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Cette contribution propose une analyse qualitative et quantitative des reformulations sur des données interactionnelles. Pour la constitution du corpus d’étude, nous nous appuyons sur un outil de détection automatique des hétéro-répétitions, considérées comme indices de reformulation. Après avoir illustré les éléments qui ont présidé à la conception de l’outil, nous présentons le paramétrage de cette ressource, que nous avons testée sur quatre enregistrements de la base de données CLAPI. Cette étude souligne la pertinence de l’approche interactionnelle dans l’analyse des hétéro-répétitions, en en montrant les fonctionnalités multiples, notamment dans les pratiques de reformulation dans la conversation.
Directing, negotiating and planning: 'Aus Spiel' ('for play') in children's pretend joint play
(2021)
We are interested in how children organize joint pretend play. In this kind of play, children create an invented world by transforming matters of the real world into matters of a fictional world (e.g., pretending to be a 'giant' or treating a particular spatial area as a 'witch's kitchen'). Since there are no rules and no script, every next step in the game is an improvisation designed here and now. Children engaged in free play have equal rights to determine what should happen next. For that reason, they have to negotiate next steps. We are interested in a particular expression that children often use in joint play: aus Spaß/Spiel ('for fun' or 'for play', similar to 'let's pretend'). Based on a corpus of five hours of video recordings of two pairs of twins (the younger children are between 3 and 5 years old, the older ones are 8 years old), we show that children regularly use aus Spiel while playing as a method for shaping the activity. Inventing new events, children try to get their co-players to accept them and act accordingly. In that context, issues of (dis-)alignment and deontic rights become relevant. Here, we are interested in the interactional work that aus Spiel-('let's pretend')-turns do and how co-players respond.
Instruieren in kreativen Settings – wie Vorgaben der Regie durch Schauspielende ausgestaltet werden
(2021)
Instruktionen sind darauf angelegt, ein festgelegtes Ergebnis zu erzielen, v.a. in instrumentellen Arbeitskontexten oder Lehr-Lern-Settings. In kreativen Settings dagegen existieren häufig keine klar definierten Lerninhalte. Das Endprodukt und der Weg dorthin werden vielmehr bewusst offen gehalten, um Kreativität zu ermöglichen. Trotzdem machen Instruktionen auch in kreativen Settings einen Großteil der Äußerungen aus. Wir zeigen an zwei typischen Fällen aus Theaterproben, wie Instruktionen in kreativen Settings Neues hervorzubringen vermögen. Regisseur*innen arbeiten mit relativ offenen Rahmeninstruktionen, die von Schauspielenden in Folgehandlungen auszugestalten sind. Instruierte Handlungen haben so ein hohes Potenzial an Eigeninitiative und liefern die Grundlage für Regisseur*innen, um Aspekte des vorgängigen Spiels der Schauspieler*innen affirmativ aufzugreifen, die sie selbst zuvor so nicht instruiert haben. Diese Selektionen der Regie greifen einen Teil des dargebotenen Schauspiels auf und machen es für das zukünftige Handeln verbindlich. Unsere Studie untersucht, wie Instruktionen Folgehandeln evozieren, auf das sie selbst wiederum aufbauen. Grundlage ist ein Korpus von 800 Stunden Videoaufnahmen von Theaterproben.
Within a rapidly digitalising society, it is important to understand how the learning and teaching of digital skills play out in situ, particularly amongst older adults who acquire these skills later in life. This paper focuses on participants engaged in the process of learning digital skills in adult education courses. Using video recordings from adult education centres in Finland and Germany, we explore how students mobilise their teachers’ assistance when encountering problems with their smartphones, laptops or tablets. Prior research on social interaction has shown that assistance can be recruited through a variety of verbal and embodied formats. In this specific educational setting, participants can use complaints about their digital skills or mobile devices to obtain assistance. Utilising multimodal conversation analysis, we describe two basic sequence types involving students’ complaints, discuss their cross-linguistic characteristics, and reflect on their connection to this educational setting and digital devices.
Having the necessary skills for staying in contact with friends and relatives through digital devices is crucial in today’s world. As the current COVID-19 pandemic shows, this holds especially true for the elderly. Being quarantined and restricted from physically meeting people, various communication technologies are more important than ever for staying social and informed on current events. In nursing homes, staff members are now finding new ways for staying in touch with family members by assisting residents in making video calls with mobile devices.
But what if elderly people cannot rely on personal assistance for accessing these alternative means of communication? This raises the general question of how older people can and do learn to use such technologies. Although the internet is full of guides and instructional videos on how to use smartphones or tablets, they are a cold comfort to someone who may not even know what an internet browser is.
Especially for digital newcomers, the tried and true method of face-to-face instruction is invaluable. While many older people turn to their children or grandchildren for help in all things digital, courses specifically tailored for elderly users are also increasingly popular.
More and more governmental initiatives and associations indeed acknowledge the already existing interest of elderly citizens in digital tools and their growing need to receive customized training (e.g. “SeniorSurf” and “Kansalaisen digitaidot” in Finland or “Silver Tipps” in Germany). For a researcher of social interaction, these courses can also provide a valuable window for discovering what it looks and sounds like to learn to use essential but sometimes alien technologies.
