叙述——对话风格Narrating-Conversational Style
Comfortable“Communicators”are what the public wants in both taped and live broadcasting.The challenge to broadcasters is to be able to relax enough in the tense situation to maintain a healthy voice and sound relaxed.In addition，listeners want them to pull out the meaning of the story with their voices.This is a difficult challenge.It demands what I call enlarged conversation.
——Utterback，2000，p.xxii.
Abstract
This section pays attention to the significant effects of the broadcast narrating generating the essence of various social contexts in general and the anchor's delivery orientation in particular to explore the study of Broadcast narratives for soft news in English with cross-cultural encounters.
Rhetoric is presented as an important perspective for social work by focusing on the work of the rhetorician and literary critic Kenneth Burke（1897-1993），specifically on his theory of dramatism.The dramatistic pentad is introduced as an analytical tool to study fictional narratives.
This rhetorical perspective gives social work students the opportunity not only to study fictional narratives，but also to reflect upon their own practice.
Key words：narrative cross-cultural encounters social constructionism social work education
（一）主播的播述意识
Anchor's Awareness to Broadcast Narratives in English
Generally speaking，the narrative turns in the human and social sciences can be related to different but similar trends：a linguistic，cultural，anthropological，ethnographic，rhetorical turn.These turns emphasize the importance of symbols in the construction of reality and more specifically the cultural construction of broadcast meaning both through language and narratives.
2013级“英播”完型EBTV“硬新闻”主播驾驭单播（single headed）（2016年）
From this perspective，according to Brummett（2006）reality as the public spece is created by the symbols broadcast industry uses，in particular the audio structures such as narratives into which the language symbols are arranged and organized based on the loaded meanings in programmes.Specifically，our anchors'presenting effects of broadcast media-products relating to constructive social realities are embedded in the concentration on the connection of language and
narrative.
From a similar perspective，Taylor（2006）applies techniques from narrative and discourse analysis to study reflective practice accounts，which are often used in social work education.From her research clue，we can notice that it is necessary for broadcast media-product makers to utilize this reflexive approach to their visual and audio editing in order to keep a critical awareness of their own material collecting and editing processes and products.With this sharp awareness to the narratives，the essences of the constructed social realities can be maintained based on the principles from sociology，ethnography and literary criticism about the stylistics，and rhetorical properties of communicative practices in the narrating contents.
Hence，it is so clear that the vivid and persuasive broadcast narratives are constructed based on the tight relation between language and programming orientation.The potential of the language use for constructing narratives is dependent on the effective discourse analysis.Despite the fact that broadcast narratives are constructed relying on the social realities，anchors'final presenting results are still full of the dramatic sense and colours.These kinds of presenting results are not generated by our anchors'vocal and emotional exaggeration，it is just the nature of broadcasting audio and visual presentations.
However，it does not mean that the broadcast media-product makers have gotten the rights to overlook or ignore the social facts by using dramatic rhetoric in narratives，because the dramatic sense and colours presented by anchors are not like fictional narratives，and most important，anchors can never present soft news with any sense of fictional narratives.Of course，the editors'occupational competence of using rhetoric is the basic premise.
In short，anchors'awareness of presenting broadcast narratives plays the decisive part in qualities of media-products.Put it in the straight，anchors should not use reciting sense to present the narratives of broadcast soft-news.
（二）主播在软新闻中的语言修辞反应
Anchor'Mood with Rhetoric-responsive in Soft-news
Owing to presenting broadcast soft-news in English with the proper delivery effects，that is，to convey the programme contents to audiences with persuasion，the anchors must put their moods into the vocal deliverying processes.With this startingpoint，it is necessary for the soft-news programme anchors to be clear about how they should treat their emotions when they deliver the vocal narratives.
For reaching the goal of proper treating the moods，the broadcast soft-news programme anchors must combine the effects of story-telling and moving tones to deliver the narratives.According to the research conclusion，the principle of making the broadcast soft-news programmes is related to the theory of constructionism，so the anchors'tones would be always treated with the sense of real social story-telling instead of fictional ones.
