Abstract The aim of this paper is to evince the reasons why the viewers tend to ‘root for the bad guy’ in House of Cards in spite of his amoral undertakings. It delves into the linguistic, pragmatic and cognitive strategies employed by the protagonist, Frank Underwood, to ‘transport’ the audience in the narrative while distancing them from moral judgment. It is shown that the ‘Para-Social Relationship’ he constructs with the audience invites them to adapt to his goals and perspective, guiding their emotions and reactions, distracting them from ethical matters through generalised impersonalised aphorisms and transgressive humour. Lastly it proposes a three-level model of producing/viewing processes that are specific to House of Cards, highlighting the way the protagonist’s manipulation of audience involvement breaks apart in the last seasons, as the production crew alters the Frank-audience relationship.

中文翻译：

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纸牌屋的参与和道德超脱策略

摘要这篇文章的目的是为了阐明尽管观众不道德的行为，但观众还是倾向于在“纸牌屋”中“为坏人扎根”的原因。它探究了主角弗兰克·安德伍德（Frank Underwood）所采用的语言，语用和认知策略，以“转移”叙事中的观众，同时使他们脱离道德判断。结果表明，他与听众建立的“全社会关系”邀请他们适应自己的目标和观点，指导他们的情感和反应，通过普遍的个性化格言和过分幽默来分散他们对道德事务的关注。最后，它提出了一个针对纸牌屋的制作/观看过程的三级模型，强调了主角在上个赛季对观众参与的操纵方式，