cohesion are applicable to an online social network including written text as well as multimedia-files. In addition to linguistic cohesion the pragmatic and topic coherence between Vkontakte messages was also analysed. The analysis of pragmatic coherence classifies the messages with acts according to their pragmatic function in relation to surrounding messages. Topic coherence analyses the content of the messages, describes where a topic begins, changes or is abandoned. Linguistic cohesion, topic coherence and pragmatic coherence enable three different types of connections between messages and these together form a coherent communication on the message wall. The cohesion devices identified by Halliday and Hasan and Simmons were found to occur in these texts, but additional devices were also identified: these are multimodal, graphical and grammatical cohesion.