Der vorliegende Beitrag befasst sich mit Erzählen in seiner massenmedialen Vermittlung in einer Unterhaltungsendung im Fernsehen. Ziel ist es, anhand einer multimodalen und medienlinguistischen Analyse eines exemplarischen Ausschnitts aus der TV-Unterhaltungssendung "Zimmer frei" die Spezifik solcher massenmedialen Erzählungen herauszuarbeiten. Zum einen wird aufgezeigt, dass sich massenmediales Erzählen in seinem sequenziellen Auf- und Ausbau aufgrund seiner Einbindung in ein mediales Unterhaltungsformat in systematischer Weise von Alltagserzählungen unterscheidet. Zum anderen wird veranschaulicht, inwieweit theatrale Inszenierungs- und Aufführungsmittel der Fernsehproduktion die Aktivität des Erzählens mitkonstituieren. Erzählungen im Fernsehen, so die analyseleitende Prämisse, können nicht schlicht als durch das Fernsehen übertragene narrative Aktivitäten konzeptualisiert werden. Vielmehr sind sie durch eine mediale Theatralität mitgeprägt. (Para)verbale, körperliche und mediale Inszenierungs- und Aufführungsverfahren greifen konzertiert ineinander, um Erzählungen als "dramas to an audience" (Goffman 1974:508) hervorzubringen.
In this contribution we analyse how mobile device users in face-to-face communication jointly negotiate the boundaries and action spaces between digital and non-digital, shared and individual, public and private. Instead of conceptualising digital and face-to-face, i. e., non-digital, communication as separate, more recent research emphasises that social practices relying on mobile devices increasingly connect physical and virtual communicative spaces. Using multimodal conversation analysis, we investigate the situated use of mobile devices and media in social interaction. Excerpts from videotaped everyday conversations illustrate how participants frame their smartphone use in the presence of others, such as when looking at digital pictures, or when recording voice messages. A detailed analysis of verbal and embodied conduct shows how participants negotiate and interpret the connection or separation of digital and non-digital activities and possible forms of participation within these. (Digital) publicness or privacy are therefore to be understood as an interactive accomplishment.
This paper aims to describe different patterns of syntactic extensions of turns-at-talk in mundane conversations in Czech. Within interactional linguistics, same-speaker continuations of possibly complete syntactic structures have been described for typologically diverse languages, but have not yet been investigated for Slavic languages. Based on previously established descriptions of various types of extensions (Vorreiter 2003; Couper-Kuhlen & Ono 2007), our initial description shall therefore contribute to the cross-linguistic exploration of this phenomenon. While all previously described forms for continuing a turn-constructional unit seem to exist in Czech, some grammatical features of this language (especially free word order and strong case morphology) may lead to problems in distinguishing specific types of syntactic extensions. Consequently, this type of language allows for critically evaluating the cross-linguistic validity of the different categories and underlines the necessity of analysing syntactic phenomena within their specific action contexts.
This presentation deals with collaborative turn-sequences (Lerner 2004), a syntactically coherent unit of talk that is jointly formulated by at least two speakers, in Czech and German everyday conversations. Based on conversation analysis (e.g., Schegloff 2007) and a multimodal approach to social interaction (e.g., Deppermann/Streeck 2018), we aim at comparing recurrent patterns and action types within co-constructional sequences in both languages. The practice of co-constructing turns-at-talk has been described for typologically different languages, especially for English (e.g., Lerner 1996, 2004), but also for languages such as Japanese (Hayashi 2003) or Finnish (Helasvuo 2004). For German, various forms and functions of co-constructions have already been investigated (e.g., Brenning 2015); for Czech, a detailed, interactionally based description is still pending (but see some initial observations in, e.g., Hoffmannová/Homoláč/Mrázková (eds.) 2019). Although the existence of co-constructions in different languages points to a cross-linguistic conversational practice, few explicitly comparative studies exist (see, e.g., Lerner/Takagi 1999, for English and Japanese). The language pair Czech-German has mainly been studied with respect to language contact and without specifically considering spoken language or complex conversational sequences (e.g., Nekula/Šichová/Valdrová 2013). Therefore, our second aim is to sketch out a first comparison of co-constructional sequences in German and Czech, thereby contributing to the growing field of comparative and cross-linguistic studies within conversation analysis (e.g., Betz et al. (eds.) 2021; Dingemanse/Enfield 2015; Sidnell (ed.) 2009). More specifically, we will present three main sequential patterns of co-constructional sequences, focusing on the type of action a second speaker carries out by completing a first speaker’s possibly incomplete turn-at-talk, and on how the initial speaker then responds to
this suggested completion (Lerner 2004). Excerpts from video recordings of Czech and German ordinary conversations will illustrate these recurrent co-constructional sequence types, i.e., offering help during word searches (see example 1 above), displaying understanding, or claiming independent knowledge. The third objective of this paper is to underline the participants’ orientation to similar interactional problems, solved by specific syntactic and/or lexical formats in Czech and German. Considering the more recent focus on the embodied dimension of co-constructional practices (e.g., Dressel 2020), we will also investigate the multimodal formatting of a started utterance as more or less “permeable” (Lerner 1996) for co-participant completion, the participants’ mutual embodied orientation, and possible embodied responses to others’ turn-completions (such as head nods or eyebrow flashes, cf. De Stefani 2021). More generally, this contribution reflects on the possibilities and challenges of a cross-linguistic comparison of complex multimodal sequences.