Difference between revisions of "Burch2016a"
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{{BibEntry | {{BibEntry | ||
| + | |BibType=INCOLLECTION | ||
| + | |Author(s)=Alfred Rue Burch; Gabriele Kasper; | ||
| + | |Title=Like Godzilla: enactments and formulations in telling a disaster story in Japanese | ||
| + | |Editor(s)=Matthew T. Prior; Gabriele Kasper | ||
| + | |Tag(s)=EMCA; second language interaction; L2; multilingual | ||
|Key=Burch2016a | |Key=Burch2016a | ||
| − | + | |Publisher=John Benjamins | |
| − | |||
| − | |||
| − | |||
| − | |||
| − | |Publisher=John Benjamins | ||
|Year=2016 | |Year=2016 | ||
| − | | | + | |Language=English |
| − | | | + | |Address=Amsterdam |
| − | | | + | |Booktitle=Emotion in Multilingual Interaction |
| + | |Pages=57–85 | ||
| + | |URL=https://benjamins.com/catalog/pbns.266.03bur | ||
| + | |DOI=10.1075/pbns.266.03bur | ||
|Abstract=The chapter examines how a second language speaker of Japanese tells a disaster story to an L1 Japanese-speaking recipient in ordinary conversation. Drawing on Goodwin’s (2013) notions of lamination and substrates, the study shows how the teller and recipient orient to the story as a stance object by selecting, assembling, and recycling different types of multisemiotic resources, including language forms, cultural references, prosody, ideophonic vocalizations, and embodied action such as gaze, facial expression, and gesture. By displaying emotions of different quality and intensity, and doing so with different configurations of semiotic practices, at different sequential moments, the participants show what they understand the current activity within the telling to be. | |Abstract=The chapter examines how a second language speaker of Japanese tells a disaster story to an L1 Japanese-speaking recipient in ordinary conversation. Drawing on Goodwin’s (2013) notions of lamination and substrates, the study shows how the teller and recipient orient to the story as a stance object by selecting, assembling, and recycling different types of multisemiotic resources, including language forms, cultural references, prosody, ideophonic vocalizations, and embodied action such as gaze, facial expression, and gesture. By displaying emotions of different quality and intensity, and doing so with different configurations of semiotic practices, at different sequential moments, the participants show what they understand the current activity within the telling to be. | ||
}} | }} | ||
Latest revision as of 11:05, 27 December 2019
| Burch2016a | |
|---|---|
| BibType | INCOLLECTION |
| Key | Burch2016a |
| Author(s) | Alfred Rue Burch, Gabriele Kasper |
| Title | Like Godzilla: enactments and formulations in telling a disaster story in Japanese |
| Editor(s) | Matthew T. Prior, Gabriele Kasper |
| Tag(s) | EMCA, second language interaction, L2, multilingual |
| Publisher | John Benjamins |
| Year | 2016 |
| Language | English |
| City | Amsterdam |
| Month | |
| Journal | |
| Volume | |
| Number | |
| Pages | 57–85 |
| URL | Link |
| DOI | 10.1075/pbns.266.03bur |
| ISBN | |
| Organization | |
| Institution | |
| School | |
| Type | |
| Edition | |
| Series | |
| Howpublished | |
| Book title | Emotion in Multilingual Interaction |
| Chapter | |
Abstract
The chapter examines how a second language speaker of Japanese tells a disaster story to an L1 Japanese-speaking recipient in ordinary conversation. Drawing on Goodwin’s (2013) notions of lamination and substrates, the study shows how the teller and recipient orient to the story as a stance object by selecting, assembling, and recycling different types of multisemiotic resources, including language forms, cultural references, prosody, ideophonic vocalizations, and embodied action such as gaze, facial expression, and gesture. By displaying emotions of different quality and intensity, and doing so with different configurations of semiotic practices, at different sequential moments, the participants show what they understand the current activity within the telling to be.
Notes
