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題名 雙向共情：電視節目主持人與閱聽人同理心傳播研究
Bidirectional Empathy: Research On the Empathic Communication Relationship Between Hosts and Audiences of TV Programs作者 吳煌
Wu, Huang貢獻者 黃葳威
Huang, Wei-Wei
吳煌
Wu, Huang關鍵詞 同理心傳播
電視節目主持人
閱聽人
擬社會互動
對象感
Empathic communication
TV program hosts
Audiences
Parasocial interaction
Perception of audiences日期 2023 上傳時間 1-Dec-2023 10:41:43 (UTC+8) 摘要 數位匯流時代的傳受關係正發生巨變，面對掌握了更多傳播話語權的閱聽人，電視節目主持人以傳統媒體時代的傳播模式制作節目顯然已經不能吸引閱聽人的關注。有鑑於此，本研究以電視節目主持人與閱聽人為研究對象，在跨學科的理論視野與現象學的研究取徑中，透過對日常生活實踐的觀察，分析閱聽人對主持人的擬社會互動與主持人對閱聽人的對象感建立的傳播圖景。 閱聽人在透過擬社會互動建構電視節目主持人形象時，出現了對主持人個體形象與主持人群體形象建構的差異：在情感同理心的驅動下，閱聽人的擬社會互動以感性式、情境式、滲透式、對抗式為主，發展出多元化特徵；在認知同理心的影響下，閱聽人的擬社會互動多呈現建言式的形象建構。繼而在對擬社會互動的反思中發現，數位匯流極大轉變了閱聽人擬社會互動的形式、樣態與內涵。 電視節目主持人對閱聽人的對象感建立貫穿節目制作全程，主持人是閱聽人與節目之間的溝通者、調和者，更是閱聽人的發聲者、引導者，他們主要以擬態、情境、具身、實景的方式建立對象感，並會接收到來自行業內部、父母朋友與媒介平台的閱聽人反饋。在檢視對象感與同理心傳播時，發現同理心傳播的生成路徑、立場站位與追求的效果都明顯優於對象感，可見同理心傳播能夠助力電視節目主持人建立對象感。電視節目主持人不僅要對閱聽人日常生活所處的文化脈絡有所把握，還要適時進入同理心傳播的情感脈絡表現真我，更要回歸主持人自身與傳播當下的社會脈絡完成口語傳播。 研究發現，電視節目主持人在口語傳播中運用的同理心與閱聽人的內心感受接近時，閱聽人會依此產生對主持人的同理心，二者之間雙向情感互動的基礎來源於日常生活的體驗與感受，而在數位匯流空間形成的影響也會反身作用於他們的日常生活。電視節目主持人與閱聽人同理心傳播圖景的理想狀態是：二者的傳播互動透過同理心在數位匯流空間中精准定位，在建立共通意義空間的基礎上，由同理心傳播的引導共同走進空間相逢，在此達成雙向共情。
The digital convergence era is witnessing a profound transformation in communication dynamics. Faced with audiences who wield greater discourse authority, traditional TV program hosts employing communication models from the era of traditional media production are evidently struggling to capture audience attention. In light of this, this research focuses on the relationship between TV program hosts and their audiences. Employing an interdisciplinary theoretical framework and a phenomenological research approach, this study conducts observational analysis of daily life practices to elucidate the communicative landscape involving audiences' parasocial interactions with hosts and the establishment of hosts' perceptions of their audiences. When audiences form impressions of TV program hosts through parasocial interaction, a distinction emerges between individual host images and host group images. Driven by affective empathy, audiences predominantly engage in emotional, situational, immersive, and confrontational simulated interactions, resulting in a diverse range of characteristics. Conversely, under the influence of cognitive empathy, audiences tend to construct advisory-style images. Subsequently, upon reflection on parasocial interaction, it becomes apparent that digital convergence has profoundly transformed the forms, patterns, and content of audiences' parasocial interactions. The establishment of hosts' perceptions of their audiences permeates the entire process of program production. Hosts serve as communicators and mediators between audiences and the program, acting as advocates and guides for the audiences. They primarily construct perceptions of their audiences through mimicry, situational engagement, embodiment, and real-life scenarios. Furthermore, hosts receive feedback from within the industry, friends, family, and media platforms. Empathic communication, with its clear pathways, stances, and desired outcomes, significantly enhances the perception of audiences. TV program hosts not only comprehend the cultural context of their audiences' daily lives but also immerse themselves in the emotional context of empathic communication, reflecting their authentic selves and aligning with societal norms. When hosts employ empathy in