This theory emphasizes that“the rhetorical aspects of construction，in that it is partly a process of persuading one's self and others that one's rendering of social reality is more legitimate or credible than any other”（Parton andO'Byrne，2000，pp.16-17，original emphasis）.Relying on this point to link the anchors'delivering moods with the contents of broadcast soft-news programmes，because the focused social stories are selected from those individuals who“create social worlds through their linguistic symbolic activity”by interacting with others and participating in social worlds（Parton andO'Byrne，2000，p.16）.
So，this“rhetorical-responsive”version of social constructionism moves away from a referential or representational understanding of language by focusing on“how talk and language can have the effect of moving people to action and changing their views and perceptions”（Parton andO'Byrne，2000，p.18，original emphasis）.Obviously，the anchors'proper delivering moods are the relevant and corret reactions to a positivistic evidence-based paradigm and a dominant management discourse of the broadcast soft-news programmes in the profession.
（三）主播对跨文化社会想象持有的态度
Anchors'Attitude to Crosscultural Social-imagination
As we know，any kinds of individual problems are the result of the environmental conditions within which individuals live and build up methods or advocate social programmes to solve such problems，they are accounting for action by emphasizing the central importance of scene（Knapp，1999，p.592，our emphasis）.
2013级“英播”完型EBTV-ICC LIVE双播综合（Double headed）驾驭状态（2016年）
The broadcast soft-news programmes utilize certain questions unfolding what is going on in a specific narrative with dramatized edited stories and lead the audiences to understand the motives for why people act as they do.About this function of presenting broadcast soft-news programmes，Burke's（1969）research has tried to dig out“the motive of social interactions—the motive being the reasons why people do the things they do...what is involved when we say what people are doing and why they are doing it？”（p.xv）.So，the term“motive”leads us to ponder upon Gusfield's（1989）human activity“as involved in conflict，in purpose，in change”（p.9）.
Because“motive”can reveal actors'behaviors or activities，it is easy for us to get expected explanations usually.But，for understanding the broadcast softnews programmes in English，both the programme makers and audiences face the challenges of cross-cultural encounters.Here，the anchor's attitude is the focus.
Simply speaking，the anchors are just facing those famous journalistic elements，that is，who，what，when，where，and why of a situation.They are a useful tool for analysing a dramatized social situation in general，but become more powerful when they are combined with the constructed vocal narratives.These narratives in the anchors'hands，in fact，are vocalized literary texts.Through these texts the programme makers and audiences can gain certain insight into the focused social and cultural contexts.For this purpose，the anchors'attitude should be“to introduce what has been discovered”.And their delivering tones should be“to convey the analysis without commenting sense.”
Following Burke's（1973）research，the art forms the anchors often face such as tragedy or comedy or satire can be described as“equipments for living”that size up situations in various ways and refer to corresponding attitudes.These forms of broadcast soft-news programmes in English seem to be universal，but anchors must put them into the relevant cultural backgrounds.The best way for the anchors to carry the narratives out is“introducing”.By doing so，the narratives can offer audiences the chances to critically reflect on the relation between social problems and social problem definitions and to stimulate a critical and ethical professional attitude，inspired by social imagination.
Because of the characteristics of the cross-cultural encounters in our broadcast news programmes in English，the focused news contents are interrelated with different cultural contexts，this nature leads our audiences to meet far-distanced social-cultural orientations.The effects of this kind of programme transmission to our audiences are various imaginations generated by the contents constructed with sound and pictures，it is a kind of social imagination for our audiences since they build up a completed mentalreflections.
In fact，the reflections are typical personal response to the information.In this process，the anchors'narrative delivering of the broadcast soft-news programmes in English has presented（amongst other things）the politics of identity in representation using concepts from rhetoric，semiotics and discourse analysis and on the analysis of representations（e.g.violence，social issues）in different social and cultural contexts.
