Download (23MB) - University of Salford Institutional Repository
Download (23MB) - University of Salford Institutional Repository Download (23MB) - University of Salford Institutional Repository
previously relayed some of the details of this particular pub - the extent and nature of such being indicated by RP's claims in line 6 of not wanting to 'go there' and experience what KP&LP had experienced - this moment marks the beginning of the phase 'rommy Fields'. From this point onwards, all participants can be seen to mutually conversationally align to the past reality of 'Tommy Fields. The conversational and symbolic resources are embedded in this past individuated event, and, like 'Cookie's Party', for the duration of this particular phase of the episode, these linguistic and sociological resources are drawn upon to achieve equilibric sociable conversation. Subsequently, KPUP and RP&EP mobilise and align sociable selves as both players and images grounded in essentially - at least for the duration of the narrative - unique symbolic universes. As conversational players, the salient selves mobilised in 'Tommy Fields' are narrative ones. If we consider the talk itself, it is clear that what the narrating selves mobilised by KP&LP are conveying is not a measured and factual account of the interior of Tommy Fields. Rather, such selves are conversationally manifest in the dramatic licence being exercised to make this account a sociable one, that is, entertaining and interesting for the recipients RID and EP. There are frequent vivid claims made as to the nature of the pub and participants within it. For instance, claims such as 'You walk in and everybody stops talkin" (lines 25 and 60), 'all' customers (necessarily apart from KP&LP) had 'skinheads' and 'teeth missing' (line 82), 'coshes' (lines 43 and 70), 'hob nail boots' (line 35), and being 'bigger than any cunt' KP had ever seen in his life appear prima facie exaggerated - untrue even. However, as I noted above (Chapter 5), and has been observed by others (e. g. Byrnes 1986; Straehle 1997), truth value, factual accuracy, and clarity are not characteristic of English sociable conversation or, importantly, not conversationally characteristic of narrative selves. This is clearly evidenced in Tommy Fields as KP&LP mobilise narrating selves which allow the invocation of Tommy Fields and allow also for the invocation of KP&LP as conversational images around which the situated reality of 'Tommy Fields' unfolds. 256
Running alongside these narrative selves are the second type of sociable selves mobilised in such contexts, namely, audiential selves. The conversational work required of such sociable selves is reduced compared to narrating selves but equally as important to the episode. RP and EP mobilise and align audiential selves throughout this episode to ratify in the first instance the narrating selves of KP&I-P. In doing this, RP and EP demonstrate both their aliveness to the unfolding event and KP&LPs general handing as narrative conversational players. In terms of the self as image, KIP and LP posit their narrated and situated selves as being in a very alien environment and in a state of high affectiveness - that is, primarily 'scared' (lines 13,17,23, and 26) more than they ever had been before, to the point of being 'terrified' (line 43). As I noted in Chapter 7, affected selves are aided in their conversational life by the treatment accorded them by some participating conversational player. Over lines 12-27, both LP and KIP invoke the general nature of the scene within which their replayed selves and those of the other pub customers will be invoked. The word 'scary' and derivatives thereof is employed several times over these 15 or so lines to make it unequivocally clear, not only the nature of the pub, but importantly, the affective states of both KIP and LIP upon contact with the pub. In line 20, LIP invokes a 1980's horror film 'The Hills have Eyes' as analogous with the setting, whilst in lines 26-33 KIP states how he was 'less scared in the Main stand ... at city ... when United', referring to his attendance at a Manchester United versus Manchester City match he and RP attended some years previously where they were two of only three 'United' supporters in amongst thousands of 'City' supporters (a situation carrying some potential consequences for physical assault if they had been identified). Following this unequivocal framing of both the nature of the pub and the affective states of both KIP and LP, the narrative is relayed with the use of salient selves. How is primary alignment achieved in this episode then, or how is this sociable made narrative made possible in and through the mobilisation of the sociable selves identified above? Fundamentally, in terms of the types of 257
- Page 215 and 216: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 is
- Page 217 and 218: Excerpt 7.6'Up a Hill' The sociable
- Page 219 and 220: RP&EP's mobilisation of an in-the-k
- Page 221 and 222: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
- Page 223 and 224: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
- Page 225 and 226: Excerpt 7.10 Was muss Mann machen?
