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Our paper examines how bodily behavior contributes to the local meaning of OKAY. We explore the interplay between OKAY as response to informings and narratives and accompanying multimodal resources in German multi-party interaction. Based on informal and institutional conversations, we describe three different uses of OKAY with falling intonation and the recurrent multimodal patterns that are associated with them and that can be characterized as ‘multimodal gestalts’. We show that: 1. OKAY as a claim to sufficient understanding is typically accompanied by upward nodding; 2. OKAY after change-of-state tokens exhibits a recurrent pattern of up- and downward nodding with distinctive timing; and 3. OKAY closing larger activities is associated with gaze-aversion from the prior speaker.
In this chapter, we overview the specificity of comparisons made within the perspective of Conversation Analysis (CA), and we position them in relation to other fields. We introduce the analytical mentality, methodology, and procedures of CA, and we show how we used it for the analysis of OKAY in this volume.
Parmi les nombreuses contributions de Charles Goodwin à l’étude des interactions sociales, ses travaux sur les gestes de pointage (1986, 2003, 2007) et la vision professionnelle (1994) constituent un apport majeur. Forts de l’enseignement goodwinien, nous examinons le recours aux gestes de pointage lors des instructions de navigation observables dans des leçons de conduite. Nous décrivons quatre exécutions indexicales différentes des gestes de pointage employés pour indiquer un parcours à suivre : les gestes trajectoire, les gestes géométriques, schématiques et contrastifs. Les gestes trajectoire tracent une ligne dans l’espace, révélant ainsi une composante déictique et une composante iconique. Les gestes géométriques instaurent une relation vectorielle avec la configuration routière visible, alors que les gestes schématiques reposent sur une représentation sémiotique stylisée de l’environnement. Ni complètement géométriques, ni schématiques, les gestes contrastifs se basent sur une représentation oppositionnelle de l’espace ambiant. La mobilité des interactants, leur asymétrie épistémique, l’activité didactique, et la séquentialité de l’interaction contribuent à donner leur sens à ces gestes de pointage.
OKAY originates from English, but it is increasingly used across languages. This chapter presents data from 13 languages, illustrating the spectrum of possible uses of OKAY in responding and claiming understanding in contexts of informings. Drawing on a wide range of interaction types from both informal and institutional contexts, including those crucially involving embodied practices, we show how OKAY can be used to (i) claim sufficient understanding, (ii) mark understanding of the prior informing as preliminary or not complete, and (iii) index discrepancy of expectation.
Mock fiction is a genre of humorous, fictional narratives. It is pervasive in adolescents’ peer-group interaction. Building on a corpus of informal peer-group interaction among 14 to 17 year-old German adolescents, it is shown how mock fiction is used to sanction identity-claims of peer-group co-members that are taken to be inadequate by the teller of a mock fiction. Mock fiction exposes and ridicules those claims by fictional exaggeration. Mock fiction is an indirect, yet sometimes even highly abusive means for criticizing and negotiating identities and statuses of peer-group members. The analysis shows how mock fiction is collaboratively produced, how it is used to convey criticism and to negotiate social norms indirectly, and how, in addition, it allows for performative self-positioning of the tellers as skilled, entertaining tellers and socio-psychological diagnosticians.