219-7677 10 7500817 John Benjamins Publishing Company Marketing Department / Karin Plijnaar, Pieter Lamers onix@benjamins.nl 201705011134 ONIX title feed eng 01 EUR
758017320 03 01 01 JB John Benjamins Publishing Company 01 JB code DS 28 Eb 15 9789027266156 06 10.1075/ds.28 13 2016055107 DG 002 02 01 DS 02 1875-1792 Dialogue Studies 28 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue across Media</TitleText> 01 ds.28 01 https://benjamins.com 02 https://benjamins.com/catalog/ds.28 1 B01 Jarmila Mildorf Mildorf, Jarmila Jarmila Mildorf University of Paderborn 2 B01 Bronwen Thomas Thomas, Bronwen Bronwen Thomas University of Bournemouth 01 eng 306 ix 296 LAN009030 v.2006 CFG 2 24 JB Subject Scheme COMM.CGEN Communication Studies 24 JB Subject Scheme LIN.DIAL Dialogue studies 24 JB Subject Scheme LIN.DISC Discourse studies 24 JB Subject Scheme LIN.NAR Narrative Studies 24 JB Subject Scheme LIN.PRAG Pragmatics 06 01 With chapters on social media, videogames and human-machine communication, <i>Dialogue across Media</i> provides a comprehensive overview of the role of dialogue in contemporary media. Drawing on the expertise of scholars and practitioners from multiple fields and disciplines, including screenwriters, literary critics, linguists and new media theorists, each chapter provides an in-depth analysis of dialogue in action. Together, these chapters demonstrate the unique energy and versatility that dialogic forms can offer artists and readers alike, and the special role that dialogue plays in helping us to understand the complexities and contradictions of human interaction. <br /><i>Dialogue across Media</i> provides an essential resource for students and specialists in many fields concerned with dialogue, including language and literature, media and cultural studies, narratology and rhetoric. <br /> 05 Mildorf and Thomas’ <i>Dialogue across Media</i> constitutes a timely collection of exciting research into the arguably neglected role of dialogue in contemporary media texts. Helen Ringrow, University of Portsmouth, UK, in Language and Literature 27 (2) 04 09 01 https://benjamins.com/covers/475/ds.28.png 04 03 01 https://benjamins.com/covers/475_jpg/9789027210456.jpg 04 03 01 https://benjamins.com/covers/475_tif/9789027210456.tif 06 09 01 https://benjamins.com/covers/1200_front/ds.28.hb.png 07 09 01 https://benjamins.com/covers/125/ds.28.png 25 09 01 https://benjamins.com/covers/1200_back/ds.28.hb.png 27 09 01 https://benjamins.com/covers/3d_web/ds.28.hb.png 10 01 JB code ds.28.001loc vii x 4 Article 1 <TitleType>01</TitleType> <TitleText textformat="02">List of contributors</TitleText> 10 01 JB code ds.28.01int 1 16 16 Article 2 <TitleType>01</TitleType> <TitleText textformat="02">Introduction</TitleText> <Subtitle textformat="02">Dialogue across Media</Subtitle> 1 A01 Jarmila Mildorf Mildorf, Jarmila Jarmila Mildorf 2 A01 Bronwen Thomas Thomas, Bronwen Bronwen Thomas 10 01 JB code ds.28.s1 Section header 3 <TitleType>01</TitleType> <TitleText textformat="02">Part I. Creating characters through dialogue</TitleText> 10 01 JB code ds.28.02man 19 36 18 Article 4 <TitleType>01</TitleType> <TitleText textformat="02">Pragmatic stylistics and dramatic dialogue</TitleText> <Subtitle textformat="02">Re-assessing Gus’s role in Pinter’s <i>The Dumb Waiter</i></Subtitle> 1 A01 Susan Mandala Mandala, Susan Susan Mandala 01 In this chapter, I follow Short (1989, 1998) and view dramatic dialogue as a form of exchange that can be read on the page just as legitimately as it can be experienced on stage. Employing a pragmatic stylistic analysis linking the text on the page to my interpretation, I offer a re-reading of Pinter&#8217;s <i>The Dumb Waiter</i>. While for Burton (1980) Ben was &#8220;the dominating and superior interactant,&#8221; and Gus &#8220;the dominated and inferior one&#8221; (70), I argue here that it is Gus who can be considered the dominating character and show in the concluding discussion why this recalibration of power is significant for our wider understanding of the play. 10 01 JB code ds.28.03ric 37 54 18 Article 5 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue and character in 21st century TV drama</TitleText> <Subtitle textformat="02">The case of &#8216;Sherlock Holmes&#8217;</Subtitle> 1 A01 Kay P. Richardson Richardson, Kay P. Kay P. Richardson 01 The successful