Análisis del Discurso

The origins of the variationist approach are solely within the field of---. Linguistics. Sociolinguistics. Both.

Labov's research demonstrates that linguistic variation is persuasive and highly structured revealing regular patterns. True. False. It is structured but with no regular patterns.

The basic assumption of variationists is that there are patterns of language which vary according to the social environment and therefore such patterns can only be identified by studying speech communities in general. True. False.

What is the basic assumption of the Variation Analysis approach to discourse?. that there are patterns of language which vary according to the social environment. that there are patterns of language that can be considered common for all speech communities in general.

Who is the most prominent figure of Variation Analysis?. Labov. Foucault. Gumperz. Goffman.

What is the main concern of Variation Analysis? Find the wrong one. Variation Analysis is concerned with the variation and changes observed in language along different speech communities. Variation Analysis is concerned with the variation and changes observed in language along similar communities. Variationists focus on distributional patterns to discover differences between text types and they study linguistic change at the different levels of linguistic analysis: semantic, phonological, syntactic and textual; they work with samples of authentic speech data which leads them to seek the mode of speech called the vernacular.

Labov-Wrong. Labov (1996) argues in favour of the inadequacy of intuition as a source of information about language structure. William Labov argued that “the aim of linguistic analysis is to describe the regular patterns of the speech, rather than the idiosyncrasies of any given individual. Labov argues that interactions and the relationships among speakers, as well as the social context where language takes place, should not be taken into account by the linguists. Labovian sociolinguistics conceives regular patterns as social-linguistic facts which represent a correlation between linguistic features and social factor.

Wrong. Orderly heterogeneity holds that variable structures can nevertheless be rule-governed. Variation displays ordered heterogeneity instead of random chaos. Variation is entirely random free of any rule-governed.

Variation Analysis combines. Both qualitative and quantitative techniques. Qualitative techniques. Quantitative techniques.

Constraints.Odd one out. Unlimiting factors. Grammatical rules constrain sentence formation in any given language. For instance, in English, a standard sentence structure typically follows the Subject-Verb-Object order, which shapes how ideas are constructed and conveyed. A constraint in discourse analysis refers to any limitation or condition that affects the way a conversation or verbal interaction unfolds. Text is highly structured, and structured at a variety of levels.

Different levels of Variation analisis. The alternate terms lift and elevator share the same referents and their use may vary according to variables such as dialects, speech community or speech situation. Semantic. Phonological. Syntactic. Textual.

Different levels of Variation analysis. The pronunciation of the word schedule may vary geographically. Semantic. Phonological. Syntactic. Textual.

Different levels of Variation analysis. The .....constraint of verb and object placement in English requires the verb to come before the object in a sentence. Semantic. Phonological. Syntactic. Textual.

The overall information structure of a text imposes certain constraints on its parts, and so we see, for example, that the overall temporal structure of a narrative places constraints on its composing elements and even on the syntactic forms used to form those elements (i.e. a cooking recipe). True. False.

According to Patrick, a typical sequence of analysis for variationists would be the following: 1) Establish which forms alternate with one another –i.e., which are “the same (lift-elevator). 2) Delimit the environments in which this alternation-with-sameness occurs, and classify the factors within those environments exhaustively. 3) Propose hypotheses for contextual factors which might constrain the variation. 4) Compile a data set that allows for investigation and (dis-)confirmation of the alternations and co-occurrences predicted by hypotheses in (3). 5) Compare the frequencies/probabilities with which the different variants co-occur with the different (environmental) factors. 6) Typically, place primary emphasis on internal linguistic factors, and only secondary importance on external social explanations. 7) Typically, consider analysis primarily exploratory rather than confirmatory (due to lack of precisely predictive sociolinguistic theories). Todo.

Odd one out. Variation or linguistic change can only be studied at the level of semantically equivalent words. It is of utmost importance for researchers to collect samples of authentic speech data. However, when people know that their language is being recorded or observed, they may alter their register and use different forms, structures or strategies than when not being observed. Variationists seek the mode of speech called the vernacular. The vernacular is the variety acquired in preadolescent years that is used by speakers of a given language when they pay minimum attention to speech. In order to collect samples of the vernacular, variationists resort to sociolinguistic interviews,which allow them to discover the regular rules of language and the social distribution of variants. Vernacular speech is preferred by variationists, since they considered it the closest to natural speech.

