Peculiarities Of Italian Football Reportage As A Publicistic Genre

The football reportage in this work is considered from the point of view of the lexical and semantic functioning of its units within the framework of the classical standard construction of the type "introduction - main part - conclusion" in order to identify the national component of the linguistic personality of the Italian commentator.

The introduction of the football reportage is the length of time from direct inclusion to the moment when the actual game begins. The commentator welcomes the viewers, introduces himself, the status of the match, the place of the match, the date and represents the team. These are traditionally well-established forms, which simultaneously allow the commentator to enter this or that important information or personal assessment.

This is how Bruno Pizzul begins his reportage in the final match "Napoli" - "Stuttgart" at the UEFA Cup 1989:

(1) «Buona sera gentili ascoltatori dallo stadio San Paolo di Napoli! Buona sera da Bruno Pizzul. Una straordinaria avventura della squadra napoletana che gioca stasera con la Stoccarda, la finale di Coppa Uefa. 2:1il risultato della match d'andata a San Paolo». (Good evening, dear listeners! Good evening from Naples, the stadium of San Paolo! Bruno Pizzul welcomes you! An unusual adventure of the Neapolitan team, which plays tonight with Stuttgart, in the final of the UEFA Cup. 2:1 is the result of the entry match in San Paolo).

The same Bruno Pizzul in his report of the final match Milan - Barcelona UEFA Champions League on May 18, 1994, in addition to the standard presentation of himself as a commentator and the upcoming match, emotionally figuratively describes what is happening in the stands:

(2) «Lo stadio è stato liberalmente invaso dai tifosi napoletani, giunti da ogni parte d'Italia ma anche da ogni parte dalla Germania, dalla Francia. Veramente un clima di festa. L'immediata vigilia è stata caratterizzata dall'attesa della presenza o meno di Careca, Careca è in campo. Uno spettacolo straordinario nelle tribune con vessilli azzurri dei napoletani che si sono riuniti in particolare sulle curve ma anche un po' dovunque nello stadio». (The stadium was won by the fans of the team "Napoli", who came from different parts of Italy, as well as Germany and France. A real holiday atmosphere. On the eve of the match, everyone was waiting for the presence of football player Kareka, and now Kareka is on the field. An unusual spectacle of azure in the form of a rainbow arc from the stands and across the stadium from fans dressed in blue).

(3) «Nella casacca azzurra il Napoli, nella maglia bianca con linea trasversa le rossa - Stoccarda». (The Napoli team is In blue T-shirts, and Stuttgart is in whiteT-shirts with a red strip).

(4) «Vedete l'arbitro con due capitani: Allgöwer e Maradona per le operazioni preliminari. Vedete le telecamere che soffermano con particolare l'attenzione su Maradona». (You see a judge with two captains: Allgöver and Maradona for preliminary actions. You see TV cameras pay special attention to Maradona).

In the introduction of Bruno Pizzul's football reportage, one can often notice his personal ironic assessment of the opposing team:

(5) «In pratica i colleghi tedeschi dopo aver sempre stigmatizzato il vittimismo degli italiani, hanno a loro volta usato la politica della lacrimuccia della lamentazione nell'evidente tentativo di influentare l'arbitro di questa sera chi è lo spagnolo Sanchez Arminio. Tutto questo per impadrare l'ambiente». (In fact, German colleagues have always branded the victim's behavior of the Italians, and this time they themselves used the "politics of crybaby and sneak" trying to influence the referee's decision, Spaniard Sánchez Arminio. Everything in order to take possession of the situation).

In general, the introductory speech is logical and normative, as can be seen by the syntax of comprehensive and complete sentences. There are enough clear and traditional tropes: straordinaria avventura, spettacolo straordinario, colleghi tedeschi, impadrare l'ambiente, which retained their expressiveness and representativeness in the context. The difference from the neutral mode of expression is, on the one hand, the poetic image of the Italian fans in the form of an azure rainbow passing through the stands, and on the other - the ironic use of an expanded paraphrase with the colloquial model lacrimuccia from the word "tear" in the metaphor lacrimuccia della lamentazione (such as a disparaging "plaintive teardash") concerning "German colleagues".

