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This paper attempts a critique of the notion of 'dialogue' in dialogue theory as espoused by Linell, Markova, and others building on Bakhtin’s writings. According to them, human communication, culture, language, and even cognition are dialogical in nature. This implies that these domains work by principles of other-orientation and interaction. In our paper, we reject accepting other-orientation as an a priori condition of every semiotic action. Instead, we claim that in order to be an empirically useful concept for the social sciences, it must be shown if and how observable action is other-oriented. This leads us to the following questions: how can we methodically account for other-orientation of semiotic action? Does other-orientation always imply interaction? Is every human expression oriented towards others? How does the other, as s/he is represented in semiotic action, relate to the properties which the other can be seen to exhibit as indexed by their observable behavior? We study these questions by asking how the orientation towards others becomes evident in different forms of communication. For this concern, we introduce ‘recipient design’, ‘positioning’ and ‘intersubjectivity’ as concepts which allow us to inquire how semiotic action both takes the other into account and, reflexively, shapes him/her as an addressee having certain properties. We then specifically focus on actions and situations in which other-orientation is particularly problematic, such as interactions with children, animals, machines, or communication with unknown recipients via mass media. These borderline cases are scrutinized in order to delineate both limits and constitutive properties of other-orientation. We show that there are varieties of meaningful actions which do not exhibit an orientation towards the other, which do not rest on (the possibility of) interaction with the other or which even disregard what their producer can be taken to know about the other. Available knowledge about the other may be ignored in order to reach interactional goals, e. g. in strategical interactions or for concerns of socialization. If semiotic action is otherorientated, its design depends on how the other is available to and matters for their producer. Other-orientation may build on shared biographical experiences with the other, knowledge about the other as an individual and close attention to their situated conduct. However, other-orientation may also rest on (stereo-)typification with respect to institutional roles or group membership. In any case, others as they are represented in semiotic action can never be just others-as-such, but only othersas-perceived-by-the-actor. We conclude that the strong emphasis which dialogue theories put on otherorientation obscures that other-orientation is neither universal in semiotic action, that it must be distinguished from an interactive relationship, and that the ways in which the other figures in semiotic actions is not homogeneous in any of its most general properties. Instead, there is a huge variation in the ways in which the other can be taken into account. Therefore close scrutiny of how the other precisely figures in a certain kind of semiotic action is needed in order to lend the concept of ‘other-orientation’ empirical substance and a definite sense.
Taking the use of the esthetic term wabi sabi (Japanese compound noun) in a series of German- and English-language theater rehearsals as an example, this article studies the emergence of shared meanings and uses of an expression over an interactional history. We track how shared understandings and uses of wabi sabi develop over the course of a series of theater rehearsals. We focus on the practices by which understandings of wabi sabi are displayed, adopted, and negotiated. We discuss complexities and intransparencies of the manifestation of common ground in multiparty interactions and its relationship to the emergence of routine uses of the expression. Data are in English and German with English translation.
Our study deals with early bodily responses to directives (requests and instructions, i.e., second pair parts [SPPs]) produced before the first pair part (FPP) is complete. We show how early bodily SPPs build on the properties of an emerging FPP. Our focus is on the successive incremental coordination of components of the FPP with components of the SPP. We show different kinds of micro-sequential relationships between FPP and SPP: successive specification of the SPP building on the resources that the FPP makes available, the readjustment or repair of the SPP in response to the emerging FPP, and reflexive micro sequential adaptions of the FPP to an early SPP. This article contributes to our understanding of the origins of projection in interaction and of the relationship between sequentially and simultaneity in interaction. Data are video-recordings from interaction in German.
Der Musikclip gehört seit den 1980er Jahren zum Forschungsbereich diverser Disziplinen und gilt Vielen als intermediales Phänomen schlechthin. Als problematisch erweist sich allerdings nach wie vor, dass das klangliche Material des Clips, populäre Musik, eine Herausforderung nicht nur für die Musikwissenschaften darstellt – greifbar wird dies mit Blick auf die anhaltenden Diskussionen um einen adäquaten Begriff der populären Musik. Darüber hinaus gilt Musik allgemein als ‚Sonderfall‘ für den Bereich der Medien-, Sprach- und Kulturwissenschaften, da an ihr weder rein medienästhetische noch kommunikations- und informationstheoretische Begriffe in ausreichender Weise greifen. Die Entwicklung eines transdisziplinär nachvollziehbaren Objektverständnisses des Musikclips bleibt daher desiderabel.