What is not a basic assumption of the Variation Analysis approach to discourse?. That there are patterns of language which vary according to the social environment. Variationist relies heavily on the use of vernacular speech which is preferred by Variationists, since they consider it the closest to natural speech. In order to collect samples of the vernacular, variationists resort to linguistic interviews, which allow them to discover the regular rules of language and the social distribution of variants. In these interviews the respondents are asked to tell narratives of personal experience.

Vernacular. Wrong. It is a speech variety in which the minimum attention is given to the monitoring of speech. It is a speech variety in which the maximum attention is given to the monitoring of speech. It is used by Labov to analyse variation based on narratives of personal experience.

Narrative analysis-Labov. Wrong. It is the choice of a specific linguistic technique to report past events. It is a text which tells a story. It relates a compacted series of events either real or fictional in a more or less orderly manner. It is based on narratives of personal experience. It is a social phenomenon that does not vary with social context. Most of Labov’s model of narrative analysis is based on his belief that “one cannot understand the development of a language change apart from the social life of the community in which it occurs”.

He argues that the aim of linguistic research in the community must be to find out how people talk when they are not being systematically observed, yet we can only obtain this data by systematic observation. Observer's paradox. Vernacular natural language. Complicating action.

In the field of sociolinguistics, coined by Labov to refer to the challenges sociolinguistics face while doing fieldwork where the task of gathering data on natural speech is undermined by the researchers presence itself. Observer's paradox. Vernacular natural language. Complicating action.

Narrative analysis. Wrong one. For Lavob, the narrative is "one method of capitulating past experience by matching a verbal sequence of clauses to the sequence of events that actually occur". Labov's mode of narrative analysis differs from some of the earlier approaches in that his method focuses on oral narrative instead of written text. Broadly speaking, narratives contain a beginning, a middle, and an end, always containing three elements: Abstract, Orientation and Coda.

One or two clauses summarizing the whole story. The introductory part of the narrative. A brief summary of the events; or it may be simply a line or two that will spark the reader’s interest. The role of the ........ is to attract the listener’s interest, and to get the listener to want to hear the rest of the story. Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

An anecdote about Albert Einstein. Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

There was something whimsical about Einstein. Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

In his first year in Princeton, on Christmas’s Eve”. Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

During this phase the speaker gives the listener information about the setting of the story. For example, the speaker will introduce and describe the people or characters who will interact in the story, as well the setting (the place the action occurs) and the time frame. For the story to be valid and understandable to the reader, it is essential that he or she be informed of the time and place in which the narrative unfolds. Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

The events of the narrative that move it ahead.This refers to the actual events of the narrative, the occurrences that move it ahead. ....... may be physical actions. They may be also be statements spoken aloud, or they may be thought acts. Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

This is the conclusion. At this point the narrator indicates that the story has come to a close, that a final action has occurred. Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

The reason of the narrative, why is it told. the means used by the narrator to indicate the point of the narrative: why it was told, and what the narrator is aiming at, i.e. to give information on the consequences of the event for human needs and desires. These clauses are normally in an irrealis mood, because they make reference to events that did not occur, might have occurred, or would occur, by comparing the real events with events in an alternative reality that was not in fact realized. The .........section is typical of narratives of personal experience). Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

Labov means that the narrator points out the relevance of the story by connecting it with every-day life, or with other events or actions that fall outside the story frame. The ...... does not always have to be present. It may also be present without being explicitly stated. A free clause at the end which signals that the narrative is finished; a final clause that returns the narrative to the time of speaking, precluding the potential question: “And what happened then?”). Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

He put on his scarf and overcoat and took his violin from its case. Then joining the children as they went from door to door he accompanied their singing of Silent Night on his violin. Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

Some children sang carols outside his house. Having finished they knocked on his door and explained they were collecting money to buy Christmas presents. Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

The story finishes when the narration concludes and the narrator does not provide any particular unattached clause that might mark the end of the narration. Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

Narrative Analysis. All. Labov.

