{"id":{"repo_id":"vilnius","oai_identifier":"oai:vu.lt:elaba:210586114"},"canonical_url":"https://search.dev.ndltd.org/etd/vilnius/oai:vu.lt:elaba:210586114","repository":{"repo_id":"vilnius","name":"Vilnius University","base_url":"https://epublications.vu.lt/oai"},"display":{"title":"“Oh, fair enough!” appraisal analysis of eurovision song contest commentary /","abstract":"This study analyses the British commentary of the Eurovision Song Contest of different time periods in terms of gender, aspects of evaluation and Appraisal analysis. The research used the Appraisal framework developed by Martin & White (2005). The aims of this study are to find out which gender gets more praise or criticism, as well as which criteria are the focus of the commentator’s evaluation. The study also explores the commentary using systems of Attitude and Graduation within Appraisal theory. Attitude splits into Appreciation, Judgement, and Affect. The results show that commentary of both time periods had differing results across praise/criticism as well as criteria. Commentary of the past showcases gender bias by praising male artists more frequently and focusing on female appearance. Contemporary commentary had an equal distribution of praise/criticism as well as a focus on the artist and their performance. Lastly, Appraisal analysis has shown high usage of Appreciation, followed by Judgement and Affect being the least used attitude.","abstract_html":"This study analyses the British commentary of the Eurovision Song Contest of different time periods in terms of gender, aspects of evaluation and Appraisal analysis. The research used the Appraisal framework developed by Martin & White (2005). The aims of this study are to find out which gender gets more praise or criticism, as well as which criteria are the focus of the commentator’s evaluation. The study also explores the commentary using systems of Attitude and Graduation within Appraisal theory. Attitude splits into Appreciation, Judgement, and Affect. The results show that commentary of both time periods had differing results across praise/criticism as well as criteria. Commentary of the past showcases gender bias by praising male artists more frequently and focusing on female appearance. Contemporary commentary had an equal distribution of praise/criticism as well as a focus on the artist and their performance. Lastly, Appraisal analysis has shown high usage of Appreciation, followed by Judgement and Affect being the least used attitude.","abstract_has_math":false,"creators":["Kuklis, Diana,"],"institution":"Institutional Repository of Vilnius University","degree_name":null,"degree_level":null,"degree_discipline":null,"degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":2024,"date_issued":"2024","date_published":"2024","updated_at":"2026-07-24T05:55:52Z","subjects":["Eurovision Song Contest, commentary, Appraisal theory, gender, praise, criticism, Eurovizijos dainų konkursas, komentavimas, vertinimo teorija, lytis, pagyros, kritika"],"languages":["eng"],"rights":["info:eu-repo/semantics/openAccess"],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://repository.vu.lt/VU:ELABAETD210586114&prefLang=en_US","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Kuklis, Diana,"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"dc:date","label":"Dc Date","values":["2024"]},{"key":"dc:publisher","label":"Institution","values":["Institutional Repository of Vilnius University"]},{"key":"dc:relation","label":"Dc Relation","values":["https://epublications.vu.lt/object/elaba:210586114/210586114.pdf"]},{"key":"dc:type","label":"Dc Type","values":["info:eu-repo/semantics/bachelorThesis"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Eurovision Song Contest, commentary, Appraisal theory, gender, praise, criticism, Eurovizijos dainų konkursas, komentavimas, vertinimo teorija, lytis, pagyros, kritika"]}]},{"id":"language_rights","label":"Language and Rights","entries":[{"key":"dc:language","label":"Dc Language","values":["eng"]},{"key":"dc:rights","label":"Dc Rights","values":["info:eu-repo/semantics/openAccess"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://repository.vu.lt/VU:ELABAETD210586114&prefLang=en_US"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description","label":"Description","values":["This study analyses the British commentary of the Eurovision Song Contest of different time periods in terms of gender, aspects of evaluation and Appraisal analysis. The research used the Appraisal framework developed by Martin & White (2005). The aims of this study are to find out which gender gets more praise or criticism, as well as which criteria are the focus of the commentator’s evaluation. The study also explores the commentary using systems of Attitude and Graduation within Appraisal theory. Attitude splits into Appreciation, Judgement, and Affect. The results show that commentary of both time periods had differing results across praise/criticism as well as criteria. Commentary of the past showcases gender bias by praising male artists more frequently and focusing on female appearance. Contemporary commentary had an equal distribution of praise/criticism as well as a focus on the artist and their performance. Lastly, Appraisal analysis has shown high usage of Appreciation, followed by Judgement and Affect being the least used attitude."]},{"key":"dc:format","label":"Dc Format","values":["application/pdf"]},{"key":"dc:title","label":"Title","values":["“Oh, fair enough!” appraisal analysis of eurovision song contest commentary /","„Oh, fair enough! (O, visai neblogai!)“ Eurovizijos dainų konkurso komentarų vertinimo analizė."]}]}],"canonical_facts":{"dc:creator":["Kuklis, Diana,"],"dc:date":["2024"],"dc:description":["This study analyses the British commentary of the Eurovision Song Contest of different time periods in terms of gender, aspects of evaluation and Appraisal analysis. The research used the Appraisal framework developed by Martin & White (2005). The aims of this study are to find out which gender gets more praise or criticism, as well as which criteria are the focus of the commentator’s evaluation. The study also explores the commentary using systems of Attitude and Graduation within Appraisal theory. Attitude splits into Appreciation, Judgement, and Affect. The results show that commentary of both time periods had differing results across praise/criticism as well as criteria. Commentary of the past showcases gender bias by praising male artists more frequently and focusing on female appearance. Contemporary commentary had an equal distribution of praise/criticism as well as a focus on the artist and their performance. Lastly, Appraisal analysis has shown high usage of Appreciation, followed by Judgement and Affect being the least used attitude."],"dc:format":["application/pdf"],"dc:identifier":["https://repository.vu.lt/VU:ELABAETD210586114&prefLang=en_US"],"dc:language":["eng"],"dc:publisher":["Institutional Repository of Vilnius University"],"dc:relation":["https://epublications.vu.lt/object/elaba:210586114/210586114.pdf"],"dc:rights":["info:eu-repo/semantics/openAccess"],"dc:subject":["Eurovision Song Contest, commentary, Appraisal theory, gender, praise, criticism, Eurovizijos dainų konkursas, komentavimas, vertinimo teorija, lytis, pagyros, kritika"],"dc:title":["“Oh, fair enough!” appraisal analysis of eurovision song contest commentary /","„Oh, fair enough! (O, visai neblogai!)“ Eurovizijos dainų konkurso komentarų vertinimo analizė."],"dc:type":["info:eu-repo/semantics/bachelorThesis"]},"updated_at":"2026-07-24T05:55:52Z"}