With the awareness of cross-cultural encounters，the anchors'narratives can make programmes accessible for a large audience，but they must hold Bell's（2008，p.111）“constant cross looping between the social and aesthetic performance genres”as the first point.
In conclusion，anchors'vocal delivering orientation is conversational.This orientation is to lead our audiences to establish a kind of menal conversation with the contents of our broadcast programmes，because we are aware of the fact that there is an attempt to involve audiences in the conversation throughout mass media communication.
Indeed，we admit that we as non-native English speakers switch our broadcast contents to English，but this does not make it any easier for our audiences to take part in the conversation effectively.This is the risk for us to face because of the effects of cross-cultural encounters.It can be shown with these aspects：
1）The audience does not know our programme makers who try to capture“the essence of the focused society”in their programmes and as a matter of fact our English pronounciation is not a major concern for them right now.They have other concerns such as the fulfilling of their mental needs：associations with their daily lives，similarities to their common-sense，comparisons with their values，understanding by their perspectives...
Facing this aspect，our anchors'compentence is associated with their presenting knowledge of proper Western discourse for various social-cultural contexts.This competence is built up by utilizing proper tones，moods，and emotions.
2）The audience concentrates on our programme in which the contents that in Chinese is switched to English by voice-over and some sound-bites to make sure the audience can be involved in the programme.Once translated to English，our programme makers and anchors realise the abstract level of the conversation.No doubt，the question about the function of literary texts in general and the programme makers and anchors'language presenting competence in particular is problematised in this condition.
To solve this problem，our anchors must be fully aware of the discoursesense of the focused socialized-contents in the vocal scripts.It would be the fatal mistake to use our Chinese sense to covey the voice-overs or narratives except for these universal emotions categorized by Utterback（2000）.So，our anchors need to accumulate the comprehension on the proper utilization of conversational English.
Our radio and TV programmes in English have similar starting-point，that is，both focus on the ambivalent attitude of Western people towards the relationship between the West and the Rest of the world.Central themes of broadcast soft-news programmes in English are social commitment in general and attitudes towards the possible mutual understanding when the clashing effects generated by corsscultural encounters in particular.
Because of this premise，another central element of the narratives in our broadcast soft-news programmes in English is the（re）presentation of the discoursestyles of the higher culture and the lower culture，specifically the reading of the literary canons.This is an important theme for our narrative vocal presentation because we focus on the possible functions of vocal literature，dramatized audio and visual edition.
Of course，we must keep in mind that the Westerners rely on lifestyles to give meaning to their lives.But，due to the confrontation with the rest of the world（that is，the non-western cultural civilizations），all this is needed to be tested by our practice.
Act-purpose Direction
Our broadcast communication is to generate the actions of audiences'minds and behaviours.For realizing this aim，we must try our best to sort out those aspects that can attract our audiences'attention and stimulate their thoughts.Fortunately，in the process of our broadcast media transmission，the contents of our radio and TV programmes in English convey a confrontation between the audience group of the material-rich Western people and the so-called material-poor third world that have different symbolic capital and no economic capital.In the Western audience's mind，the latters'lives revolve around problems of basic needs and survival.Western society is represented by the inhabitants of the holiday house.
Usually，the Western audience's reaction to the rest of the world is that they resolutely commit themselves to offer help.No doubt，there are different reactions within the group（with gradations）：from cynicism to unselfish and altruistic help.Each member of the audience group responds in a different way to the arrival of the programme contents.
This is also interesting.For our programme makers each group represents another attitude of the West to the Rest.One group might remain completely indifferent，as long as the self-interest isn't damaged，another maybe intolerant and even a bit scared of the unknown culture，yet another is tolerant，looking for contact and listening to their narratives，finally one or two of them might take up the-mutual understanding-caring role in the cross-cultural communication context.