British-made TV drama series <i>Sherlock</i> (BBC 2011-present) is one of the latest in a long sequence of dramatisations of the Victorian short stories and novels by Sir Arthur Conan Doyle. This chapter discusses some passages of dialogue from the first episode of this series, demonstrating how the character is created and maintained, focusing in particular on Sherlock&#8217;s antisocial tendencies, his eccentricity and his remarkable deductive powers. The analysis further seeks to isolate the <i>distinctive</i> contribution of dialogue in this respect from other aspects of audiovisual production, drawing as appropriate on the sociolinguistics of stance, politeness theory and conversational analysis. 10 01 JB code ds.28.04bat 55 76 22 Article 6 <TitleType>01</TitleType> <TitleText textformat="02">Look who’s talking</TitleText> <Subtitle textformat="02">Using transactional analysis in the writing of effective screenplay dialogue</Subtitle> 1 A01 Craig Batty Batty, Craig Craig Batty 2 A01 Wilf Hashimi Hashimi, Wilf Wilf Hashimi 01 Transactional Analysis (TA) is a theory of personality devised by Eric Berne, a Canadian psychiatrist, in the early 1960s. In particular, he ascribed specific meanings to the words &#8216;Parent,&#8217; &#8216;Adult&#8217; and &#8216;Child,&#8217; and we suggest that these provide readily accessible ways in which screenwriters can understand the power that language possesses, and the ways in which dialogic subtext may be designed for optimum effect. This chapter seeks to connect TA with screenwriting practice to understand and put into use the effective writing of screenplay dialogue. We first provide an overview of the fundamental points of TA theory before examining examples of how dialogue between characters can be used to build the credible characterisation that is the hallmark of all good and engaging screenwriting. 10 01 JB code ds.28.05tho 77 92 16 Article 7 <TitleType>01</TitleType> <TitleText textformat="02">All talk</TitleText> <Subtitle textformat="02">Dialogue and intimacy in Spike Jonze&#8217;s <i>Her</i></Subtitle> 1 A01 Bronwen Thomas Thomas, Bronwen Bronwen Thomas 01 This chapter focuses on the ways in which film dialogue can enact and foreground the complex mechanisms underlying conversational interaction, and demonstrate the ways in which verbal interaction may be as much about concealment and solipsism as it is about intimacy and revelation. With close reference to Spike Jonze&#8217;s <i>Her</i>, which centres on the developing relationship between a lonely writer and an operating system designed to fulfill his every need, the chapter will examine how the film&#8217;s foregrounding of character dialogue to the exclusion of almost everything else challenges convention and relies on the audience to read between the lines of the characters&#8217; utterances. The chapter draws on theories of dialogue from literary criticism, narratology and linguistics as well as film studies to argue that dialogue in film is not just about exquisitely staged scenes or displays of auteurish experimentation, but plays an integral role in the audience&#8217;s active engagement with the characters and their investment in their unfolding relationships. 10 01 JB code ds.28.s2 Section header 8 <TitleType>01</TitleType> <TitleText textformat="02">Part II. Involvement, audience design and social interaction</TitleText> 10 01 JB code ds.28.06koi 95 116 22 Article 9 <TitleType>01</TitleType> <TitleText textformat="02">Studying everyday conversation</TitleText> <Subtitle textformat="02">News announcements and news receipts in telephone conversations</Subtitle> 1 A01 Aino Koivisto Koivisto, Aino Aino Koivisto 01 Conversation Analysis (CA) is interested in the orderliness of our everyday communication and the social practices we engage in when trying to achieve various interactional goals. This article provides a brief overview of CA as a method and some aspects of everyday conversation from the CA perspective. As an example, the paper discusses the social action of delivering news and informings and responses to those actions in Finnish telephone conversations. It will be shown that telling a piece of news is an interactional process where the positioning of the informing and the way it is received by the recipient play a significant role in the final outcome of a news delivery sequence (Maynard 2003). Furthermore, the telephone as a medium has an impact on when and how a piece of news is delivered and how it is received. 