Affectivity in Interaction: Sound objects in English by Elisabeth Reber

By Elisabeth Reber

How do members exhibit affectivity in social interplay? in keeping with recordings of actual daily conversations and radio phone-ins, this examine deals a fine-grained research of the way recipients of affect-laden informings install sound gadgets, i.e. interjections (oh, ooh and ah) and paralinguistic signs (whistle and clicks), for responsive screens of affectivity. reading using such sound items throughout a couple of interactional actions together with information telling, problems speak, complaining, exams and service, the research presents proof that the sound development and sequential placement of sound items systematically give a contribution to their particular meaning-making in interplay, i.e. the administration of series agency and interactional relevancies (e.g. affiliation). offering an in-depth research of a bit researched sector of language use from an interactional linguistic viewpoint, the e-book might be of theoretical and methodological curiosity to an viewers with a history in linguistics, sociology and conversational reports.

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Extra info for Affectivity in Interaction: Sound objects in English (Pragmatics & Beyond New Series)

Example text

I now know something I wouldn’t have thought I would know it I think: it is very good (I wouldn’t have thought it could be like that) I feel something because of that  (Wierzbicka 1992: 164, cf. Wilkins 1992: 150, 151  for an alternative description) Accordingly, the meaning of wow implies some (change in) cognitive state, the attribution of positive valence to something and some affective state. On the basis of this frame, it can be concluded that interjections may have a fixed, clear-cut and ­contextfree meaning (for a criticism of NSM in general see Pawlowska et al.

The displayed meaning of some vocalisations may comprise a continuum of ‘cognitive’ and ‘affective’ processes. A prime example – since it represents the best researched object in English – is oh: Depending on sequential context and prosodic-phonetic design, it can be deployed to signal a ‘change-of-state’/disappointment’/‘sympathy’ (Heritage 1984), ‘surprise’ (Local 1996, Couper-Kuhlen 2009), and ‘surprise’ or ‘disappointment’/ ‘sympathy’ (Couper-Kuhlen 2009). Similar observations have been made for the English ah.

The displayed meaning of some vocalisations may comprise a continuum of ‘cognitive’ and ‘affective’ processes. A prime example – since it represents the best researched object in English – is oh: Depending on sequential context and prosodic-phonetic design, it can be deployed to signal a ‘change-of-state’/disappointment’/‘sympathy’ (Heritage 1984), ‘surprise’ (Local 1996, Couper-Kuhlen 2009), and ‘surprise’ or ‘disappointment’/ ‘sympathy’ (Couper-Kuhlen 2009). Similar observations have been made for the English ah.

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