Le corps dans la parole Heike Baldauf-Quilliatre Université Lyon 2 Lumière

Le corps dans la Le corps dans la paroleparole

Heike Baldauf-QuilliatreHeike Baldauf-Quilliatre

Université Lyon 2 LumièreUniversité Lyon 2 Lumière

Lyon 2005 Heike Baldauf-Quilliatre / the corporeity of speech

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The corporeity of speechThe corporeity of speech

►The corporeity of speech – vocal non-The corporeity of speech – vocal non-verbal expressions verbal expressions

►Vocal non-verbal expressions in Vocal non-verbal expressions in communicationcommunication

►Staging corporeity: informality, Staging corporeity: informality, confidence and sociabilityconfidence and sociability


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Vocal non-verbal expressions Vocal non-verbal expressions II

►sounds sounds or combinations of sounds or combinations of sounds which are not "verbal", but can be which are not "verbal", but can be considered as an utterance considered as an utterance

►Affective sound, interjection, Affective sound, interjection, holophrastic utterance, non-speech holophrastic utterance, non-speech sound, vocal non-verbal manifestation, sound, vocal non-verbal manifestation, minimal utterance [...] minimal utterance [...]


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Vocal non-verbal expressions Vocal non-verbal expressions IIII

►manifestation of manifestation of emotions (cathartic emotions (cathartic functions)functions)

►manifestation of manifestation of corporeal functions corporeal functions

► (absorption of food, (absorption of food, digestion, sexuality)digestion, sexuality)

controllable

it is possible to produce them intentionally


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Vocal non-verbal expressions Vocal non-verbal expressions IIIIII

►strongly conventionalised and possible strongly conventionalised and possible to describe with words (groan, to describe with words (groan, whistle ...)whistle ...)

►conventionalised, but calls for conventionalised, but calls for rephrasing ([i:], [ae])rephrasing ([i:], [ae])

► less conventionalised and hard to less conventionalised and hard to describe (sounds produced when one is describe (sounds produced when one is shaking, when one gets frightened etc.)shaking, when one gets frightened etc.)


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Vocal non-verbal expressions Vocal non-verbal expressions IVIV

► groaning as an groaning as an answer within an answer within an interaction (i.e. interaction (i.e. during a speech)during a speech)

► faked effortfaked effort► iconised symptomiconised symptom

► [i:] nearer to the [i:] nearer to the bodybody

► « faukale Distanz »: « faukale Distanz »: absorption of food absorption of food and retchingand retching

► the vocal expression the vocal expression of this procces is of this procces is related to the related to the expression of expression of pleasure and disgustpleasure and disgust


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Vocal non-verbal expressions Vocal non-verbal expressions in communication Iin communication I

►research project : Chemnitz (Werner research project : Chemnitz (Werner Holly), Trier (Ulrich Püschel), Giessen Holly), Trier (Ulrich Püschel), Giessen (Jörg Bergmann)(Jörg Bergmann)

►ethnomethology, ethnography, ethnomethology, ethnography, Cultural Studies, pragmalinguisticsCultural Studies, pragmalinguistics


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Vocal non-verbal expressions Vocal non-verbal expressions in communication IIin communication II

Example 1 – Arachnophobia / Hennig

01 Yvette i:: h: ua:: ((screams))02 Andrea ((screams))03 Maria <<p> ihr blödn> weiber (--) ihr blödn weiber ihr04 Yvette ((laughs)) 05 Werner warum bläkt ihr da 06 Maria das möcht ich o: wissn (--) die is doch euch nich 07 angehupst (--) oar das is doch ä volk 08 Andrea <<laughing> ua:> 09 Yvette ((laughs)) 10 Andrea ((laughs))


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Vocal non-verbal expressions Vocal non-verbal expressions in communication IIIin communication III

►the different vocal non-verbal the different vocal non-verbal expressions and their status within expressions and their status within the interaction of the television the interaction of the television viewers viewers

►the answers of the other participantsthe answers of the other participants►the usefulness of vocal non-verbal the usefulness of vocal non-verbal

expressions in communicationexpressions in communication


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different vocal non-verbal different vocal non-verbal expressionsexpressions

►vocal non-verbal expressions to vocal non-verbal expressions to explicit fear and pleasure (creeps)explicit fear and pleasure (creeps)

►position of vocal non-verbal position of vocal non-verbal expressions in the sequenceexpressions in the sequence


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the answers of the other the answers of the other participantsparticipants

► intimity and intensity induce a intimity and intensity induce a reaction, and even a physical one reaction, and even a physical one

►the verbal and inappropriate answers the verbal and inappropriate answers are to be explained by the specificity are to be explained by the specificity of the reception atmosphereof the reception atmosphere


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the usefulness of vocal non-the usefulness of vocal non-verbal expressions in verbal expressions in

communicationcommunication

►concise, intense and precise concise, intense and precise utterancesutterances

the use of vocal non-verbal the use of vocal non-verbal expressions is not to be reduced to expressions is not to be reduced to catharsis, but has different fonctions catharsis, but has different fonctions in the interactionin the interaction


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Staging corporeity IStaging corporeity I

►the acceptation of corporeity in the acceptation of corporeity in communication is related to the framing of the communication is related to the framing of the situation situation

►"vocal sounds help to establish a frame of "vocal sounds help to establish a frame of informality" (Hausendorf/Quasthoff 1995, 233)informality" (Hausendorf/Quasthoff 1995, 233)


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Staging corporeity IIStaging corporeity II

►tolerated corporeity tolerated corporeity

►intimate corporeityintimate corporeity►play corporeityplay corporeity


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Staging corporeity IIIStaging corporeity III

"Human beings need to have some "Human beings need to have some distance from intimate observation by distance from intimate observation by others in order to feel sociable. others in order to feel sociable. Increase intimate contact and you Increase intimate contact and you decrease sociability." (Sennett decrease sociability." (Sennett 1974/1986, 15)1974/1986, 15)


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Staging corporeity IVStaging corporeity IV

Example 2 – Chameleons / Paul

01 Sabine o:ar

02 Niklas (--) <<p> oar>

03 Sabine (2) (pass of (-) is ne) gute kamerastellung (--)

einstellung (2)

04 ((clicks his tongue)) (4) ((clicks his tongue laughing)) pass

of (2) o:a

05 Niklas (2) <<p> zeitlupe>

06 Sabine (--) <<laughing> oar igitt>


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Staging corporeity VStaging corporeity V

"The relationship between childhood play and "The relationship between childhood play and the adult culture which today enervates it can be the adult culture which today enervates it can be cast in the form of a conflict between two cast in the form of a conflict between two psychic principles. One of these is the principle psychic principles. One of these is the principle which leads children to invest a great deal of which leads children to invest a great deal of passion in an impersonal situation governed by passion in an impersonal situation governed by rules, and to think of expression in the situation rules, and to think of expression in the situation as a matter of the remaking as a matter of the remaking and the perfecting and the perfecting of those rules to give greater pleasure and of those rules to give greater pleasure and promote greater sociability with others. This is promote greater sociability with others. This is play. It conflicts with the principle which has play. It conflicts with the principle which has come to govern the state of adult culture [...]" come to govern the state of adult culture [...]" (Sennett 1974/1986, 315)(Sennett 1974/1986, 315)


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The endThe end

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Le corps dans la parole Heike Baldauf-Quilliatre Université Lyon 2 Lumière