10 01 JB code ds.28.07mil 117 136 20 Article 10 <TitleType>01</TitleType> <TitleText textformat="02">Dialogic interactions on radio</TitleText> <Subtitle textformat="02">Studs Terkel&#8217;s literary interviews</Subtitle> 1 A01 Jarmila Mildorf Mildorf, Jarmila Jarmila Mildorf 01 This paper focuses on a sub-category of journalistic interviews, namely the so-called &#8220;literary interview,&#8221; where writers are interviewed about their lives and works. More specifically, the paper investigates the dynamics of literary interviews as radio broadcasts and therefore emphasizes their conversational and medial side, paying attention to turn-taking mechanisms and the use of voice quality and prosody in the authors&#8217; multimodal self-presentations. Key linguistic concepts in this regard are interviewees&#8217; &#8220;audience design,&#8221; and also participants&#8217; speech accommodation and verbal &#8220;duetting,&#8221; which point to the collaborative nature of these interviews. The case studies are drawn from American radio journalist Studs Terkel&#8217;s interviews with Ralph Ellison, Maya Angelou and Toni Morrison. 10 01 JB code ds.28.08lam 137 154 18 Article 11 <TitleType>01</TitleType> <TitleText textformat="02">Dialogism in journalistic discourse</TitleText> <Subtitle textformat="02">An analysis of Ian McEwan&#8217;s &#8220;Savagely Awoken&#8221;</Subtitle> 1 A01 Marina Lambrou Lambrou, Marina Marina Lambrou 01 Drawing on Bakhtin&#8217;s (1986 [1929]) idea that language use is dialogic as it is marked by &#8220;addressivity&#8221; and &#8220;answerability&#8221; and addresses people and a particular context, this chapter argues that dialogism is also present in a commentary piece because it is part of a continuing, intertextual &#8220;dialogue&#8221; with previous reports and reporters of similar events as well as its readers, where it functions as &#8220;community building.&#8221; A discourse stylistic analysis of McEwan&#8217;s &#8220;Savagely Awoken&#8221; commentary identifies how dialogism is created and fulfils the important news values of newsworthiness in this carefully crafted and moving piece of journalistic writing. 10 01 JB code ds.28.09geo 155 178 24 Article 12 <TitleType>01</TitleType> <TitleText textformat="02">Friends and followers &#8216;in the know&#8217;</TitleText> <Subtitle textformat="02">A narrative interactional approach to social media participation</Subtitle> 1 A01 Alexandra Georgakopoulou Georgakopoulou, Alexandra Alexandra Georgakopoulou 01 Interactional approaches to everyday conversations, both bi- and multi-party ones, have amply documented the systematicity of sequential phenomena to be found within turn-taking as well as their close links with participant roles and relations. A comparable approach to social media communication is lagging behind, despite the fact that much of the social media pre-designing is specifically aimed at getting users in some kind of a &#8216;dialogue,&#8217; e.g., between posters and respondents, with facilities such as Like, Comment, Share, etc. In addition to providing a framework for future work on dialogical processes on social media, the findings of this study problematize restrictive views of social media platforms as environments for self-selecting participation on the one hand and &#8216;context collapse&#8217; (e.g., Marwick 2011) of participation on the other hand. 10 01 JB code ds.28.10piw 179 202 24 Article 13 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue with computers</TitleText> <Subtitle textformat="02">Dialogue games in action</Subtitle> 1 A01 Paul Piwek Piwek, Paul Paul Piwek 01 With the advent of digital personal assistants for mobile devices, systems that are marketed as engaging in (spoken) dialogue have reached a wider public than ever before. For a student of dialogue, this raises the question to what extent such systems are genuine dialogue partners. In order to address this question, this study proposes to use the concept of a dialogue game as an analytical tool. Thus, we reframe the question as asking for the dialogue games that such systems play. Our analysis, as applied to a number of landmark systems and illustrated with dialogue extracts, leads to a fine-grained classification of such systems. Drawing on this analysis, we propose that the uptake of future generations of more powerful dialogue systems will depend on whether they are <i>self-validating.