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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 workplace settings, skilled participants cooperate on the basis of shared routines in smooth and often implicit ways. Our study shows how interactional histories provide the basis for routine coordination. We draw on theater rehearsals as a perspicuous setting for tracking interactional histories. In theater rehearsals, the process of building performing routines is in focus. Our study builds on collections of consecutive performances of the same instructional task coming from a corpus of video-recordings of 30 h of theater rehearsals of professional actors in German. Over time, instructions and their implementations are routinely coordinated by virtue of accumulated shared interactional experience: Instructions become shorter, the timing of responses becomes increasingly compacted and long negotiations are reduced to a two-part sequence of instruction and implementation. Overall, a routine of how to perform the scene emerges. Over interactional histories, patterns of projection of next actions emanating from instructions become reliable and can be used by respondents as sources for anticipating and performing relevant next actions. The study contributes to our understanding of how shared knowledge and routines accumulate over shared interactional experiences in publicly performed and reciprocally perceived ways and how this impinges on the efficiency of joint action.
Im vorliegenden Artikel wird ein Überblick über das von der DFG geförderte Projekt Zugänge zu multimodalen Korpora gesprochener Sprache – Vernetzung und zielgruppenspezifische Ausdifferenzierung (ZuMult) gegeben. Dabei wird zunächst auf die Sprachdaten und auf die technische Basis der Applikationen eingegangen, die dem Projekt zugrunde liegen. Im Anschluss werden die weiteren Beiträge in diesem Themenheft von KorDaF kurz vorgestellt. Übergeordnetes Thema von ZuMult ist die Verbesserung der Zugänglichkeit von digitalen mündlichen Sprachdaten für verschiedene Anwendungen und Zielgruppen, wobei der Fokus dieses Themenhefts auf Applikationen und Anwender:innen aus der Fremdsprachendidaktik und der DaF-/DaZ-Forschung und -Lehre liegt. Die einzelnen Beiträge beleuchten zentrale methodische und/oder technische Aspekte dieses Themas und beschreiben die Architektur und verschiedene prototypische Anwendungen, die das Projekt entwickelt hat.
Using multimodal conversation analysis, we investigate how novices learning the “inner body” acting technique in the context of a community theater project share their experiences of the bodily exercises through verbal and embodied conduct. We focus on how verbal description and bodily enactment of the experience mutually elaborate each other, and how the experienced sensorimotor and affective qualities are made to be witnessed and recognized by the others. Participants describe their experiences without naming qualities. Instead, a display of the experienced qualities is made accessible to others through coordinating the unfolding talk and bodily conduct. In particular, we show how grammatical and action projection is fulfilled by interconnected verbal and embodied conduct, with body movement and posture giving off ineffable experiential qualities. The moving body appears both as a source of the experience and as a resource for depicting perceived qualities to others; additional resources (non-specific person reference and gaze aversion) contribute to organizing the subjective and intersubjective layers of the reflection of the experiences. The study contributes to and extends recent research on sensoriality in interaction by focusing on phenomena of proprioception and interoception. The data are two cases drawn from 60 h of video-recordings made in the context of a devised community theater project. The data are in Finnish with English translations.
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.
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.
Die Jahrestagung der Arbeitsgemeinschaft Linguistische Pragmatik e. V. hat auch in diesem Jahr pandemiebedingt online stattgefunden. Dem diesjährigen Tagungsthema „Pragmatik multimodal“ bot dieses Online-Setting daher eine besonders interessante Umgebung, da einige Vorträge Aspekte genau solcher Interaktionsrahmen näher beleuchten sollten. Aber nicht nur angesichts der immer noch fortschreitenden Digitalisierung hat sich der multimodale Betrachtungswinkel auch in anderen linguistischen Disziplinen zunehmend etabliert: So beschäftigen sich unter anderem die Text- und Diskursanalyse (u. a. Bucher 2011; Klug 2016; Mayr 2016), die Interaktionslinguistik (u. a. Hausendorf et al. 2016), die Kognitionslinguistik (u. a. Zima/Brône 2015; Spieß 2016) oder auch die Grammatikforschung (u. a. Fricke 2012; Schoonjans 2018) mit multimodalen Phänomenen im Rahmen ihrer je eigenen Erkenntnisinteressen. Um die Vielfalt dieser Erkenntnisinteressen, der diversen Ausprägungen des Phänomenbereichs und der methodischen Ansätze zur angemessenen Begegnung dieser Komplexität zu präsentieren und miteinander ins Gespräch zu bringen, haben Lars Bülow, Susanne Kabatnik, Marie-Luis Merten und Robert Mroczynski als Organisationsteam zu dieser Tagung eingeladen. Die thematische Bandbreite der Vorträge sollte dabei eine ausgewogene Grundlage bieten, um aktuelle Tendenzen und Herausforderungen einer pragmatisch fokussierten Erforschung multimodaler Kommunikation zu diskutieren und damit zur Verortung der linguistischen Pragmatik im Kontext anderer linguistischer Teildisziplinen beizutragen. Entsprechend veranschaulichten manche Vorträge eine eher disziplinspezifische Perspektive, andere stellten Überlegungen zu eher integrierenden Ansätzen vor.
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.