The reactions of the different groups form the basis for reflection upon the content of personal as well as professional aid/relief.These various reflections from the audience group can also demonstrate that the essence of the culture of individualism is the body of fragments，from the radio and the TV in which many clashing and striking aspects of cross-cultural analyses and discussions must be covered.Obviously，the effective transmission of our broadcast programmes in English must consider the complexed social classes of the Western world.Otherwise，there will be no real cultural communication.
In this aspect，the idea of“cultural communication with mutual respect”is approached from many perspectives and critically evaluated.Audiences choose fragments in which specific aspects of social issues can be observed and compared with their own social existence.It is within the context of the narrative that these aspects become very tangible.
As mentioned above，there is also a tendency of a binary opposition between the cynical reaction and the humanitarian reaction generated by our broadcast programmes in English.Specifically，the certain ideaology oriented issues in our programmes caused a debate about the different social systems for explaining to others.On this point，the most effective way of narrative within the plot is using case-comparison.
Attitude of Anchor's Narrative
As mentioned above，the effects of our broadcast programmes in Enlish for reaching mutual understanding in cross-cultural contexts are generated by the presenting package in general.Among all the making elements，the anchors'vocal images are the one of the most decisive parts.Of course，we cannot exclude the quality of the contents writing，but the anchors'vocal presenting skills are the key factor since the attitude treatment is involved in the programmes fully and cross-culturally.
Focusing on the attitude，Kimberling rightly states that Burke treats“art as a social artifact emerging from a set of attitudes towards the larger social Scene，attitudes which may be explicitly understood or exploited by the artist or implicitly present in the work...The author can use the audience's social knowledge to achieve certain dramatic effects”（Kimberling，1982，pp.52-3，our emphasis）.The dramatistic pentad also helps to understand an audience's attitude towards a work of art.The circumference of the discussion can be expanded to“allow for the Act of creation to stand along the Act of response”（Kimberling，1982，p.39）.
A focus on the use of these narratives as cultural tools（agency）in education can start from the question，what is our audiences'“act of response”towards the“effect of anchor's narrative”？Or，what are the anchors'attitudes towards the essence of the different issues and the themes in the radio/TV programmes？The attitude towards a possible meaning of social issue and a possible function of literature is problematised within both the anchor and the writer.
An important attitude is empathy with what is happening，but at the same time there is also critical reflection on stereotypical representations：If we were really sympathizing with the different issues and could imagine myselves in their situation.The broadcast effects of cross-cultural communication really demends us to work out different types and different reactions our audiences can relate to.
For our starting point is to make our audience think.How would respond to this situation？Who is right or wrong？They manage to ask questions without pretending to know the truth themselves.
Empathy with the contents can lead our audiences to link themes from the narrative with their own experiences and general insights.This principle can create a recognizable picture of how their societies deal with the samiliar issues in their own cultures.
By presenting this way of dealing with issues they try to put things into perspective with their personal experiences，they try to call for tolerance，to be understanding of other people's attitudes towards social issues.
However，we must be aware that our audiences might respond with a mix of feelings：estrangement，taking distance，acceptance，caring...Also，the attitude towards the function of art and literature is problematic.A group of our audiences who is watching our programme all the time seems to have no empathy for the issues and their reactions are even hostile：This is the one example which resists to the non-Western cultures.In this sense we must uitilize certain cases to make the cultural comparison based on the humanitarian needs.Because most of the Western audicens who understand English language have the same character，that is，they are the lovers of high culture.So，we must try to use proper English discourse to write the anchors'narratives.
In short，our programmes are for briging up the cultural gaps，and the anchors'narratives should create the opportunity to illustrate and discuss the abstract points in the programmes.The discussion is about more than the confrontation between ideologised and culturalised issues，but the exact interpretation of a possible crosscultural communication is still questioned.