</i> A self-validating dialogue system can not only talk and do things, but also discuss the <i>why</i> of what it says and does, and learn from such discussions. 10 01 JB code ds.28.s3 Section header 14 <TitleType>01</TitleType> <TitleText textformat="02">Part III. Playfulness and narrative functions of dialogue</TitleText> 10 01 JB code ds.28.11ber 205 224 20 Article 15 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue in Audiophonic Fiction</TitleText> <Subtitle textformat="02">The Case of Audio Drama</Subtitle> 1 A01 Lars Bernaerts Bernaerts, Lars Lars Bernaerts 10 01 JB code ds.28.12mik 225 250 26 Article 16 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue in comics</TitleText> <Subtitle textformat="02">Medium-specific features and basic narrative functions</Subtitle> 1 A01 Kai Mikkonen Mikkonen, Kai Kai Mikkonen 01 This paper focuses on the dialogue form in comics as a key narrative device, and examines the main elements and narrative functions that characterise scenes of talk in comics. The goal is to develop a medium-specific understanding of the dialogue form in comics. The starting point is the multimodal character of conversational exchange in comics. This requires a focus on the interaction between the utterance and the elements of the narrative drawing, that is, the ways in which the dialogue form (as written and drawn speech) interacts with what is shown in the image. Crucial aspects of graphic showing in scenes of talk in comics are facial expressions, gestures, body language and shape, and participant involvement. Equally, the expressive functions of typography and pictorial symbols, onomatopoeia, as well as graphic style, panel framing, and page layout, can play a major role. 10 01 JB code ds.28.13dom 251 270 20 Article 17 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue in video games</TitleText> 1 A01 Sebastian Domsch Domsch, Sebastian Sebastian Domsch 01 Dialogue is hardwired into the very matrix of video games, not only because they are an interactive medium, but because they are an <i>active</i> one: they react to input by players and can offer their own input. From the beginning, rule structures in video games were communicated through language. The more emphasis a game put on narrative, the more this turned into a dialogue with the player. Video games are usually at least implicitly cast as second-person narratives, hinting at or enacting a dialogue between the narrator/game master and the player. The player&#8217;s avatar also communicates within the game. This chapter looks systematically at the relationship between ludic and dialogic structures and at the various forms that dialogue has taken in video games. 10 01 JB code ds.28.14may 271 290 20 Article 18 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue and interaction in role-playing games</TitleText> <Subtitle textformat="02">Playful communication as Ludic culture</Subtitle> 1 A01 Frans Mäyrä Mäyrä, Frans Frans Mäyrä 01 Dialogue is central to role-playing games (RPGs). It serves multiple purposes, some of which are related to its functional role in mediating in-game clues or actions, some to the role of language in the collaborative construction of shared fantasy. The aim of this chapter is to identity the multiple functions dialogue has in role-playing games, and to provide illustrative examples and analyses of typical and inventive applications of dialogue in role-play. The examples are also chosen to highlight the similarities and differences between such RPG forms as table-top, pen-and-paper RPGs, larp or live-action role-play, as well as single-player and multiplayer, online computer role-playing games. 