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The idea of this article is to take the immaterial and somehow ethereal nature of aesthetic concepts seriously by asking how aesthetic concepts are negotiated and thus formed in communication. My examples come from theatrical production where aesthetic decisions naturally play a major role. In the given case, an aesthetic concept is introduced with which only the director, but none of the actors is familiar in the beginning of the rehearsals. The concept, Wabi Sabi, comes from Japanese culture. As the whole rehearsal process was video recorded, it is possible to track the process of how the concept is negotiated and acquired over time. So, instead of defining criteria what Wabi Sabi as an aesthetic concept “consists of,” this article seeks to show how the concept is introduced, explained and “used” within a practical context, in this case a theater rehearsal. In contrast to conventional models of aesthetic experience, I am interested in the ways in which an aesthetic concept is configured in and through socially organized interaction, and — vice versa — how that interaction contributes to the situational accomplishment of the same concept. In short: I am interested in the “doing” of aesthetic concepts, especially in “doing Wabi Sabi.”
The ubiquity of smartphones has been recognised within conversation analysis as having an impact on conversational structures and on the participants’ interactional involvement. However, most of the previous studies have relied exclusively on video recordings of overall encounters and have not systematically considered what is taking place on the device. Due to the personal nature of smartphones and their small displays, onscreen activities are of limited visibility and are thus potentially opaque for both the co-present participants (“participant opacity”) and the researchers (“analytical opacity”). While opacity can be an inherent feature of smartphones in general, analytical opacity might not be desirable for research purposes. This chapter discusses how a recording set-up consisting of static cameras, wearable cameras and dynamic screen captures allowed us to address the analytical opacity of mobile devices. Excerpts from multi-source video data of everyday encounters will illustrate how the combination of multiple perspectives can increase the visibility of interactional phenomena, reveal new analytical objects and improve analytical granularity. More specifically, these examples will emphasise the analytical advantages and challenges of a combined recording set-up with regard to smartphone use as multiactivity, the role of the affordances of the mobile device, and the prototypicality and “naturalness” of the recorded practices.
In this chapter, we will investigate smartphone-based showing sequences in everyday social encounters, that is, moments in which a personal mobile device is used for presenting (audio-)visual content to co-present participants. Despite a growing interest in object-centred sequences and mundane technology use, detailed accounts of the sequential, multimodal, and material dimensions of showing sequences are lacking. Based on video data of social interactions in different languages and on the framework of multimodal interaction analysis, this chapter will explore the link between mobile device use and social practices. We will analyse how smartphone showers and their recipients coordinate the manipulation of a technological object with multiple courses of action, and reflect upon the fundamental complexity of this by-now routine joint activity.
This article makes an empirical and a methodological contribution to the comparative study of action. The empirical contribution is a comparative study of three distinct types of action regularly accomplished with the turn format du meinst x (“you mean/think x”) in German: candidate understandings, formulations of the other’s mind, and requests for a judgment. These empirical materials are the basis for a methodological exploration of different levels of researcher abstraction in the comparative study of action. Two levels are examined: the (coarser) level of conditionally relevant responses (what a response speaker must do to align with the action of the prior turn) and the (finer) level of “full alignment” (what a response speaker can do to align with the action of a prior turn). Both levels of abstraction provide empirically viable and analytically interesting descriptive concepts for the comparative study of action. Data are in German.
Im Fokus dieses Beitrags steht ein Format, das die Eigenschaften der im Titel dieses Buches so genannten hypermedialen multimodalen Kommunikation in sich vereint: Let's Plays. Den Titel des Beitrags aufnehmend, könnte man hier auch von „vielen Fliegen“ und „einer Klappe“ sprechen, denn Let's Plays bieten eine ganze Reihe von Anknüpfungspunkten, die für den Deutschunterricht relevant sind, aber eben auch - und das ist so charakteristisch für den Einsatz digitaler Formate im Unterricht - anschlussfähig sind für andere Fächer und damit auch den Weg aufzeigen, in eine Schule 3.0, die sich aus starren Fächerkorsetten zu befreien sucht und die Gegebenheiten einer digitalisierten Lebens- und Arbeitswelt etwa in inter- und transdisziplinären Modulen und Projekten abbildet und berücksichtigt.