their speech communication and align with the inner emotional experiences of their audiences, audiences reciprocate with empathy. The foundation for this bidirectional emotional interaction lies in the experiences and feelings of everyday life, with influences from the digital convergence space that reciprocally impact their daily lives. The ideal scenario for empathic communication between TV program hosts and audiences involves their communicative interaction being precisely positioned within the digital convergence space. 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國立政治大學
傳播學院博士班
108463510資料來源 http://thesis.lib.nccu.edu.tw/record/#G0108463510 資料類型 thesis dc.contributor.advisor 黃葳威 zh_TW dc.contributor.advisor Huang, Wei-Wei en_US dc.contributor.author (Authors) 吳煌 zh_TW dc.contributor.author (Authors) Wu, Huang en_US dc.creator (作者) 吳煌 zh_TW dc.creator (作者) Wu, Huang en_US dc.date (日期) 2023 en_US dc.date.accessioned 1-Dec-2023 10:41:43 (UTC+8) - dc.date.available 1-Dec-2023 10:41:43 (UTC+8) - dc.date.issued (上傳時間) 1-Dec-2023 10:41:43 (UTC+8) - dc.identifier (Other Identifiers) G0108463510 en_US dc.identifier.uri (URI) https://nccur.lib.nccu.edu.tw/handle/140.119/148488 - dc.description (描述) 博士 zh_TW dc.description (描述) 國立政治大學 zh_TW dc.description (描述) 傳播學院博士班 zh_TW dc.description (描述) 108463510 zh_TW dc.description.abstract (摘要) 數位匯流時代的傳受關係正發生巨變，面對掌握了更多傳播話語權的閱聽人，電視節目主持人以傳統媒體時代的傳播模式制作節目顯然已經不能吸引閱聽人的關注。有鑑於此，本研究以電視節目主持人與閱聽人為研究對象，在跨學科的理論視野與現象學的研究取徑中，透過對日常生活實踐的觀察，分析閱聽人對主持人的擬社會互動與主持人對閱聽人的對象感建立的傳播圖景。 閱聽人在透過擬社會互動建構電視節目主持人形象時，出現了對主持人個體形象與主持人群體形象建構的差異：在情感同理心的驅動下，閱聽人的擬社會互動以感性式、情境式、滲透式、對抗式為主，發展出多元化特徵；在認知同理心的影響下，閱聽人的擬社會互動多呈現建言式的形象建構。繼而在對擬社會互動的反思中發現，數位匯流極大轉變了閱聽人擬社會互動的形式、樣態與內涵。 電視節目主持人對閱聽人的對象感建立貫穿節目制作全程，主持人是閱聽人與節目之間的溝通者、調和者，更是閱聽人的發聲者、引導者，他們主要以擬態、情境、具身、實景的方式建立對象感，並會接收到來自行業內部、父母朋友與媒介平台的閱聽人反饋。在檢視對象感與同理心傳播時，發現同理心傳播的生成路徑、立場站位與追求的效果都明顯優於對象感，可見同理心傳播能夠助力電視節目主持人建立對象感。電視節目主持人不僅要對閱聽人日常生活所處的文化脈絡有所把握，還要適時進入同理心傳播的情感脈絡表現真我，更要回歸主持人自身與傳播當下的社會脈絡完成口語傳播。 研究發現，電視節目主持人在口語傳播中運用的同理心與閱聽人的內心感受接近時，閱聽人會依此產生對主持人的同理心，二者之間雙向情感互動的基礎來源於日常生活的體驗與感受，而在數位匯流空間形成的影響也會反身作用於他們的日常生活。電視節目主持人與閱聽人同理心傳播圖景的理想狀態是：二者的傳播互動透過同理心在數位匯流空間中精准定位，在建立共通意義空間的基礎上，由同理心傳播的引導共同走進空間相逢，在此達成雙向共情。 zh_TW dc.description.abstract (摘要) The digital convergence era is witnessing a profound transformation in communication dynamics. Faced with audiences who wield greater discourse authority, traditional TV program hosts employing communication models from the era of traditional media production are evidently struggling to capture audience attention. In light of this, this research focuses on the relationship between TV program hosts and their audiences. Employing an interdisciplinary theoretical framework and a phenomenological research approach, this study conducts observational analysis of daily life practices to elucidate the communicative landscape involving audiences' parasocial interactions with hosts and the establishment of hosts' perceptions of their audiences. When audiences form impressions of TV program hosts through parasocial interaction, a distinction emerges between individual host images and host group images. Driven by affective empathy, audiences predominantly engage in emotional, situational, immersive, and confrontational simulated interactions, resulting in a diverse range of characteristics. Conversely, under the influence of cognitive empathy, audiences tend to construct advisory-style images. Subsequently, upon reflection on parasocial interaction, it becomes apparent that digital convergence