- Page 227 and 228: Often, knowledgeable selves are ali
- Page 229 and 230: 7.4 Positive Selves I suggested ear
- Page 231 and 232: 27 RP: =get out of it= 28 LM: =. HH
- Page 233 and 234: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
- Page 235 and 236: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 is
- Page 237 and 238: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
- Page 239 and 240: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
- Page 241 and 242: of these selves at conversational w
- Page 243 and 244: develop the comparative focus, one
- Page 245 and 246: CHAPTER 8 ALIGNING SELVES IN THE AC
- Page 247 and 248: atification and support of unique,
- Page 249 and 250: Fig 8.2b The Individuated Selves (a
- Page 251 and 252: Excerpt 8.1 'Cookie's Party' I LM:
- Page 253 and 254: Beginning with the topic of convers
- Page 255 and 256: as re-invoking selves. The category
- Page 257 and 258: An interesting phenomenon which is
- Page 259 and 260: An additional consequence of alignm
- Page 261 and 262: Conversely, in considering the next
- Page 263 and 264: 100 KP: I mean you see two or three
- Page 265: however, such narrating selves are
- Page 269 and 270: capabilities of KP&EP and in this w
- Page 271 and 272: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
- Page 273 and 274: 6 (0.5) 7 EP: America is booming at
- Page 275 and 276: own unemployment levels -a concern
- Page 277 and 278: In terms of the selves mobilised, t
- Page 279 and 280: in 'Cookie's Party'- again, a secon
- Page 281 and 282: 35 GB: kann man nie als [endgültig
- Page 283 and 284: is HB: =Yeah not at all but e:: rm=
- Page 285 and 286: episode takes place. Rather, the ta
- Page 287 and 288: The excerpt begins as HB is proffer
- Page 289 and 290: What this talk demonstrates is that
- Page 291 and 292: N work or'Arbeit' being an extremel
- Page 293 and 294: demeaned and knowledgeable selves (
- Page 295 and 296: preceding comments regarding sociab
- Page 297 and 298: CHAPTER 9 CONCLUSION: THE TO AND FR
- Page 299 and 300: identified in conversational behavi
- Page 301 and 302: handled sociable topics, in terms o
- Page 303 and 304: to bring themselves and their inter
- Page 305 and 306: sociable conversation. This sociabl
- Page 307 and 308: maintain the underlying equilibrium
- Page 309 and 310: allowed for by the facework as alig
- Page 311 and 312: somebody who is overly-friendly, ge
- Page 313 and 314: Fig 9.2 A Maxim of Conversational P
- Page 315 and 316: Notes to Chapter 9 1 When we are ta
Running alongside these narrative selves are the second type <strong>of</strong><br />
sociable selves mobilised in such contexts, namely, audiential selves. The<br />
conversational work required <strong>of</strong> such sociable selves is reduced compared to<br />
narrating selves but equally as important to the episode. RP and EP mobilise<br />
and align audiential selves throughout this episode to ratify in the first<br />
instance the narrating selves <strong>of</strong> KP&I-P. In doing this, RP and EP<br />
demonstrate both their aliveness to the unfolding event and KP&LPs general<br />
handing as narrative conversational players.<br />
In terms <strong>of</strong> the self as image, KIP and LP posit their narrated and<br />
situated selves as being in a very alien environment and in a state <strong>of</strong> high<br />
affectiveness - that is, primarily 'scared' (lines 13,17,23, and 26) more than<br />
they ever had been before, to the point <strong>of</strong> being 'terrified' (line 43). As I noted<br />
in Chapter 7, affected selves are aided in their conversational life by the<br />
treatment accorded them by some participating conversational player. Over<br />
lines 12-27, both LP and KIP invoke the general nature <strong>of</strong> the scene within<br />
which their replayed selves and those <strong>of</strong> the other pub customers will be<br />
invoked. The word 'scary' and derivatives there<strong>of</strong> is employed several times<br />
over these 15 or so lines to make it unequivocally clear, not only the nature <strong>of</strong><br />
the pub, but importantly, the affective states <strong>of</strong> both KIP and LIP upon contact<br />
with the pub. In line 20, LIP invokes a 1980's horror film 'The Hills have Eyes'<br />
as analogous with the setting, whilst in lines 26-33 KIP states how he was 'less<br />
scared in the Main stand ... at city ... when United', referring to his attendance at<br />
a Manchester United versus Manchester City match he and RP attended<br />
some years previously where they were two <strong>of</strong> only three 'United' supporters<br />
in amongst thousands <strong>of</strong> 'City' supporters (a situation carrying some potential<br />
consequences for physical assault if they had been identified). Following this<br />
unequivocal framing <strong>of</strong> both the nature <strong>of</strong> the pub and the affective states <strong>of</strong><br />
both KIP and LP, the narrative is relayed with the use <strong>of</strong> salient selves.<br />
How is primary alignment achieved in this episode then, or how is this<br />
sociable made narrative made possible in and through the mobilisation <strong>of</strong> the<br />
sociable selves identified above? Fundamentally, in terms <strong>of</strong> the types <strong>of</strong><br />
257