2013级“英播”完型的EBTV男女主播综合驾驭状态（2016年）
（四）对主播播述的总结
Conclusion on Broadcast Anchor's Narratives in English
So far，we can get the awareness to the anchor's narratives for the broadcast soft-news in English，that is，the use of narratives as cultural tools was thematised and problematised in the narrative itself.The point about its thematised is related to the programme's focus，because the focus could be shifted to the formal aspects of the audio and audiovisual packages，and the role of our anchors'narratives as a verbal expression could be commented upon by our audiences.
From yet another result，our audiences'attention could be directed to the use of narratives as cultural tools by focusing on the attitude of our anchors towards the audio and the audiovisual packages.
This last perspective can raise questions about assessing the use of narratives in our broadcast soft-news with social issues in English.As we have understood，the use of narratives as cultural tools in understanding social issues happened in other cultural contexts，audiences could ask“why？”or“How could it happen in this way？”
To some degree，answers to this kinds of questions can be found in'accounts of how these cultural tools are produced'and used，but“the major response concerns the dynamic tension that exists between cultural tools and audiences'consumption of them...This notion of tension between audiences and cultural tool is one that stands at the center of accounts of mediated action，but it is unlikely to arise in standard analyses that focus on cognitive process”（Wertsch，1998，p.98）.For the purpose of this research，the focus was on an evaluation of the“engagement”of students with fictional narratives.
By analysing the broadcast audio and audiovisual packages from a dramatistic perspective，both our anchors and audiences can have the opportunity not only to understand（fictional）narratives，but also to reflect upon their own（professional and personal）experiences.This perspective can be related to the potential of a rhetorical analysis of narratives for achieving this kind of reflexive approach and critical awareness.
By advocating the utilization of persuasive narratives，“Burke adds a rhetorical nuance to praxis as he details the ways audiences can adopt an attitude of reflective patience by methodically investigating the ways language functions”（Enoch，2004，p.290）and how symbolic action occurs.This opens up perspectives for social issue programme editors，because editors and anchors can gain a rhetorical sense of what it means for audiences to“struggle through interpretations”and to“reflect upon the world”（Enoch，2004，p.290）.Moreover，this rhetorical perspective problematises the straightforward notion that“reflection must lead to action and/or action must be reflected upon”（Enoch，2004，p.291）.It makes clear that reflection is action in and of itself.
Linguistic reflection，Burke points out，is the institutionalizing of an attitude；it habituates audiences into responding to literature and life with careful and critical thought（Enoch，2004，p.291）.The aim of our broadcast soft-new in English is to present certain focused social issues by discussing what kind of attitude can be expected from our anchors as a culrueal tool.It is obvious that some backgrounds in rhetoric in order to understand and interpret narratives can be beneficial for reflective practitioners.
Of course，such a rhetorical perspective cannot work as a panacea for solving all practical problems.The argument is not that this focus on narratives and rhetoric should replace all other perspectives and approaches in social work education.The claim is，however，that rhetoric in general and the dramatistic pentad in particular provide a methodology to analyse，to interpret and to evaluate practical situations.Finally，it is argued that a rhetorical perspective can create a critical and even liberating awareness.