has profoundly transformed the forms, patterns, and content of audiences' parasocial interactions. The establishment of hosts' perceptions of their audiences permeates the entire process of program production. Hosts serve as communicators and mediators between audiences and the program, acting as advocates and guides for the audiences. They primarily construct perceptions of their audiences through mimicry, situational engagement, embodiment, and real-life scenarios. Furthermore, hosts receive feedback from within the industry, friends, family, and media platforms. Empathic communication, with its clear pathways, stances, and desired outcomes, significantly enhances the perception of audiences. TV program hosts not only comprehend the cultural context of their audiences' daily lives but also immerse themselves in the emotional context of empathic communication, reflecting their authentic selves and aligning with societal norms. When hosts employ empathy in their speech communication and align with the inner emotional experiences of their audiences, audiences reciprocate with empathy. The foundation for this bidirectional emotional interaction lies in the experiences and feelings of everyday life, with influences from the digital convergence space that reciprocally impact their daily lives. The ideal scenario for empathic communication between TV program hosts and audiences involves their communicative interaction being precisely positioned within the digital convergence space. Building upon a shared meaning space, they jointly navigate this space through guided empathic communication, thereby achieving bidirectional empathy. en_US dc.description.tableofcontents 第一章 緒論 1 第一節 研究背景 3 第二節 研究動機、目的與問題 7 第三節 研究範圍與名詞釋義 14 第二章 文獻探討 17 第一節 從共情到共情傳播的理論脈絡 17 第二節 擬社會互動的理論圖景 40 第三節 對象感的理論反思 45 第四節 小結：現象學取徑與跨學科實踐 51 第三章研究設計與執行 61 第一節 研究架構 61 第二節 研究對象 63 第三節 研究方法 65 第四節 資料整理 72 第四章 和而不同的閱聽人 81 第一節 閱聽人對主持人個體的問答詞頻分析 81 第二節 閱聽人對主持人個體的形象建構 108 第三節 閱聽人對主持人群體的問答詞頻分析 126 第四節 閱聽人對主持人群體的形象建構 137 第五節 同理心傳播與閱聽人的擬社會互動 149 第五章 革故鼎新的電視節目主持人 162 第一節 節目前制中的閱聽人「在場」 162 第二節 節目呈現時的對象感建立 177 第三節 節目播出後的閱聽人反饋 188 第四節 從對象感到同理心傳播 196 第六章 結論 209 第一節 研究發現與討論 213 第二節 研究限制與未來建議 229 參考文獻 232 附錄一 有關主持人評價的知乎問答 269 附錄二 訪談大綱 274 附錄三 受訪者資料 275 附錄四 訪談同意書 276 zh_TW dc.format.extent 6525923 bytes - dc.format.mimetype application/pdf - dc.source.uri (資料來源) http://thesis.lib.nccu.edu.tw/record/#G0108463510 en_US dc.subject (關鍵詞) 同理心傳播 zh_TW dc.subject (關鍵詞) 電視節目主持人 zh_TW dc.subject (關鍵詞) 閱聽人 zh_TW dc.subject (關鍵詞) 擬社會互動 zh_TW dc.subject (關鍵詞) 對象感 zh_TW dc.subject (關鍵詞) Empathic communication en_US dc.subject (關鍵詞) TV program hosts en_US dc.subject (關鍵詞) Audiences en_US dc.subject (關鍵詞) Parasocial interaction en_US dc.subject (關鍵詞) Perception of audiences en_US dc.title (題名) 雙向共情：電視節目主持人與閱聽人同理心傳播研究 zh_TW dc.title (題名) Bidirectional Empathy: Research On the Empathic Communication Relationship Between Hosts and Audiences of TV Programs en_US dc.type (資料類型) thesis en_US dc.relation.reference (參考文獻) 丁大侃（2017）。〈淺析電視新聞播音對象感缺失原因及培養方法〉，《新聞研究導刊》，8(12)：108-109。doi:CNKI:SUN:XWDK.0.2017-12-069 丁鳳琴、陸朝暉（2016）。〈共情與親社會行為關係的元分析〉，《心理科學進展》，24(08)：1159-1174。doi:CNKI:SUN:XLXD.0.2016-08-003 丁韜文、劉朝霞（2020）。〈融媒時代主持人的自我座標、身分認同與角色超越——以中央廣播電視總臺2019主持人大賽為例〉，《當代電視》，07：97-100。 卜衛（1997）。〈試論內容分析法〉，《國際新聞界》，04：55-68。 于江（2009）。〈播音員與主持人的區別〉，《青年記者》，29：56-57。doi:CNKI:SUN:QNJZ.0.2009-29-047 于涓、李奕萱（2022）。〈主流媒體融合轉型中的共情傳播實踐〉，《青年記者》，14：77-79。doi:10.15997/j.cnki.qnjz.2022.14.035 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