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This study investigates other-initiated repair and its embodied dimension in casual English as lingua franca (ELF) conversations, thereby contributing to the further understanding of multimodal repair practices in social interaction. Using multimodal conversation analysis, we focus on two types of restricted other-initiation of repair (OIR): partial repeats preceded or followed by the question word what (i.e., what X?/X what?) and copular interrogative clauses (i.e., what is X). Partial repeats with what produced with rising final intonation are consistently accompanied by a head poke and treated as relating to troubles in hearing, with the repair usually consisting of a repeat. In contrast to these partial repeats, copular interrogative clauses are produced with downward final intonation and accompanied by face-related embodied conduct. The what is X OIRs primarily target code-switched lexical items, the understanding of which is critical for maintaining the repair initiator’s involvement in the ongoing sequence. This study also contributes some general reflections on the possible complexity of OIR and repair practices from a multimodal perspective.
This article investigates mundane photo taking practices with personal mobile devices in the co-presence of others, as well as “divergent” self-initiated smartphone use, thereby exploring the impact of everyday technologies on social interaction. Utilizing multimodal conversation analysis, we examined sequences in which young adults take pictures of food and drinks in restaurants and cafés. Although everyday interactions are abundant in opportunities for accomplishing food photography as a side activity, our data show that taking pictures is also often prioritized over other activities. Through a detailed sequential analysis of video recordings and dynamic screen captures of mobile devices, we illustrate how photographers orient to the momentary opportunities for and relevance of photo taking, that is, how they systematically organize their photographing with respect to the ongoing social encounter and the (projected) changes in the material environment. We investigate how the participants multimodally negotiate the “mainness” and “sideness” (Mondada, 2014) of situated food photography and describe some particular features of participants’ conduct in moments of mundane multiactivity.
In theater as a bodily-spatial art form, much emphasis is placed on the way actors perform movements in space as an important multimodal resource for creating meaning. In theater rehearsals, movements are created in series of directors' instructions and actors' implementations. Directors' instructions on how to conduct a movement often draw on embodied demonstrations in contrast to verbal descriptions. For instance, to instruct an actress to act like a school girl a director can use depictive (he demonstrates the expected behavior) instead of descriptive (“can you act like a school girl”) means. Drawing on a corpus of 400 h video recordings of rehearsal interactions in three German professional theater productions, from which we selected 265 cases, we examine ways to instruct movement-based actions in theater rehearsals. Using a multimodally extended ethnomethodological-conversation analytical approach, we focus on the multimodal details that constitute demonstrations as complex action types. For the present article, we have chosen nine instances, through which we aim to illuminate (1) The difference in using embodied demonstrations versus verbal descriptions to instruct; (2) typical ways directors combine verbal descriptions with embodied demonstrations in their instructions. First, we ask what constitutes a demonstration and what it achieves in comparison to verbal descriptions. Using a typical case, we illustrate four characteristics of demonstrations that all of the cases we studied share. Demonstrations (1) are embedded in instructional activities; (2) show and do not tell; (3) are responded to by emulating what was shown; (4) are rhetorically shaped to convey the instruction's focus. However, none of the 265 demonstrations we investigated were produced without verbal descriptions. In a second step we therefore ask in which typical ways verbal descriptions accompany embodied demonstrations when directors instruct actors how to play a scene. We distinguish four basic types. Verbal descriptions can be used (1) to build the demonstration itself; (2) to delineate a demonstration verbally within an instruction; (3) to indicate positive (what should be done) and negative (what should be avoided) versions of demonstrations; (4) as an independent means to describe the instruction's focus in addition to the demonstration. Our study contributes to research on how embodied resources are used to create meaning and how they combine with and depend on verbal resources.
In this article we examine moments in which parents or other caregivers overtly invoke rules during episodes in which they take issue with, intervene against, and try to change a child’s ongoing behavior or action(s). Drawing on interactional data from four different languages (English, Finnish, German, Polish) and using Conversation Analytic methods, we first illustrate the variety of ways in which parents may use such overt rule invocations as part of their behavior modification attempts, showing them to be functionally versatile interactional objects. Their interactional flexibility notwithstanding, we find that parents typically invoke rules when, in the course of the intervention episode, they encounter trouble with achieving an acceptable compliant outcome. To get at the distinct import of rule formulations in this context, we then compare them to two sequential alternatives: parental expressions of an experienced negative affective state, and parental threats. While the former emphasize aspects of social solidarity, the latter seek to enforce compliance by foregrounding a power asymmetry between the parent and the child. Rule formulations, by contrast, are designedly impersonal and appear to be directed at what the parents construe as shortcomings in common-sense practical reasoning on the child’s part. Reflexively, the child is thereby cast as not having properly applied common-sense ‘practical reason’ when engaging in what is treated as the problematic behavior or action. Overt rule invocations can, therefore, be understood as indexical appeals to practical reason.
This contribution investigates the use of the Czech particle jako (“like”/“as”) in naturally occurring conversations. Inspired by interactional research on unfinished or suspended utterances and on turn-final conjunctions and particles, the analysis aims to trace the possible development of jako from conjunction to a tag-like particle that can be exploited for mobilizing affiliative responses. Traditionally, jako has been described as conjunction used for comparing two elements or for providing a specification of a first element [“X (is) like Y”]. In spoken Czech, however, jako can be flexibly positioned within a speaking turn and does not seem to operate as a coordinating or hypotactic conjunction. As a result, prior studies have described jako as a polyfunctional particle. This article will try to shed light on the meaning of jako in spoken discourse by focusing on its apparent fuzzy or “filler” uses, i.e., when it is found in a mid-turn position in multi-unit turns and in the immediate vicinity of hesitations, pauses, and turn suspensions. Based on examples from mundane, video-recorded conversations and on a sequential and multimodal approach to social interaction, the analyses will first show that jako frequently frames discursive objects that co-participants should respond to. By using jako before a pause and concurrently adopting specific embodied displays, participants can more explicitly seek to mobilize responsive action. Moreover, as jako tends to cluster in multi-unit turns involving the formulation of subjective experience or stance, it can be shown to be specifically designed for mobilizing affiliative responses. Finally, it will be argued that the potential of jako to open up interactive turn spaces can be linked to the fundamental comparative semantics of the original conjunction.