10 01 JB code ds.28.15ind 291 296 6 Article 19 <TitleType>01</TitleType> <TitleText textformat="02">Index</TitleText> 02 JBENJAMINS John Benjamins Publishing Company 01 John Benjamins Publishing Company Amsterdam/Philadelphia NL 04 20170119 2017 John Benjamins B.V. 02 WORLD 13 15 9789027210456 01 JB 3 John Benjamins e-Platform 03 jbe-platform.com 09 WORLD 21 01 00 99.00 EUR R 01 00 83.00 GBP Z 01 gen 00 149.00 USD S 162017319 03 01 01 JB John Benjamins Publishing Company 01 JB code DS 28 Hb 15 9789027210456 13 2016041071 BB 01 DS 02 1875-1792 Dialogue Studies 28 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue across Media</TitleText> 01 ds.28 01 https://benjamins.com 02 https://benjamins.com/catalog/ds.28 1 B01 Jarmila Mildorf Mildorf, Jarmila Jarmila Mildorf University of Paderborn 2 B01 Bronwen Thomas Thomas, Bronwen Bronwen Thomas University of Bournemouth 01 eng 306 ix 296 LAN009030 v.2006 CFG 2 24 JB Subject Scheme COMM.CGEN Communication Studies 24 JB Subject Scheme LIN.DIAL Dialogue studies 24 JB Subject Scheme LIN.DISC Discourse studies 24 JB Subject Scheme LIN.NAR Narrative Studies 24 JB Subject Scheme LIN.PRAG Pragmatics 06 01 With chapters on social media, videogames and human-machine communication, <i>Dialogue across Media</i> provides a comprehensive overview of the role of dialogue in contemporary media. Drawing on the expertise of scholars and practitioners from multiple fields and disciplines, including screenwriters, literary critics, linguists and new media theorists, each chapter provides an in-depth analysis of dialogue in action. Together, these chapters demonstrate the unique energy and versatility that dialogic forms can offer artists and readers alike, and the special role that dialogue plays in helping us to understand the complexities and contradictions of human interaction. <br /><i>Dialogue across Media</i> provides an essential resource for students and specialists in many fields concerned with dialogue, including language and literature, media and cultural studies, narratology and rhetoric. <br /> 05 Mildorf and Thomas’ <i>Dialogue across Media</i> constitutes a timely collection of exciting research into the arguably neglected role of dialogue in contemporary media texts. Helen Ringrow, University of Portsmouth, UK, in Language and Literature 27 (2) 04 09 01 https://benjamins.com/covers/475/ds.28.png 04 03 01 https://benjamins.com/covers/475_jpg/9789027210456.jpg 04 03 01 https://benjamins.com/covers/475_tif/9789027210456.tif 06 09 01 https://benjamins.com/covers/1200_front/ds.28.hb.png 07 09 01 https://benjamins.com/covers/125/ds.28.png 25 09 01 https://benjamins.com/covers/1200_back/ds.28.hb.png 27 09 01 https://benjamins.com/covers/3d_web/ds.28.hb.png 10 01 JB code ds.28.001loc vii x 4 Article 1 <TitleType>01</TitleType> <TitleText textformat="02">List of contributors</TitleText> 10 01 JB code ds.28.01int 1 16 16 Article 2 <TitleType>01</TitleType> <TitleText textformat="02">Introduction</TitleText> <Subtitle textformat="02">Dialogue across Media</Subtitle> 1 A01 Jarmila Mildorf Mildorf, Jarmila Jarmila Mildorf 2 A01 Bronwen Thomas Thomas, Bronwen Bronwen Thomas 10 01 JB code ds.28.s1 Section header 3 <TitleType>01</TitleType> <TitleText textformat="02">Part I. Creating characters through dialogue</TitleText> 10 01 JB code ds.28.02man 19 36 18 Article 4 <TitleType>01</TitleType> <TitleText textformat="02">Pragmatic stylistics and dramatic dialogue</TitleText> <Subtitle textformat="02">Re-assessing Gus’s role in Pinter’s <i>The Dumb Waiter</i></Subtitle> 1 A01 Susan Mandala Mandala, Susan Susan Mandala 01 In this chapter, I follow Short (1989, 1998) and view dramatic dialogue as a form of exchange that can be read on the page just as legitimately as it can be experienced on stage. Employing a pragmatic stylistic analysis linking the text on the page to my interpretation, I offer a re-reading of Pinter&#8217;s <i>The Dumb Waiter</i>. While for Burton (1980) Ben was &#8220;the dominating and superior interactant,&#8221; and Gus &#8220;the dominated and inferior one&#8221; (70), I argue here that it is Gus who can be considered the dominating character and show in the concluding discussion why this recalibration of power is significant for our wider understanding of the play. 10 01 JB code ds.28.03ric 37 54 18 Article 5 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue and character in 21st century TV drama</TitleText> <Subtitle textformat="02">The case of &#8216;Sherlock Holmes&#8217;</Subtitle> 1 A01 Kay P. Richardson Richardson, Kay P. Kay P. Richardson 01 The successful British-made TV drama series <i>Sherlock</i> (BBC 2011-present) is one of the latest in a long sequence of dramatisations of the Victorian short stories and novels by Sir Arthur Conan Doyle. This chapter discusses some passages of dialogue from the first episode of this series, demonstrating how the character is created and maintained, focusing in particular on Sherlock&#8217;s antisocial tendencies, his eccentricity and his remarkable deductive powers. The analysis further seeks to isolate the <i>distinctive</i> contribution of dialogue in this respect from other aspects of audiovisual production, drawing as appropriate on the sociolinguistics of stance, politeness theory and conversational analysis. 