Insofern reichen auch die Möglichkeiten, Let's Plays in den Deutschunterricht einzubinden, die wir in diesem Beitrag aufzeigen werden, über das Fach Deutsch hinaus und sind dennoch mit Blick auf die Bildungsstandards in der Grundschule und in weiterführenden Schulen passfähig. Sie berühren die Haupt-Kompetenzbereiche: Sprechen und Zuhören, Schreiben, Lesen - Mit Texten und Medien umgehen und Sprache und Sprachgebrauch untersuchen. Diese in den Rahmenlehrplänen vorhandene analytische Trennung spiegelt sich im konkreten Material „Let's Play“ nicht wider. Wir werden deshalb auf einzelne Aspekte eingehen, die als Anregung für die Integration des Gegenstandes in den Deutschunterricht verstanden werden können.
Meta-communicative practices are generally reflexive in a fairly obvious sense: Inasmuch as speakers use them to talk about or comment on earlier/subsequent talk, they use language self-reflexively. In this paper, we explore a practice that is reflexive not only in this meta-communicative sense but also in a sequential-interactional one: Prefacing a conversational turn with I was gonna say. We show that the I was gonna say-preface furnishes the following general semantic-pragmatic affordances: (1) It retroactively relates the speaker’s subsequent talk to preceding talk from a co-participant, (2) it embodies a claim to prior, now-preempted, communicative intent with regard to what their co-participant has (just) said/done, (3) it therefore displays its speaker’s orientation to the relevance or the appropriate placement of the action(s) done in their own subsequent talk at an earlier moment in the interaction, and (4) it reflexively re-invokes, or retrieves, this earlier moment as the relevant sequential context for their action(s). We then go on to illustrate how speakers draw on these sequentially reflexive affordances for managing recurrent interactional contingencies in specific sequential environments. The paper ends with a discussion of the role that reflexivity plays in and for the deployment of this practice.
The article addresses Solution-Oriented Questions (SOQs) as an interactional practice for relationship management in psychodiagnostic interviews. Therapeutic alliance results from the concordance of alignment, as willingness to cooperate regarding common goals, and of affiliation, as relationship based upon trust. SOQs particularly allow for both: They are situated at the end of a troublesome topic area, which is linked to low agency on the patient’s side, and they reveal understanding of and interest in the patient. Following the paradigm of Conversation Analysis and German Gesprächsanalyse this paper analyzes the design and functions of SOQs as a means for securing and enhancing the relationship in the process of therapy. Our data comprise 15 videotaped first interviews following the manual of the Operationalized Psychodynamic Diagnostics. The analyses refer to all SOQs found but will be illustrated by means of a single conversation.
Auch Linguist*innen, die gesprochene Sprache untersuchen, kommen schon seit längerem nicht mehr ohne digitale Infrastrukturen aus. Seit Beginn der Gesprochene-Sprache-Forschung werden Gespräche aufgezeichnet und anschließend transkribiert, da die flüchtigen, innerhalb von Bruchteilen von Sekunden stattfindenden Feinheiten des Gesprochenen paradoxerweise nur durch Verschriftung im Detail untersucht werden können. Diese Detailuntersuchungen beschränkten sich im vergangenen Jahrhundert meist auf wenige Einzelbelege für ein untersuchtes Phänomen. Das heißt, die Forschenden hatten den unmittelbaren Überblick über ihre Datenkollektionen und benötigten keine elaborierten digitalen Methoden zu deren Aufbereitung, Annotation und Analyse. Dies hat sich in den letzten beiden Jahrzehnten stark geändert: Es wurden vermehrt gezielt große Datenmengen gesammelt, in Datenbanken organisiert und der Forschungsgemeinschaft zur Nutzung zur Verfügung gestellt. An erster Stelle muss hier das Forschungs- und Lehrkorpus gesprochenes Deutsch (FOLK) genannt werden (vgl. Schmidt 2014). Dieses wird seit 2008 am Leibniz-Institut für Deutsche Sprache (IDS) aufgebaut und ist heute das größte Referenzkorpus für das gesprochene Deutsch.
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.