［Referred contents are based on the Source：©The Author 2009.Published by Oxford University Press on behalf of The British Association of Social Workers.All rights reserved.］
【笔者论述】
在运用非母语英语进行广播电视节目内容的声音讲解时，主要是对英语新闻节目中的“软新闻”类内容的呈现。尽管从制作形式上看是在进行节目的“旁白-Voiceover”或可称为“解说”，但同对“硬新闻”条目的“旁白”是完全不同的驾驭方式。对英语“软新闻”节目的旁白，即便是对“新闻事件深度分析”类的节目“旁白”，也还是因为要体现以下的要素而具有与“硬新闻”条目完全不同的状态。
第一，节目内涵的“讲述”。由于英语“软新闻”节目是将所涉及内容进行篇幅远远长于“硬新闻”条目的内容的展开，所以，就会触及对形成节目核心的社会背景、文化因素及群体价值观等方面的介绍。触及如此方面的介绍，就需要对“播讲”的状态有所要求。此时的状态，需要进行语速、语调和意群的突出体现。主播个人的情绪也需要根据节目内容而有所投入，可以说，是以制作节目作品的出发点来完成。就目前最典型的英语“软新闻”节目内容的“旁白”而言，笔者可以引导读者去仔细揣摩中央电视台英语新闻频道（CCTV-9央视英语新闻频道CCTV News的原名）曾经播出的英语解说版系列片《梅兰芳》及《故宫》，由Gren Grant完成的处理状态。
第二，节目色彩的“讲述”。因为英语“软新闻”节目的内容呈现时间里在对新闻事实的整合后的提炼展示，加之运用了近乎纪录片“故事化”的讲解，使得“播讲”的风格必然是为突出节目讲解的色彩基调而加以强化和补充。如此的要求，就为主播提供了在充分理解节目内容前提下的“创作空间”。这一空间会带来令主播极为兴奋的创作灵感，也会形成让其体验充分自我实现的成就感。但同时又会形成难以弥补的风险，就是因为对内容理解的偏差或不准确，而形成“言不搭意”、“言不由衷”的效果。例如，有些节目的“解说”变成了“朗诵”，使得“人物传记”变成了电视散文，“新闻人物”变成了娱乐快报等。
总之，运用非母语英语进行广播电视新闻节目的播音工作，并不意味着能够说一口标准、地道的英语就可完成的。单就本书到此为止所试图分析和探讨的母语是汉语的我们中国籍的从业于英语广播电视节目播音的从业人员所处的“英语播音”领域而言，就可使读者意识到其涵盖的、用声音来完成的多个职业位置了。下图是笔者根据多年的从业与教学科研经历积累的认识后，以最简洁直观的方式来展示运用非母语英语的我们中国籍英语节目主持人们，从职业心理到业务技能具体表现的精神层面得以转化的过程。
“英播”职业理念与素质转化过程图（逆时针方向）
自然，这一个个用声音来担当的职业位置，都是要依赖于播音员和主播开口说的非母语英语来体现其意义的。看似就是把已经学了近20年的英语讲得“漂亮”、说得“清楚”，但笔者相信所有经历了“英播”训练的受训者以及将此书读到这里的读者们，都意识到了较好地达到职业标准来完成本职工作，远远要比“‘英语说得漂亮’、‘英语说得清楚’”复杂得多、艰难得多。
首先，稿件内容意群的把握。
在所有广播电视新闻节目内容经过播音员和主播的语言化传送的过程中，“意群”，是受众接收有效信息点的关键所在。而达到这一传播效果，新闻播音员和主播对所播读或播讲的内容中的一个个“意群”的准确强调前提，就触及运用非母语英语的新闻播音员和主播的辨析英语新闻语言特点的素质了。即便是我们那些运用母语进行新闻播音的从业人员们，也会因为常识积累的不足而只是理所当然地“见字发声”，出现难以挽回的错误。例如，将“东四十条”播成“东四十条”。
其次，运用非母语英语对新闻内容播读播讲的语感到位。
