Macbeth2016b
| Macbeth2016b | |
|---|---|
| BibType | ARTICLE |
| Key | Macbeth2016b |
| Author(s) | Douglas Macbeth, Jean Wong |
| Title | The story of ‘Oh’, Part 2: Animating transcript |
| Editor(s) | |
| Tag(s) | EMCA, epistemics, sequential analysis |
| Publisher | |
| Year | 2016 |
| Language | English |
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| Journal | Discourse Studies |
| Volume | 18 |
| Number | 5 |
| Pages | 574–596 |
| URL | Link |
| DOI | 10.1177/1461445616658211 |
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Abstract
In conversation analysis (CA), through Sacks, Schegloff, Jefferson, and others, the conceptual architecture is joined at the hip to a technical architecture of transcripts, sequence, and turn productions. That the conceptual was to be found and demonstrated in the material detail of temporal productions was central to CA’s extraordinary innovations. As with CA, an Epistemic CA has the task of giving evidence of its conceptual order in actual materials, and thus animating the materials to show them. The task and relationship are emblematically reflexive: we shall find the expression ‘Oh’ indexing ‘changes of state’ or ‘inapposite inquiries’, for example, as of the account-able animations of turns and sequences of turns. Our shared attachments to sequential analysis deliver the expectation that we shall see how Epistemic order is achieved on actual occasions, through actual materials, rendered as transcript. The discussion turns to how the Epistemic Program (EP) engages and acquits this analytic expectation.
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