Tannen,
D. (1989) : Ch2 - Involvement in discourse. From Talking Voices: Repetition,
Dialogue, and Imagery in Conversational Discourse. Cambridge University
Press
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1.
Repetition, dialogue, and imagery create involvement in discourse...
strategies, shaped and elaborated in literary discourse are spontaneous and
pervasive in conversation, because they reflect and create interpersonal
involvement.
2.
Gumpertz (1982, p.1) in Discourse Strategies:
AOnce involved in
conversation, both speaker and hearer must actively respond to what transpires
by signaling involvement, either directly through words or indirectly through
gestures or similar nonverbal signals.@
3.
Cross-cultural (people reared in the >same culture=, however,
exhibit regional, ethnic, age, gender, class, and other social and individual
differences):
AThere is a
tendency to take for granted that conversational involvement exists, that
interlocutors are cooperating, and that interpretative conventions are shared@ (p.4).
4.
Tannen: five Americans and one native of London - conversational styles differ,
and these differences led to subtle misunderstandings and misjudgments.
5.
Prototypical spoken genre is characterized by fragmentation and involvement,
while prototypical written genre is characterized by integration and
detachment... Chafe (1985, p.116) notes three types of involvement in a
conversation: self-involvement by the speaker; interpersonal involvement
between speaker and hearer; and involvement of the speaker with what is being
talked about.
6.
Tannen=s sense of
involvement: an internal, even emotional connection individuals feel which
binds them to other people as well as to places, things, activities, ideas,
memories, and words... not a given but something achieved.
7.
Conversation is not a matter of two (or more) people alternately taking the
role of speaker and listener, but rather that both speaking and listening
include elements and traces of the other. Listening, in this view, is an active
not a passive enterprise, requiring interpretation comparable to that required
in speaking, and speaking entails simultaneously projecting the act of
listening: In Bakhtin=s sense, all language is dialogic.
8.
Conversation is Aa joint production.@ ... Not only is
the audience a co-author, but the speaker is also a co-listener... no
utterance, no word, can be spoken without echoing how others understand and
have used it... Atalking with another person... is like climbing a
tree that climbs back@.
9.
Involvement - an aesthetic response... coherence, a sense of connectedness...
being able to follow someone wherever they may go (and to see what they see on
the way).
10.
The elaboration of meaning through the play of familiar patterns: the eternal
tension between fixity and novelty that constitutes creativity.
11.
Poets (why banned by Plato): AYou were not asked to grasp their principles
through rational analysis. Instead you submitted to the paedeutic spell@ - the effect of
>total engagement= and >emotional
identification= - involvement.
12.
Tannen=s interest:
comparison of written and spoken narratives: a written narrative that had been >cooked up=, rather >boiled down=.
13.
Ordinary conversation and literary discourse have much in common.
15.
Two levels: sound and rhythm, and mutual participation in sense making: i)
strategies not features; ii) form levels to language working in many ways at
once; iii) from merely sound and rhythm to musicality; iv) mutual participation
to do with a response to scenes, and the power of scenes coming from images
made up of details - music and scenes as triggering emotions (feelings, an
inner re-living, re-feeling).
16.
Friedrich (1986) AThe language parallax: linguistic relativism and
poetic indeterminacy@
ALanguage is the
symbolic process that mediates between, on the one hand, ideas/feelings and, on
the other, the sounds produced by the tongue, larynx, and so forth. Poetry,
analogously, is the symbolic process by which the individual mediates between
the music of a natural language and the (nuances of) mythic meaning. To create
felt consubstantiality between language music and myth is the master
trope of poetry - >master= because it is superordinate
to and in control over such lesser figures as image, metaphor, and paradox. And
this master trope is unique, that is, it is diagnostic of poetry@ (p.39).
17.
Language works in many ways at once. Sound and sense, music and meaning.
Meaning is in a word=s >movement= (intonation -
positions a speaker, and a listener).
18.
Involvement: one becomes involved by being >moved= by another=s words over a >scenic landscape= of human places
to go.... being >move3d= together.
Involvement strategies
Rhythmic
synchrony
Scollon
(1982)
AAs musicians use
the term, ensemble refers to the coming together of the performers in a way
that either makes or breaks the performance. It is not just being together, but
the doing together. And so a performance of a string quartet can be faulted, no
matter how impeccably the score has been followed, if a mutual agreement on
tempos, tuning, fortes, and pianos has not been achieved. Ensemble in music
refers to the extent to which performers have achieved one mind, or - to favor
Sudnow (1979), one body - in the performance of their work. Of the elements
which contribute to the achievement, tempo is the guiding element@ (p.342-3).
Repetition
and variation
Phonemes
Morphemes
Phrases
Longer
discourse sequences
Style
figures of speech
Participation
in sense-making
Indirectness/ellipsis/silence
Tropes
Constructed
dialogue
Imagery
and detail
Narrative
Involvement
through linguistic strategies
Scenes and music in creating involvement
Neurological
evidence
Involvement
and emotion
Particularity