It is argued in this paper that a multimodal analysis of turn-taking, one of the core areas of conversation analytic research, is needed and has to integrate gaze as one of the most central resources for allocating turns, and that new technologies are available that can provide a solid and reliable empirical foundation for this analysis. On the basis of eye-tracking data of spontaneous conversations, it is shown that gaze is the most ubiquitous next-speaker-selection technique. It can function alone or (...) enhance other techniques. I also discuss the interrelationship between the strength for sequential projection and the choice of next-speaker-selection techniques by a current speaker. The appropriate consideration of gaze leads to a revision of the turn-taking model in that it reduces the domain of self-selection and expands that of the current-speaker-selects-next sub-rule. It also has consequences for the analysis of “simultaneous starts”. (shrink)

Once assessments and continuers are focussed on as distinguishable phenomena it becomes clear that they differ from each other not just in the details of their sequential placement within an extended turn, but in other significant ways as well.First, though assessments can take the form of talk with clear lexical content (for example `Oh wow' and assessment adjectives such as ‘beautiful’), they can also be done with sounds such as ‘Ah:::’ whose main function seems to be the carrying of an (...) appropriate intonation contour, as well as gesturally (cf. M. Goodwin, 1980). In this they resemble continuers, which can be performed both with talk whose lexical status is not always granted, and with appropriate gestures such as nods. In view of the way in which both continuers and brief assessments are characteristically situated within a rather specialized environment, the ongoing talk of another, it is not surprising that they share these characteristics. Indeed in so far as these features provide minimal lexical and auditory interference with the other talk already in progress, they are precisely some of the adaptations that would be expected of action able to function in such an environment. Given such structural similarity in action that is also quite brief, the clarity with which assessments can be distinguished from continuers becomes interesting. If in fact these objects are doing different work in the same environment, the salience of their distinctness from each other becomes an important feature of the structure of each. In view of the economy and clarity that brief assessments require, it is all the more remarkable that many of them, through the details of the way in which they are pronounced and their intonation contour, are able to convey quite detailed, even intricate, information about their speaker's involvement in both the assessment and the talk of the moment.Second, while ‘uh huh’ seems to be restricted to placement in the midst of extended talk by another, assessments can occur at the completion of such extended turns as well. Indeed assessments are one of the prototypical ways of bringing an extended turn such as a story to completion. Such differential placement is quite compatible with what has already been noted about the organization of these phenomena. For example, insofar as a continuer treats the talk just heard as preliminary to further talk it would be quite inappropriate as a technique for marking completion of an extended turn. On the other hand by virtue of the way in which they appreciate the details of what has just been said without marking that talk as a prelude to something else, assessments are apt structures for doing terminal work on an extended sequence.Third, ‘uh huh’ seems to be an exclusively recipient action — indeed its work as a continuer is accomplished precisely through placement relative to more extended talk by another speaker. Assessments, however, can be done by speaker as well as recipient.Fourth, though analysis in the present paper has focussed on brief assessments (the type of assessment most similar in form to continuers), assessments unlike continuers can in fact take many shapes, some of them quite elaborate with, for example, extended sentences and even sequences of turns being devoted exclusively to the activity of doing an assessment.In sum, alternative types of action are available to recipients for constructing responses in the midst of another's extended talk. Though the responses themselves are typically brief, the presence of alternatives that can be placed in a variety of sequential positions provides recipients with resources that enable them to participate in speaker's emerging talk in a differentiated fashion, something which has consequences for speaker's actions as well. (shrink)

The framework of depicting put forward byClark (2016)offers a schematic vantage point from which to examine iconic language use. Confronting the framework with empirical data, we consider some of its key theoretical notions. Crucially, by reconceptualizing the typology of depictions, we identify an overlooked domain in the literature: “speech-embedded nonverbal depictions,” namely cases where meaning is communicated iconically, nonverbally, and without simultaneously co-occurring speech. In addition to contextualizing the phenomenon in relation to existing research, we demonstrate, with examples from American (...) TV talk shows, how such depictions function in real-life language use, offering a brief sketch of their complexities and arguing also for their theoretical significance. (shrink)