Spontan kreierte Okkasionalismen sind rekurrenter Bestandteil verbaler Interaktionen. Vor dem Hintergrund, dass die Bedeutung von Okkasionalismen nicht konventionalisiert und damit potenziell unbekannt ist, untersucht der vorliegende Beitrag aus gesprächsanalytischer Perspektive die Frage, unter welchen Bedingungen die Bedeutung okkasioneller Ausdrücke in Folgeäußerungen selbstinitiiert oder fremdinitiiert erklärt wird und wann dies nicht der Fall ist. Es zeigt sich, dass die überwältigende Mehrheit der 1.068 analysierten Okkasionalismen aus verschiedenen Gründen kein Verstehensproblem darstellt. Wird die Bedeutung eines Okkasionalismus dennoch selbstinitiiert erklärt, dient dies oft anderen Zwecken als der Verstehenssicherung. Wird dagegen die Bedeutung eines nicht problemlos erschließbaren Okkasionalismus nicht unmittelbar selbstinitiiert erläutert, dient der ‚rätselhafte‘ Ausdruck als interaktive Ressource dazu, Rezipient/-innen neugierig zu machen, Nachfragen zu elizitieren und damit Folgeäußerungen zu lizenzieren.
Dans le cadre de l’ethnométhodologie et de l’analyse conversationnelle, cet article s’intéresse à la production de la parole radiophonique en contexte, telle qu’elle est accomplie en temps réel et de manière située, incarnée et soutenue technologiquement dans le studio. Il vise ainsi à replacer la parole radiophonique dans son écologie matérielle et à l’aborder dans ses processus de production plutôt que comme un produit fini. L’analyse se focalise sur les instants qui précèdent immédiatement la prise de parole des animateurs, sur le moment où ils procèdent aux derniers échanges coordonnant leur parole à l’antenne et où ils mobilisent une série de ressources technologiques juste avant le passage au direct : ils précisent ou confirment les dernières prises de décision concernant ce qu’ils vont dire et la manière de le dire, prennent en main leur casque, le mettent, arrangent le micro, effectuent les derniers réglages de régie. Ce moment révèle les arrangements technologiques – dans la mobilisation de plusieurs artefacts - et interactionnels – dans la mise en œuvre de procédés de coordination et d’ajustement mutuel - complexes qui rendent possible la parole en direct.
Cet article se fonde sur une collection de répétitions suite à un chevauchement, tirée de données vidéo en allemand et en français. La description systématique de cet outil de reprise de tour articule une comparaison entre cas clairs et cas déviants de ce phénomène. Il est démontré que le recyclage est aussi bien une ressource du locuteur suivant que du locuteur en cours.
Cet article se penche sur un épisode radiophonique durant lequel deux animateurs effectuent un coming out hétérosexuel à l’occasion de la journée internationale du coming out (11 octobre). Dans une perspective issue de l’analyse conversationnelle d’inspiration ethnométhodologique, il étudie une collection d’occurrences de coming out, permettant non seulement d’identifier un format séquentiel récurrent et la manière dont il contribue à l’efficacité de la pratique, mais aussi de réfléchir à la façon dont il peut être utilisé dans différents contextes sociaux, notamment médiatisés et médiatiques. En particulier, l’article montre comment la pratique est au service d’une émission radiophonique sur le coming out et prépare la transition vers le traitement de l’homosexualité à la radio. Grâce à un enregistrement vidéo du travail des animateurs dans le studio de radio, l’article décrit la façon dont le thème de la journée internationale du coming out est fabriqué et orchestré dans les coulisses de la radio et sur les ondes. Ce faisant, il montre la contribution d’une analyse conversationnelle à l’approche du coming out dans les études de genre – où la pratique est largement discutée mais sans être analysée sur la base d’occurrences documentées. L’article revient ainsi sur l’épistémologie du closet chère à Eve Sedgwick, en proposant une anatomie du coming out en contexte médiatisé, qui en éclaire les enjeux non seulement épistémiques mais aussi de normativisation, publicisation et spectacularisation.
On the basis of a single case analysis of the emergence of an ethnic joke, this paper explores issues related to laughter in international business meetings. More particularly, it deals with ways in which a person's name is correctly pronounced. Speakers and co-participants seem to orient towards ‘proper’ ways of vocalizing names and to consequent ‘variations’ or ‘deviations’ from them, making different ways of pronunciation available as a laughable. In making such pronunciation variations available, accountable and recognizable, participants reflexively establish as relevant the multilingual character of the activity, of the participants’ competences and of the setting; conversely, they exploit these multilingual features within specific social practices, leading to laughter.
Our analysis focuses on the contexts of action, the sequential environments and the interactional practices by which the uttering of a name becomes a ‘laughable’ and then a resource for an ethnic joke. Moreover, it explores the implications of transforming the pronunciation into a laughable in terms of the organization of the ongoing activity, changing participation frameworks and membership categorizations. In this sense, it highlights the flexible structure of groups and the way in which laughter reconfigures them through local affiliating and disaffiliating moves, and by making various national categories available and relevant.