Narrative Analysis perspective (NA) Abstract, orientation, complicating action. This narrative presents all the elements described above except for the abstract, which is in some way given by the interviewer’s question (Did you ever have a feeling…?). The other five elements appear in the following order:. Lines 4-6: Orientation Lines 6-16: Complicating action (notice the sequential clauses) Lines 17-19: Result or resolution Line 19 (“She was a devil”): Evaluation Lines 20-21: Coda. All.

Not all narratives contain all six elements, their basic characteristic being their.................... temporal sequence. orientation sequence. resolution sequence.

The temporal sequence match the experience in the same order as to the events. True. False.

All complicating action clauses (as well as the resolution clauses) are not necessarily sequential clauses, while those of abstracts, orientations and codas are. True. False.

Labov argues that one cannot understand the development of language change apart from the social life of the community in which it occurs. True. False.

Abstract. Orientation. All.

Complication. Complication. All.

Evaluation. Coda. All.

Jane fell down and broke her arm or He as being followed when walking along a dark road at midnight, are examples of ... Minimal narratives. Complex narratives. Structural narratives.

1 (Did you ever have a feeling, or a premonition, that 2 something was gonna happen, and it did?) 3 Yes, I did. (Tell me about it) 4 I was goin’ with a girl, one time; we were 5 layin’ on a bed –we weren’t doing anything, we 6 were talkin’ –and, I don’t know, I looked into her 7 face, and I saw, like, horns coming out of her 8 head. You know. You know – like– I said, 9 “You look like the devil!” 10 She said, “What do you mean, I look like 11 the devil?” 12 Don’t kid around.” I said. “I’m not kiddin’. 13 I saw horns comin’ out of your head.” 14 And the girl got very angry and walked 15 out. But, we got together, and we went together 16 for about four months. 17 And, like, this girl tried to put me in a 18 couple of tricks. Like she tried to get some boys 19 to hurt me. You know. And she was a devil. 20 So, now, anything I see I believe it’s going 21 to happen. Numbers 6-16 are?.... Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

1 (Did you ever have a feeling, or a premonition, that 2 something was gonna happen, and it did?) 3 Yes, I did. (Tell me about it) 4 I was goin’ with a girl, one time; we were 5 layin’ on a bed –we weren’t doing anything, we 6 were talkin’ –and, I don’t know, I looked into her 7 face, and I saw, like, horns coming out of her 8 head. You know. You know – like– I said, 9 “You look like the devil!” 10 She said, “What do you mean, I look like 11 the devil?” 12 Don’t kid around.” I said. “I’m not kiddin’. 13 I saw horns comin’ out of your head.” 14 And the girl got very angry and walked 15 out. But, we got together, and we went together 16 for about four months. 17 And, like, this girl tried to put me in a 18 couple of tricks. Like she tried to get some boys 19 to hurt me. You know. And she was a devil. 20 So, now, anything I see I believe it’s going 21 to happen. Numbers 4-6 are?.... Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

1 (Did you ever have a feeling, or a premonition, that 2 something was gonna happen, and it did?) 3 Yes, I did. (Tell me about it) 4 I was goin’ with a girl, one time; we were 5 layin’ on a bed –we weren’t doing anything, we 6 were talkin’ –and, I don’t know, I looked into her 7 face, and I saw, like, horns coming out of her 8 head. You know. You know – like– I said, 9 “You look like the devil!” 10 She said, “What do you mean, I look like 11 the devil?” 12 Don’t kid around.” I said. “I’m not kiddin’. 13 I saw horns comin’ out of your head.” 14 And the girl got very angry and walked 15 out. But, we got together, and we went together 16 for about four months. 17 And, like, this girl tried to put me in a 18 couple of tricks. Like she tried to get some boys 19 to hurt me. You know. And she was a devil. 20 So, now, anything I see I believe it’s going 21 to happen. Numbers 17-19 are?.... Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