Commentary of the main part of the match, which includes two periods of 45 minutes, almost does not provide an opportunity for the commentator to use the prepared material or phrases. This is a transfer by the commentator of purely situational and sometimes instant actions. Therefore the main part of the commentary is the most emotional and unpredictable part of the reportage.

Examples from Bruno Pizzul:

(6) «E subito un lancio profondissimo di Sigurvinsson, sorveglia la situazione a Renica e gira. Palla per Maradona!.. Fuori!». (And immediately a distant shot of Sigurvinsson, ... Renica follows the situation ... bypasses the opponent .... The ball of Maradona! ... Out!)

(7) «Gentile,… Conti, contropiede,… siamo in vantaggio,… va in avanti, Conti,.. traversa Altobelli!» (Gentile, ... Conti ... goes on a fast counterattack, ... the advantage is with us, Conti ... comes forward ... crosses Altobelli!)

Commentator Riccardo Cucchi more calmly comments on the game of the Italian player during the UEFA Champions League match on May 18, 1994:

(8) «La palla è del Milan con Donadoni, buono il suo movimento! La combinazione con Messaro tentativo di trangolo lungo, e ancora Donadoni ha fermato la palla laterale. È un buon Milan! È un buon Milan soprattutto direi per la partenza di Donadoni. La fantasia c'è, l'ispirazione la vediamo soprattutto sulle fasce laterali, speriamo che duri». (The ball at Milan, headed by Donadoni, is moving at a good pace! Combination with Messaro is in an attempt of a long pass, and again Donadoni intercepts the side ball. Good Milan! Good, thanks to Donadoni's game. He has fantasy and inspiration, especially we see it on the sidelines. We hope they are for a long time).

(9) And another example: «Al parer mio Peruzzi è stato bravissimo, non ci ha lasciato ingannare, ha fatto un bravissimo passo ed ha ribbattuto con un tiro forte Davids, molto bene!» (In my opinion, Peruzzi is a fine fellow, he did not deceive us, made a wonderful pass and answered Davids with an excellent penalty).

As you can see, in the main part of the reportage, Bruno Pitsull's speech is intermittent, parcellular, emotional, with repeated names of players and adverbs. Repetitions seem to reflect the "heat of passion." Although in general, the main part of the reportage is the factographic segments of the observation of the match.

As for Riccardo Cucchi, this is a classic factographic description of the match, consisting of logically finished segments of speech, with restrained assessments, where we can observe tropes, for example, metonymic "Good Milan"!

The commentary of the final part of the match is characterized by shortness and dynamism. Commentators summarize the results, represent themselves again and say goodbye to the viewers, which does not prevent them from giving their emotional assessment.

(10) For example, Bruno Pizzul at the end of the winning match is very eloquent: «È stata una grande lotta di calcio gentili ascoltatori. E Napoli cosi ottiene la vittoria, una vittoria estremamente sofferta. Speriamo che adesso la vittoria abbia dato un po' di respiro e anche un po' di voce ai giocatori e ai protagonisti in campo. È finita 2:1, cari ascoltatori, grazie allo studio. Infine l'augurio di una serena notte». (It was a great football battle, dear listeners! Thus, Napoli wins the victory, a truly suffered victory. We hope that now the victory will give a breath of air and a bit of a voice to the players and the main heroes on the field. Result is 2:1, dear listeners, thanks to the studio. I wish you good night!)

At the level of syntax, the emotionality of Bruno Pizzul is noticeably normalized: the sentences are all completed, including the exclamation form. On the lexico-semantic level, however, we meet expressive tropes that reflect its specific linguistic personality (metaphors, hyperbolas, epithets): una vittoria estremamente sofferta, una grande lotta di calcio, la vittoria abbia dato un po 'di respiro, etc.