Der Beitrag zum Thema „Bild-Text-Ton-Analysen“ resultiert aus einer intensivierten Begegnung von Medienwissenschaft und Musikwissenschaft. Im Artikel wird die Konstitution von Bedeutung im intermedialen Zusammenspiel von Sprache/Text, Stimme und Musik fokussiert. Dies geschieht auf Grundlage einer näheren Bestimmung der Analysekriterien, die im Hinblick auf den speziellen Fall des popmusikalischen Umgangs mit Sprache erforderlich sind. Ziel ist es, die Bedeutungssedimente von vokaler Performanz im Kontext von populärer Musik offenzulegen. Für die Betrachtung des Musikclips ist dies ein wesentlicher Zwischenschritt. Anhand der Darstellung der klanglich-materiellen Vorprägungen gilt es, die Möglichkeitsbedingungen der (nachträglichen) intermedialen Transformation von Sprache auf die Bildebene auszuloten. In finaler Wendung ist es dann möglich, das inter- bzw. plurimediale Amalgam von Text-Stimme-Musik als Generator von Bedeutungsüberschüssen einzufassen.
Körper(-Darstellungen) im Reality-TV. Herstellung von Wirklichkeit im und über das Fernsehen hinaus
(2014)
Theater rehearsals are (usually) confronted with the problem of having to transform a written text into an audio-visual, situated and temporal performance. Our contribution focuses on the emergence and stabilization of a gestural form as a solution for embodying a certain aesthetic concept which is derived from the script. This process involves instructions and negotiations, making the process of stabilization publicly and thus intersubjectively accessible. As scenes are repeatedly rehearsed, rehearsals are perspicuous settings for tracking interactional histories. Based on videotaped professional theatre interactions in Germany, we focus on consecutive instances of rehearsing the same scene and trace the interactional history of a particular gesture. This gesture is used by the director to instruct the actors to play a particular aspect of a scene adopting a certain aesthetic concept. Stabilization requires the emergence of shared knowledge. We will show the practices by which shared knowledge is established over time during the rehearsal process and, in turn, how the accumulation of knowledge contributes to a change in the interactional practices themselves. Specifically, we show how a gesture emerges in the process of developing and embodying an aesthetic concept, and how this gesture eventually becomes a sign that refers to and evokes accumulated knowledge. At the same time, we show how this accumulated knowledge changes the instructional activities in the rehearsal process. Our study contributes to the overall understanding of knowledge accumulation in interaction in general and in theater rehearsals in particular. At the same time, it is devoted to the central importance of gestures in theater, which are both a means and a product of theatrical staging.
Harold Garfinkel, Begründer der Ethnomethodologie, wäre dieses Jahr 100 Jahre alt geworden, seine Studies in Ethnomethodology werden 50 Jahre. Grund genug diesen doppelten Geburtstag mit einer Tagung zur "deutschsprachigen Vorge-schichte, Wirkung und Rezeption des Werkes und der Person zu würdigen" (so der Ankündigungstext zur Tagung), die nicht ganz zufällig in Konstanz stattfand, lange Zeit und nach wie vor eine Hochburg rekonstruktiver Sozialforschung (auch) ethnomethodologischer Prägung. Die Tagung Harold Garfinkel's 'Studies in Ethnomethodolgy' – Fifty Years After vom 26.-28.10.2017 an der Universität Konstanz, ausgerichtet vom Lehrstuhl für Allgemeine Soziologie und Kultursoziologie und organisiert von Jörg Bergmann, Christian Meyer und Erhard Schüttpelz, tat dies in einer gebührlichen und beson-deren Weise: Die acht Kapitel der Studies in Ethnomethodology (im Folgenden kurz Studies), ein Konvolut aus Essays und Artikeln, die 1967 erschienen sind, dienten als Grundlage zur Strukturierung der Tagung und als Ausgangspunkt der einzelnen Vorträge.