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Tekin2017a - Revision history
2024-03-28T09:12:59Z
Revision history for this page on the wiki
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https://emcawiki.net/index.php?title=Tekin2017a&diff=30772&oldid=prev
AndreiKorbut at 10:07, 26 September 2023
2023-09-26T10:07:34Z
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 10:07, 26 September 2023</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Language=English</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Language=English</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins style="font-weight: bold; text-decoration: none;">|Address=Paris</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Booktitle=Participation et asymétries dans l'interaction institutionnelle</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Booktitle=Participation et asymétries dans l'interaction institutionnelle</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|<del class="diffchange diffchange-inline">URL</del>=<del class="diffchange diffchange-inline">http://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=livre&isbn=978-2-343-11749-2&utm_source=phplist&utm_campaign=message_20301&utm_medium=email&utm_content=lienTitre</del></div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|<ins class="diffchange diffchange-inline">Pages</ins>=<ins class="diffchange diffchange-inline">285–313</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|ISBN=978-2-343-11749-2</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|ISBN=978-2-343-11749-2</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|Abstract=This chapter focuses on how professional photographers and clients arrange the</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|Abstract=This chapter focuses on how professional photographers and clients arrange the taking of photographs, and demonstrates how they can accomplish different poses within contrasted participation frameworks. Previous works on photography studies, particularly in visual anthropology, have mainly concentrated on photographs as research tools or end products (see Collier & Collier, 1986 ; Morphy & Banks, 1999), thus as detached from the actual interactional settings in which photos are produced in the first place as negotiated accomplishments of the photographers and the clients. They have therefore neglected to look at the interactive and situated production of photos as a « topic of investigation » in its own right1. With a focus on this relatively scarcely examined area, this chapter looks at the interactive work through which photographers and clients negotiate and accomplish different poses while making photos in a professional studio. Paying attention to the sequential and structural moment-by-moment organisation of this specific activity, this chapter addresses to how specific photos are proposed, designed and arranged as the activity progressively unfolds.</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>taking of photographs, and demonstrates how they can accomplish different poses</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>within contrasted participation frameworks. Previous works on photography studies,</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>particularly in visual anthropology, have mainly concentrated on photographs as</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>research tools or end products (see Collier & Collier, 1986 ; Morphy & Banks,</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>1999), thus as detached from the actual interactional settings in which photos are</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>produced in the first place as negotiated accomplishments of the photographers and</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>the clients. They have therefore neglected to look at the interactive and situated</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>production of photos as a « topic of investigation » in its own right1. With a focus on</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>this relatively scarcely examined area, this chapter looks at the interactive work</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>through which photographers and clients negotiate and accomplish different poses</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>while making photos in a professional studio. Paying attention to the sequential and</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>structural moment-by-moment organisation of this specific activity, this chapter</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>addresses to how specific photos are proposed, designed and arranged as the activity</div></td><td colspan="2"> </td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>progressively unfolds.</div></td><td colspan="2"> </td></tr>
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AndreiKorbut
https://emcawiki.net/index.php?title=Tekin2017a&diff=14277&oldid=prev
SaulAlbert: Text replace - "Conversation analysis" to "Conversation Analysis"
2018-05-16T08:09:51Z
<p>Text replace - "Conversation analysis" to "Conversation Analysis"</p>
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<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">← Older revision</td>
<td colspan="2" style="background-color: #fff; color: #222; text-align: center;">Revision as of 08:09, 16 May 2018</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Title=The negotiation of poses in photo-making practices: Shifting asymmetries in distinct participation frameworks</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Title=The negotiation of poses in photo-making practices: Shifting asymmetries in distinct participation frameworks</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Editor(s)=Lorenza Mondada; Sara Keel</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Editor(s)=Lorenza Mondada; Sara Keel</div></td></tr>
<tr><td class='diff-marker'>−</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>|Tag(s)=EMCA; Institutional interaction; Conversation <del class="diffchange diffchange-inline">analysis</del>; asymmetry</div></td><td class='diff-marker'>+</td><td style="color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>|Tag(s)=EMCA; Institutional interaction; Conversation <ins class="diffchange diffchange-inline">Analysis</ins>; asymmetry</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Key=Tekin2017a</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Key=Tekin2017a</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Publisher=L'Harmattan</div></td><td class='diff-marker'> </td><td style="background-color: #f8f9fa; color: #222; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #eaecf0; vertical-align: top; white-space: pre-wrap;"><div>|Publisher=L'Harmattan</div></td></tr>
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SaulAlbert
https://emcawiki.net/index.php?title=Tekin2017a&diff=13489&oldid=prev
BurakTekin: Created page with "{{BibEntry |BibType=INCOLLECTION |Author(s)=Burak S. Tekin |Title=The negotiation of poses in photo-making practices: Shifting asymmetries in distinct participation frameworks..."
2017-12-03T16:42:19Z
<p>Created page with "{{BibEntry |BibType=INCOLLECTION |Author(s)=Burak S. Tekin |Title=The negotiation of poses in photo-making practices: Shifting asymmetries in distinct participation frameworks..."</p>
<p><b>New page</b></p><div>{{BibEntry<br />
|BibType=INCOLLECTION<br />
|Author(s)=Burak S. Tekin<br />
|Title=The negotiation of poses in photo-making practices: Shifting asymmetries in distinct participation frameworks<br />
|Editor(s)=Lorenza Mondada; Sara Keel<br />
|Tag(s)=EMCA; Institutional interaction; Conversation analysis; asymmetry<br />
|Key=Tekin2017a<br />
|Publisher=L'Harmattan<br />
|Year=2017<br />
|Language=English<br />
|Booktitle=Participation et asymétries dans l'interaction institutionnelle<br />
|URL=http://www.editions-harmattan.fr/index.asp?navig=catalogue&obj=livre&isbn=978-2-343-11749-2&utm_source=phplist&utm_campaign=message_20301&utm_medium=email&utm_content=lienTitre<br />
|ISBN=978-2-343-11749-2<br />
|Abstract=This chapter focuses on how professional photographers and clients arrange the<br />
taking of photographs, and demonstrates how they can accomplish different poses<br />
within contrasted participation frameworks. Previous works on photography studies,<br />
particularly in visual anthropology, have mainly concentrated on photographs as<br />
research tools or end products (see Collier & Collier, 1986 ; Morphy & Banks,<br />
1999), thus as detached from the actual interactional settings in which photos are<br />
produced in the first place as negotiated accomplishments of the photographers and<br />
the clients. They have therefore neglected to look at the interactive and situated<br />
production of photos as a « topic of investigation » in its own right1. With a focus on<br />
this relatively scarcely examined area, this chapter looks at the interactive work<br />
through which photographers and clients negotiate and accomplish different poses<br />
while making photos in a professional studio. Paying attention to the sequential and<br />
structural moment-by-moment organisation of this specific activity, this chapter<br />
addresses to how specific photos are proposed, designed and arranged as the activity<br />
progressively unfolds.<br />
}}</div>
BurakTekin