Pragmalinguistik / Kommunikationsforschung
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Drawing on naturalistic video and audio recordings of international meetings, and within the framework of conversation analysis, ethnomethodology and interactional linguistics, this chapter studies how multilingual resources are mobilized in social interactions among professionals, how available linguistic and embodied resources are identified and used by the participants, which solutions are locally elaborated by them when they are confronted with various languages spoken but not shared among them, and which definition of multilingualism they adopt for all practical purposes. Focusing on the multilingual solutions emically elaborated in international professional meetings, we show that the participants orient to a double principle: on the one hand, they orient to the progressivity of the interaction, adopting all the possible resources that enable them to go on within the current activity; on the other hand, they orient to the intersubjectivity of the interaction, treating, preventing and repairing possible troubles and problems of understanding. Specific multilingual solutions can be adopted to keep this difficult balance between progressivity and intersubjectivity; they vary according to the settings, the competences at hand, the linguistic and embodied resources locally defined by the participants as publicly available, the multilingual resources treated as totally or partially shared, as transparent or opaque, and as needing repair or not. The paper begins by sketching the analytical framework, including the methodology and the data collected; it then presents some general findings, before offering an analysis of various ways in which participants keep the balance between progressivity and intersubjectivity in different multilingual interactional contexts.
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.
Based on German speaking data from various activity types, the range of multimodal resources used to construct turn-beginnings is reviewed. It is claimed that participants in talk-in-interaction need to deal with four tasks in order to construct a turn which precisely fits the interactional moment of its production:
1. Achieve joint orientation: The accomplishment of the socio-spatial prerequisites necessary for producing a turn which is to become part of the participants’ common ground.
2. Display uptake: Next speaker needs to display his/her understanding of the interaction so far as the backdrop on which the production of the upcoming turn is based.
3. Deal with projections from prior talk: The speaker has to deal with projections which have been established by (the) previous turn(s) with respect to the upcoming turn.
4. Project properties of turn-in-progress: The speaker needs to orient the recipient to properties of the turn s/he is about to produce.
Turn-design thus can be seen to be informed by tasks related to the multimodal, embodied, and interactive contingencies of online-construction of turns. The four tasks are ordered in terms of prior tasks providing the prerequisite for accomplishing a later task.
Repairs for Reasoning
(2013)
We describe and experimentally investigate phenomena of modal enrichment, that is, phenomena in which a recipient non-literally interprets an utterance by creating and applying a modal operator. We give competing explanations for these phenomena - namely an explanation according to which modal enrichment is a repair procedure for making the utterance match a script of information processing vs. an explanation according to which modal enrichment is triggered by rhetorical structure.
Die Textsorte Gebet hat zwar eine klare formale Struktur und auch aus sprech- akttheoretischer Perspektive lassen sich einige Aussagen treffen. Über den Inhalt von Gebeten liegen uns jedoch noch zu wenige Erkenntnisse vor. Dabei sehen sich Linguisten vor allem methodischen Problemen gegenüber. So ist der Wortlaut privater Gebete kaum zugänglich. Im vorliegenden Aufsatz wird eine als Pretest konzipierte Fragebogenstudie vorgestellt, die verschiedene Aspekte des Betens thematisiert. Es werden Tendenzen aufgezeigt, ob und wie Menschen im Gebet Emotionen verbalisieren. Auch über die Konzeptualisierung von Gott, die der Kommunikation zugrunde liegt, lassen sich Annahmen ableiten. In diesem Zusammenhang werden die Textsortenspezifika des Gebets diskutiert.
This paper alms to conceptualize the notion of music performance drawing on concepts from the sociology of knowledge and culture respectively the social phenomenology tradition as well as concepts from performance and theatre studies. Thereby music is grasped as a social event Insofar as music needs an intermediating instance to get perceptible as music. In other words: There is no (auditive perceptible) music without making music. Thus music performance can be understood as a sort of node bringing together the different realms of the musical process. This in mind the present paper discusses first music (performance) as action and interaction arguing that music (making) has an immanent tendency to be perceived as performance. Consequently the notion of performance and the Interrelated notion of staging are considered in the second part of the paper showing what is meant with the terms performance and performance frame. These insights lead to the third and last part which discusses the notion of theatricality to identify features specific for music performances and to show that and how music (performance) is best understood as an »artistic« process.
Der Beitrag ist eine fallbasierte und konzeptionell ausgerichtete Auseinandersetzung mit dem konversationsanalytischen Konzept „recipient design“. Dieses wird zunächst in seinem monomodal-verbalen Entstehungszusammenhang erläutert und anschließend aus Perspektive der multimodalen Interaktionsanalyse reflektiert. In einem methodologischen Exkurs werden die Verfahren der „visuellen Erstanalyse“ und der „rekurrenten Mehrebenen-Analyse“ vorgestellt und im analytischen Teil umgesetzt. So wird zunächst das visuell wahrnehmbare Verhalten, dann die Äußerungs- und Interaktionsstruktur und abschließend die Prosodie eines lehrerseitigen recipient design analysiert. In einem fallanalytischen Resümee präsentieren wir im Detail das Zusammenspiel der bei der Produktion dieses multimodalen recipient design beteiligten Ausdrucksressourcen. Abschließend diskutieren wir eine Reihe offener Punkte, die bei einer multimodalen Konzeption von recipient design zu beachten sind. Dabei wird deutlich, dass recipient design theoretisch neu gerahmt und systematisch in Bezug auf online-analytische und verstehensdokumentarische Überlegungen reflektiert werden muss.