Refine
Year of publication
Document Type
- Part of a Book (30)
- Article (25)
- Book (1)
Has Fulltext
- yes (56) (remove)
Keywords
- Interaktion (17)
- Konversationsanalyse (10)
- Theaterprobe (10)
- Inszenierung (8)
- Multimodalität (8)
- Reality-TV (8)
- Interaktionsanalyse (7)
- Kommunikation (6)
- Theater (6)
- Deutsch (5)
Publicationstate
- Veröffentlichungsversion (27)
- Zweitveröffentlichung (15)
- Postprint (3)
Reviewstate
- (Verlags)-Lektorat (28)
- Peer-Review (15)
- (Verlags-)Lektorat (1)
- Peer-review (1)
Publisher
- Verlag für Gesprächsforschung (6)
- Nomos (4)
- Springer (4)
- de Gruyter (4)
- De Gruyter Mouton (2)
- Herbert von Halem Verlag (2)
- Institut für Deutsche Sprache (2)
- Leske + Budrich (2)
- Springer Nature (2)
- Taylor & Francis (2)
Directing, negotiating and planning: 'Aus Spiel' ('for play') in children's pretend joint play
(2021)
We are interested in how children organize joint pretend play. In this kind of play, children create an invented world by transforming matters of the real world into matters of a fictional world (e.g., pretending to be a 'giant' or treating a particular spatial area as a 'witch's kitchen'). Since there are no rules and no script, every next step in the game is an improvisation designed here and now. Children engaged in free play have equal rights to determine what should happen next. For that reason, they have to negotiate next steps. We are interested in a particular expression that children often use in joint play: aus Spaß/Spiel ('for fun' or 'for play', similar to 'let's pretend'). Based on a corpus of five hours of video recordings of two pairs of twins (the younger children are between 3 and 5 years old, the older ones are 8 years old), we show that children regularly use aus Spiel while playing as a method for shaping the activity. Inventing new events, children try to get their co-players to accept them and act accordingly. In that context, issues of (dis-)alignment and deontic rights become relevant. Here, we are interested in the interactional work that aus Spiel-('let's pretend')-turns do and how co-players respond.
Musikfernsehsender
(2009)
Der Beitrag beschäftigt sich mit kommunikativen Praktiken in audiovisuellen Webformaten am Beispiel von sogenannten „Let’s Plays“, in denen ein Videospiel im Internet für Zuschauende gespielt und kommentiert wird. An live ausgestrahlten Let’s Plays zeigen wir, wie Zuschauende mit Produzierenden während der Ausstrahlung interagieren und so integraler Bestandteil des entstehenden Produkts werden. Live ausgestrahlte Let’s Plays machen eine Trennung zwischen Produktion, Produkt und Rezeption, wie wir sie von traditionellen Medien kennen, obsolet. Wir sprechen daher von sogenannten Medienketten. Sie zeichnen sich dadurch aus, dass die drei genannten Elemente, aufgrund der gegebenen medialen Affordanzen ineinander übergehen, sich dynamisch beeinflussen oder gegenseitig hervorbringen.
Interaktion und Medien
(2017)
A large database is a desirable basis for multimodal analysis. The development of more elaborate methods, data banks, and tools for a stronger empirical grounding of multimodal analysis is a prevailing topic within multimodality. Prereq- uisite for this are corpora for multimodal data. Our contribution aims at developing a proposal for gathering and building multimodal corpora of audio-visual social media data, predominantly YouTube data.Our contribution has two parts: First we outline a participation framework which is able to represent the complexity of YouTube communication. To this end we ‘dissect’ the different communicative and multimodal layers YouTube consists of. Besides the Video performance YouTube also integrates comments, social media operators, commercials, and announcements for further YouTube Videos. The data consists of various media and modes and is interactively engaged in various discourses. Hence, it is rather difficult to decide what can be considered as a basic communicative unit (or a ‘turn’) and how it can be mapped. Another decision to be made is which elements are of higher priority than others, thus have to be integrated in an adequate transcription format. We illustrate our conceptual considerations on the example of so-called L e t’s Plays, which are supposed to present and comment Computer gaming processes.The second part is devoted to corpus building. Most previous studies either worked with ad hoc data samples or outlined data mining and data sampling strategies. Our main aim is to delineate in a systematic way and based on the conceptual outline in the first part necessary elements which should be part of a YouTube corpus. To this end we describe in a first Step which components (e.g., the Video itself, the comments, the metadata, etc.) should be captured. ln a second Step we outline why and which relations (e.g., screen appearances, hypertextual struc- tures, etc.) are worth to get part of the corpus. In sum, our contribution aims at outlining a proposal for gathering and systematizing multimodal data, specifically audio-visual social media data, in a corpus derived from a conceptual modeling of important communicative processes of the research object itself.
In so-called Let’s Plays, video gaming is presented and verbally commented by Let’s Players on the internet for an audience. When only watched but not played, the most attractive features of video games, immersion and interactivity, get lost – at least for the internet audience. We assume that the accompanying reactions (transmitted via a so-called facecam) and verbal comments of Let’s Players on their game for an audience contribute to an embodiment of their avatars which makes watching a video game more attractive. Following an ethnomethodological conversation analytical (EMCA) approach, our paper focusses on two practices of embodying avatars. A first practice is that Let’s Players verbally formulate their actions in the game. By that, they make their experiences and the 'actions' of avatars more transparent. Secondly, they produce response cries (Goffman) in reaction to game events. By that, they enhance the liveliness of their avatars. Both practices contribute to a co-construction of a specific kind of (tele-)presence.
TV-Formate
(2017)