10 01 JB code ds.28.04bat 55 76 22 Article 6 <TitleType>01</TitleType> <TitleText textformat="02">Look who’s talking</TitleText> <Subtitle textformat="02">Using transactional analysis in the writing of effective screenplay dialogue</Subtitle> 1 A01 Craig Batty Batty, Craig Craig Batty 2 A01 Wilf Hashimi Hashimi, Wilf Wilf Hashimi 01 Transactional Analysis (TA) is a theory of personality devised by Eric Berne, a Canadian psychiatrist, in the early 1960s. In particular, he ascribed specific meanings to the words &#8216;Parent,&#8217; &#8216;Adult&#8217; and &#8216;Child,&#8217; and we suggest that these provide readily accessible ways in which screenwriters can understand the power that language possesses, and the ways in which dialogic subtext may be designed for optimum effect. This chapter seeks to connect TA with screenwriting practice to understand and put into use the effective writing of screenplay dialogue. We first provide an overview of the fundamental points of TA theory before examining examples of how dialogue between characters can be used to build the credible characterisation that is the hallmark of all good and engaging screenwriting. 10 01 JB code ds.28.05tho 77 92 16 Article 7 <TitleType>01</TitleType> <TitleText textformat="02">All talk</TitleText> <Subtitle textformat="02">Dialogue and intimacy in Spike Jonze&#8217;s <i>Her</i></Subtitle> 1 A01 Bronwen Thomas Thomas, Bronwen Bronwen Thomas 01 This chapter focuses on the ways in which film dialogue can enact and foreground the complex mechanisms underlying conversational interaction, and demonstrate the ways in which verbal interaction may be as much about concealment and solipsism as it is about intimacy and revelation. With close reference to Spike Jonze&#8217;s <i>Her</i>, which centres on the developing relationship between a lonely writer and an operating system designed to fulfill his every need, the chapter will examine how the film&#8217;s foregrounding of character dialogue to the exclusion of almost everything else challenges convention and relies on the audience to read between the lines of the characters&#8217; utterances. The chapter draws on theories of dialogue from literary criticism, narratology and linguistics as well as film studies to argue that dialogue in film is not just about exquisitely staged scenes or displays of auteurish experimentation, but plays an integral role in the audience&#8217;s active engagement with the characters and their investment in their unfolding relationships. 10 01 JB code ds.28.s2 Section header 8 <TitleType>01</TitleType> <TitleText textformat="02">Part II. Involvement, audience design and social interaction</TitleText> 10 01 JB code ds.28.06koi 95 116 22 Article 9 <TitleType>01</TitleType> <TitleText textformat="02">Studying everyday conversation</TitleText> <Subtitle textformat="02">News announcements and news receipts in telephone conversations</Subtitle> 1 A01 Aino Koivisto Koivisto, Aino Aino Koivisto 01 Conversation Analysis (CA) is interested in the orderliness of our everyday communication and the social practices we engage in when trying to achieve various interactional goals. This article provides a brief overview of CA as a method and some aspects of everyday conversation from the CA perspective. As an example, the paper discusses the social action of delivering news and informings and responses to those actions in Finnish telephone conversations. It will be shown that telling a piece of news is an interactional process where the positioning of the informing and the way it is received by the recipient play a significant role in the final outcome of a news delivery sequence (Maynard 2003). Furthermore, the telephone as a medium has an impact on when and how a piece of news is delivered and how it is received. 