Approaching A Forensic Text
Approaching A Forensic Text
Approaching A Forensic Text
Text Analysis
There are many contrastive points that can be made here. Keep these points in your mind while
analyzing a text.
Schemas:
A schema is a cognitive framework or concept that helps organize and interpret information. Schemas
can be useful because they allow us to take shortcuts in interpreting the vast amount of information that is
available in our environment.
However, these mental frameworks also cause us to exclude pertinent information to focus instead
only on things that confirm our pre-existing beliefs and ideas. Schemas can contribute to stereotypes and
make it difficult to retain new information that does not conform to our established ideas about the world.
This is a powerful set of concepts for analyzing the interpretative processes that are activated when
audiences respond to speakers and to drama in particular. It also takes us one step further in our
consideration of how real courtroom interactions are encountered by an audience in a similar way. In
open court the interaction is ‘played’ to a public audience and then, through journalistic reporting,
transmitted to a wider public audience.
Participants in court are to greater and lesser degrees aware of this wider audience, but are
nonetheless aware of the more immediate audience and their presentation to them. There is therefore a
degree of staging and drama even in the non-dramatic text.
Quantitative Observations:
We can compare the texts statistically in terms of the number of words uttered by each speaker over a
comparable number of turns. This is useful in analyzing the proportion of talk allotted to each speaker and
the length of turns. We can also take a look on difference in terms of the amount of talk.
Speech Acts:
A speech act in philosophy of language and linguistics is something expressed by an individual that
not only presents information, but performs an action as well. A speech act is an utterance that serves a
function in communication. We perform speech acts when we offer an apology, greeting, request,
complaint, invitation, compliment, or refusal.
In general, speech acts are acts of communication. To communicate is to express a certain attitude,
and the type of speech act being performed corresponds to the type of attitude being expressed. For
example, a statement expresses a belief, a request expresses a desire, and an apology expresses a regret.
As an act of communication, a speech act succeeds if the audience identifies, in accordance with the
speaker's intention, the attitude being expressed.
Types of Speech Acts:
There are various kinds of speech acts, yet the following, classified by John Searle, have received
particular attention:
Representatives: commit a speaker to the truth of an expressed proposition.
Paradigm cases: asserting, stating, concluding, boasting, describing, suggesting.
o I am a great singer.
Directives: are used by a speaker who attempts to get the addressee to carry out an action.
Paradigm cases: requesting, advising, commanding, challenging, inviting, daring, entreating.
o You'd better tidy up that mess.
o Sit down.
o I resign.
‘Genre’ can be defined simply: conventional, repeated and distinctive features of text that arise from its
communicative purpose. Another way is to say that a text is an example of a particular genre. We are all
familiar with the major fictional genres and their structures and interpretation. We can readily name them:
novel, play, poem, film, and also their subgenres, such as horror film, romantic comedy or science fiction,
and we know that in a romantic comedy a boy will meet a girl, fall in and out of love, struggle against
obstacles placed in the path of true love, but we also know that everything will get sorted out in the end.
However, when it comes to professional and spoken genres, naming and definition is much more difficult.
So, although genres are stable entities, that are repeated and understood through conventions and
regularities that are consistent across texts, they do not occur in identical form in each textual realization.
In the early stages of writing scientific reports we may not have realized why we were writing down
information under headings such as equipment, method and results; we had to learn the role each of these
sections plays in the whole job of communicating the purpose and nature of the experiment and the
results. We learned that while a list might be appropriate in the equipment section, a sequence of
declarative sentences with past tense verbs in logical steps is the typical way of constructing the method
section. Genres are therefore domain specific; they have lexico-grammatical features associated with
them; they have specific stages, often named and usually sequenced that contribute to a structural whole;
while each stage has a purpose in the text as a whole, some of them may be optional, as, for example,
diagrams and pictures in the scientific report genre.
Martin (1992) describes some fictional and factual macro-genres that exist in society: report, procedure,
exposition, narrative, recount, but Gibbons also points out that in texts ‘deeper’ genre patterns
‘may underlie more formalized and rigid “surface” genres that are used for specific social purposes’.
Gibbons talks about the police interview genre as having a number of stages, and notes that the genre has
within it an ‘underlying narrative structure’, while Hoffer makes a distinction between three phases of the
trial and the principal genres found there: procedural genres such as jury selection, the calling and
swearing-in of witnesses; adversarial genres such as opening statements, witness examinations, closing
argument and adjudicative genres such as a judge’s summation and sentencing.
Generic knowledge is knowledge of what texts and their constituents do, or, it, knowledge that involves
the use of ‘interpretive frameworks’. Lawyers were able to activate this knowledge to gloss this
‘incomprehensible’ clause and explain that it ‘is inserted at the beginning of many such contracts to cover
the contingencies of the parties moving to another state where the law is different’.
Familiarity with these genres is therefore an advantage to professional speakers and forensic analysts, as:
Knowledge that makes sense of the text … includes, in addition to textual knowledge, the awareness
and understanding of the shared practices of professional and discourse communities (Swales 1990)
and their choice of genres in order to perform their everyday tasks.
Legal contexts:
The study of context is vital to the understanding and interpretation of legal texts and forensic linguistic
analysis. It is the focus of renewed and recent research among anthropologists and linguists as well as
having a history in the twentieth century, particularly in Hymes’ (1974) ‘speech situation’, ‘social
situation’, ‘contextualization cues’, ‘context of situation’.
Hymes’ (1972) notion of the speech community, a ‘community sharing rules for the conduct and
interpretation of speech, and rules for the interpretation of at least one linguistic variety’ is important,
because these rules and norms generate some of the distinctive ways of speaking: the register generic
features of openings and closings, norms for interruption and politeness and so on.
Conclusion:
Legal genres, their styles and modes of interaction and the social practices, roles and participant
relationships that they produce, constitute complex inter- relationships between text and context. Legal
genres are the way they are because of the communicative practices that they employ and the functions
that they serve in legal and world contexts. Police statements and courtroom discourse are rich in spatial
and temporal expressions, because of the work they do in situating the talk. If we want to fully account
for what the language is doing or what the speaker is doing through use of language, we have to take
account of the context of use and the linguistic choices that are made.