1 (Did you ever have a feeling, or a premonition, that 2 something was gonna happen, and it did?) 3 Yes, I did. (Tell me about it) 4 I was goin’ with a girl, one time; we were 5 layin’ on a bed –we weren’t doing anything, we 6 were talkin’ –and, I don’t know, I looked into her 7 face, and I saw, like, horns coming out of her 8 head. You know. You know – like– I said, 9 “You look like the devil!” 10 She said, “What do you mean, I look like 11 the devil?” 12 Don’t kid around.” I said. “I’m not kiddin’. 13 I saw horns comin’ out of your head.” 14 And the girl got very angry and walked 15 out. But, we got together, and we went together 16 for about four months. 17 And, like, this girl tried to put me in a 18 couple of tricks. Like she tried to get some boys 19 to hurt me. You know. And she was a devil. 20 So, now, anything I see I believe it’s going 21 to happen. Numbers 19 is?.... Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

1 (Did you ever have a feeling, or a premonition, that 2 something was gonna happen, and it did?) 3 Yes, I did. (Tell me about it) 4 I was goin’ with a girl, one time; we were 5 layin’ on a bed –we weren’t doing anything, we 6 were talkin’ –and, I don’t know, I looked into her 7 face, and I saw, like, horns coming out of her 8 head. You know. You know – like– I said, 9 “You look like the devil!” 10 She said, “What do you mean, I look like 11 the devil?” 12 Don’t kid around.” I said. “I’m not kiddin’. 13 I saw horns comin’ out of your head.” 14 And the girl got very angry and walked 15 out. But, we got together, and we went together 16 for about four months. 17 And, like, this girl tried to put me in a 18 couple of tricks. Like she tried to get some boys 19 to hurt me. You know. And she was a devil. 20 So, now, anything I see I believe it’s going 21 to happen. Numbers 20-21 are?.... Abstract. Orientation. Complicating action. Evaluation. Result or resolution. Coda.

An essential concept within narrative analysis (especially within the analysis of narratives of personal experience) is that of ..... Reportability. Contextual factor. Semantic factor. Linear modification.

..............is defined as “one that justifies the automatic reassignment of speaker role to the narrator”, and a most ..... that is less common than any other in the narrative and has the greatest effect upon the needs and desires of the participants in the narrative (is evaluated most strongly)”. Reportable event. Credibility. Causality. Objectivity.

....refers to the extent to which listeners believe that the events described actually occurred in the form described by the narrator. Reportable event. Credibility. Causality. Objectivity.

The sequence of events is explained by (a series of) explicit or implicit .................. relations. In other words, there is a proposed chain of events that links the orientation to the most reportable event through a web of.........................relations. Reportable event. Credibility. Causality. Objectivity.

In Labov’s terms, a/an ..................is “one that became known to the narrator through sense experience”. objective event. subjective event.

In Labov’s terms, a/an ..................is “one that the narrator became aware of through memory, emotional reaction, or internal sensation”. objective event. subjective event.

It might be concluded that it is probably in the sequence of events (complicating action and resolution) where the audience expects the narrator to be more subjective. True. False.

Greater degrees of subjectivity are expected and tolerated within the evaluative clauses of the narrative. True. False.

Example. All. Example of narrative analysis.

Example. All. Example of narrative analysis.

Essential concepts in Narrative Analysis. Reportability: telling a narrative requires a person to hold the floor longer and the narrative to carry enough interest for the audience to justify its telling, i.e. the narrative has to be reportable. Thus, – A reportable event is defined as “one that justifies the automatic reassignment of speaker role to the narrator” – A most reportable event is the event that is less common than any other in the narrative and has the greatest effect upon the needs and desires of the participants in the narrative” (Labov, 1997: 406). Credibility: the extent to which listeners/readers believe that events happened in the way the narrator describes them. Causality: a narrative needs a sequence of events (explained by casual relations) that link the orientation to the most reportable event. Point of View: an ideological framework within which events are seen or presented by the narrator (rarely a conscious process). Subjectivity: A subjective event is one that the narrator became aware of through memory, emotional reaction or internal sensation. Objectivity: Events have to be known to the narrator through experience. According to Labov, the narratives of personal experience that have the greatest impact upon audiences are those that use the most objective means of expression, because objectivity increases credibility. All.