10 01 JB code ds.28.07mil 117 136 20 Article 10 <TitleType>01</TitleType> <TitleText textformat="02">Dialogic interactions on radio</TitleText> <Subtitle textformat="02">Studs Terkel&#8217;s literary interviews</Subtitle> 1 A01 Jarmila Mildorf Mildorf, Jarmila Jarmila Mildorf 01 This paper focuses on a sub-category of journalistic interviews, namely the so-called &#8220;literary interview,&#8221; where writers are interviewed about their lives and works. More specifically, the paper investigates the dynamics of literary interviews as radio broadcasts and therefore emphasizes their conversational and medial side, paying attention to turn-taking mechanisms and the use of voice quality and prosody in the authors&#8217; multimodal self-presentations. Key linguistic concepts in this regard are interviewees&#8217; &#8220;audience design,&#8221; and also participants&#8217; speech accommodation and verbal &#8220;duetting,&#8221; which point to the collaborative nature of these interviews. The case studies are drawn from American radio journalist Studs Terkel&#8217;s interviews with Ralph Ellison, Maya Angelou and Toni Morrison. 10 01 JB code ds.28.08lam 137 154 18 Article 11 <TitleType>01</TitleType> <TitleText textformat="02">Dialogism in journalistic discourse</TitleText> <Subtitle textformat="02">An analysis of Ian McEwan&#8217;s &#8220;Savagely Awoken&#8221;</Subtitle> 1 A01 Marina Lambrou Lambrou, Marina Marina Lambrou 01 Drawing on Bakhtin&#8217;s (1986 [1929]) idea that language use is dialogic as it is marked by &#8220;addressivity&#8221; and &#8220;answerability&#8221; and addresses people and a particular context, this chapter argues that dialogism is also present in a commentary piece because it is part of a continuing, intertextual &#8220;dialogue&#8221; with previous reports and reporters of similar events as well as its readers, where it functions as &#8220;community building.&#8221; A discourse stylistic analysis of McEwan&#8217;s &#8220;Savagely Awoken&#8221; commentary identifies how dialogism is created and fulfils the important news values of newsworthiness in this carefully crafted and moving piece of journalistic writing. 10 01 JB code ds.28.09geo 155 178 24 Article 12 <TitleType>01</TitleType> <TitleText textformat="02">Friends and followers &#8216;in the know&#8217;</TitleText> <Subtitle textformat="02">A narrative interactional approach to social media participation</Subtitle> 1 A01 Alexandra Georgakopoulou Georgakopoulou, Alexandra Alexandra Georgakopoulou 01 Interactional approaches to everyday conversations, both bi- and multi-party ones, have amply documented the systematicity of sequential phenomena to be found within turn-taking as well as their close links with participant roles and relations. A comparable approach to social media communication is lagging behind, despite the fact that much of the social media pre-designing is specifically aimed at getting users in some kind of a &#8216;dialogue,&#8217; e.g., between posters and respondents, with facilities such as Like, Comment, Share, etc. In addition to providing a framework for future work on dialogical processes on social media, the findings of this study problematize restrictive views of social media platforms as environments for self-selecting participation on the one hand and &#8216;context collapse&#8217; (e.g., Marwick 2011) of participation on the other hand. 10 01 JB code ds.28.10piw 179 202 24 Article 13 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue with computers</TitleText> <Subtitle textformat="02">Dialogue games in action</Subtitle> 1 A01 Paul Piwek Piwek, Paul Paul Piwek 01 With the advent of digital personal assistants for mobile devices, systems that are marketed as engaging in (spoken) dialogue have reached a wider public than ever before. For a student of dialogue, this raises the question to what extent such systems are genuine dialogue partners. In order to address this question, this study proposes to use the concept of a dialogue game as an analytical tool. Thus, we reframe the question as asking for the dialogue games that such systems play. Our analysis, as applied to a number of landmark systems and illustrated with dialogue extracts, leads to a fine-grained classification of such systems. Drawing on this analysis, we propose that the uptake of future generations of more powerful dialogue systems will depend on whether they are <i>self-validating.