由于是使用非母语英语来进行新闻的播读和播讲，所以，“一气呵成”的、听着顺耳的效果，就是受众最基本的要求了。但是，就是因为“非母语”英语的语感体现，是完全与我们的母语相反的。这样，就形成了我们经过大学四年英语语言专业学习的90%的毕业生的英语语感，都还是达不到母语是英语的语感的70%的成色，更别提那些非英语专业的大学毕业生的英语语感了。这不能怪罪我们的学生们，最重要的原因是我们的口腔发声发音肌肉，已经完全成熟地为说我们的母语而起作用了。即便是经过“英播”专业的英语播音发声训练的受训者们，每届毕业生中也只有5%～8%的可以基本达到标准的英语播音和播讲的语感。毕竟，这些受训者在开始训练时，已经是18岁的成年人了。加之不是每时每刻说英语、练声，忍受不了自我训练的枯燥、见效慢的过程，就形成了如此的结果。所以，笔者时常会用当年苏联对话广播的呼台“莫斯科广播电台”的语感不到位，来提醒大家坚持“英语播音要求的练声”。一句话，没有“语感”就没有播读和播讲。
再次，运用非母语进行英语新闻播读和播讲的发音。
当衡量是否将外语说得标准时，一般是从两个方面来衡量的，即发音+表意。对一般人来说，“发音”的不标准，并不代表说话人的“表意”不清楚。就是我们中国人也不是每个人都能达到中央电视台《新闻联播》播音员的标准“发音”，但是，操着天南地北口音的普通话的人们，都是可以顺利交流的。
当然，对于运用非母语英语进行职业播音的从业人员而言，就必须要达到职业要求的标准。对于我们中国人来说，发清楚英语的音节还不是最困难的，但是，不能保证每一个音都能如同我们的母语发音般“自然而然”地呈现，更何况是面对直播进行中出现在眼前的每一个单词呢？！就是牢记“铁杵磨成针”而辛苦地积累，也不能保证会达到驾驭母语的“游刃有余”的高度。更何况，即便是我们熟悉的母语播音员，也还是会出现失误的。我们在运用英语进行播音和播讲时，最大的发音问题就是仍然用我们汉语的发音方式在发英语单词的音。笔者找到了训练“英播”受训者找到“英播”发音的方法，但能否坚持按照方法训练，就完全依赖受训者是否真诚地“践行”了。
最后，运用非母语英语播读出新闻感。
既然是对新闻进行播读，就需要把稿件蕴含的“新闻感”播出来，否则就是一般的阅读了。要达到恰到好处地表现出“新闻感”，就需要对新闻内容达到“心领神会”的状态，也就是播音员和主播的播读情绪要与新闻内容“融会贯通”。这一点，对使用母语的新闻播音员和主播都适合。那么，对于运用非母语英语的我们中国的从业人员来说，目前能达到标准的英语“硬新闻”播读水准的几乎没有，并不是他们不用功，而是“非母语”这一事实决定的。所以，对于“英播”受训者的引导，还是更偏向于培养能驾驭英语“软新闻”的主播，也就是如同用英语驾驭《焦点访谈》新闻类的“主播”及《艺术人生》综艺类的“主持人”，而不是单纯用非母语英语播《新闻联播》的播音员。否则，若一味地努力用非母语驾驭英语“硬新闻”的播读，就是“拿着鸡蛋往石头上碰”！为何如此的难呢？就是因为“播读”过程中对新闻内容的掌握，并不是简单地用“漂亮的发音”来阅读单词，而是需要播音员对内容完全理解后之神情同内容所涉文化背景之认识结合后显出的神韵，否则，受众就会听到播音员播读语流里透出的“直白地念”、看到播音员播读时眼睛里的空白和僵化的面部肌肉。这种情况，我们也时不常会从直播进行中的母语播音员的“底气不足”中看到。
笔者在面对一届一届“英播”的受训者们解释这一图示时，就是点出一个不容忽视的事实：运用非母语英语作为职业用语的“英播人”，一生将时时刻刻被这一语言提醒，不能懈怠，因为是永远需要学习的外语。在听众观众的心目中眼睛里，“英播人”的英语语言水平可谓近乎完美，但是，对于母语是英语的人而言，“英播人”永远是“外国人说英语”。因此，图示里的单词“贵族（ARISTOCRAT）”是依赖“英播人”自身的职业素质支撑起来的“首字母缩略词”。这一“贵族”，也时刻提醒“英播人”要努力达成精神上的高贵，而非物化或自以为“西化”的、有利于我们民族文化之外的“贵”族。更是理解如何践行“英播图腾”真意的所在！
为了更深刻地理解和实践本书的内容，读者可以用我们的母语来试试以下的文字，因为就是我们那些在一线忙碌的母语播音员和主播及出镜记者们，都会因各种原因而不能标准地应用：
“大栅栏”
“东四十条”
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