</i> A self-validating dialogue system can not only talk and do things, but also discuss the <i>why</i> of what it says and does, and learn from such discussions. 10 01 JB code ds.28.s3 Section header 14 <TitleType>01</TitleType> <TitleText textformat="02">Part III. Playfulness and narrative functions of dialogue</TitleText> 10 01 JB code ds.28.11ber 205 224 20 Article 15 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue in Audiophonic Fiction</TitleText> <Subtitle textformat="02">The Case of Audio Drama</Subtitle> 1 A01 Lars Bernaerts Bernaerts, Lars Lars Bernaerts 10 01 JB code ds.28.12mik 225 250 26 Article 16 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue in comics</TitleText> <Subtitle textformat="02">Medium-specific features and basic narrative functions</Subtitle> 1 A01 Kai Mikkonen Mikkonen, Kai Kai Mikkonen 01 This paper focuses on the dialogue form in comics as a key narrative device, and examines the main elements and narrative functions that characterise scenes of talk in comics. The goal is to develop a medium-specific understanding of the dialogue form in comics. The starting point is the multimodal character of conversational exchange in comics. This requires a focus on the interaction between the utterance and the elements of the narrative drawing, that is, the ways in which the dialogue form (as written and drawn speech) interacts with what is shown in the image. Crucial aspects of graphic showing in scenes of talk in comics are facial expressions, gestures, body language and shape, and participant involvement. Equally, the expressive functions of typography and pictorial symbols, onomatopoeia, as well as graphic style, panel framing, and page layout, can play a major role. 10 01 JB code ds.28.13dom 251 270 20 Article 17 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue in video games</TitleText> 1 A01 Sebastian Domsch Domsch, Sebastian Sebastian Domsch 01 Dialogue is hardwired into the very matrix of video games, not only because they are an interactive medium, but because they are an <i>active</i> one: they react to input by players and can offer their own input. From the beginning, rule structures in video games were communicated through language. The more emphasis a game put on narrative, the more this turned into a dialogue with the player. Video games are usually at least implicitly cast as second-person narratives, hinting at or enacting a dialogue between the narrator/game master and the player. The player&#8217;s avatar also communicates within the game. This chapter looks systematically at the relationship between ludic and dialogic structures and at the various forms that dialogue has taken in video games. 10 01 JB code ds.28.14may 271 290 20 Article 18 <TitleType>01</TitleType> <TitleText textformat="02">Dialogue and interaction in role-playing games</TitleText> <Subtitle textformat="02">Playful communication as Ludic culture</Subtitle> 1 A01 Frans Mäyrä Mäyrä, Frans Frans Mäyrä 01 Dialogue is central to role-playing games (RPGs). It serves multiple purposes, some of which are related to its functional role in mediating in-game clues or actions, some to the role of language in the collaborative construction of shared fantasy. The aim of this chapter is to identity the multiple functions dialogue has in role-playing games, and to provide illustrative examples and analyses of typical and inventive applications of dialogue in role-play. The examples are also chosen to highlight the similarities and differences between such RPG forms as table-top, pen-and-paper RPGs, larp or live-action role-play, as well as single-player and multiplayer, online computer role-playing games. 10 01 JB code ds.28.15ind 291 296 6 Article 19 <TitleType>01</TitleType> <TitleText textformat="02">Index</TitleText> 02 JBENJAMINS John Benjamins Publishing Company 01 John Benjamins Publishing Company Amsterdam/Philadelphia NL 04 20170119 2017 John Benjamins B.V. 02 WORLD 08 700 gr 01 JB 1 John Benjamins Publishing Company +31 20 6304747 +31 20 6739773 bookorder@benjamins.nl 01 https://benjamins.com 01 WORLD US CA MX 21 20 26 01 02 JB 1 00 99.00 EUR R 02 02 JB 1 00 104.94 EUR R 01 JB 10 bebc +44 1202 712 934 +44 1202 712 913 sales@bebc.co.uk 03 GB 21 26 02 02 JB 1 00 83.00 GBP Z 01 JB 2 John Benjamins North America +1 800 562-5666 +1 703 661-1501 benjamins@presswarehouse.com 01 https://benjamins.com 01 US CA MX 21 1 26 01 gen 02 JB 1 00 149.00 USD