By Neal R. Norrick
This booklet investigates the varieties and capabilities of storytelling in daily dialog. It develops a rhetoric of daily storytelling via an built-in method of either the inner constitution and the contextual integration of narrative passages. It goals at a extra whole photograph of oral narrative via research of a much wider variety of ordinary information, together with own anecdotes advised for humor, put-down tales instructed for self-aggrandizement, family members tales retold to ratify club etc, in addition to marginal tales and narrative-like passages to delineate the bounds of conversational storytelling and to check the analytical concepts proposed.Using transcriptions of news from daily speak, Norrick explores disfluencies, formulaicity and repetition as teller recommendations and listener cues along worldwide phenomena corresponding to retelling and narrative macrostructures. He additionally extends his research to narrative jokes from dialog and to narrative passages in drama, specifically Shakespeare’s “Romeo & Juliet” and Beckett’s “Endgame”.
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Additional resources for Conversational Narrative: Storytelling in Everyday Talk
Beyond the skeleton of narrative clauses describing the complicating action (or main action, as I will call it), Labov & Waletzky identify other material typically found in stories. ” The coda, which puts oﬀ any further questions about what happened or why it mattered. Labov & Waletzky collect all sorts of background information and framing devices into their notion of orientation, but it seems to me important to distinguish three separate types of materials under this basic heading. First, the general frame contains information about time and place.
Even in conversation, a storytelling may be elicited by a request for a particular story, for example “the one about your old car,” or a general request for a story about someone’s ﬁrst job. And one conversational storytelling often leads to a response story, ﬁtted to the topic or type of the immediately preceding story. I will further use the terms listener, auditor, recipient and audience more or less interchangeably in the everyday senses, though the passages analyzed will 28 CONVERSATIONAL NARRATIVE amply demonstrate that auditors are far from passive.
This pattern appears on several words after the well, as Frank puts together a halting, but clearly ongoing chunk. ” Thus the rising contour on minute shown by the question mark conveys a lack of certainty, rather than a request for conﬁrmation, as we see in Frank’s continuation with a dependent clause. Frank: Ned: Frank: have you ever seen this Simpsons thing? no, have you? I think I well. I, I saw it, for, I guess, a minute? when I ﬁrst heard them yelling about it. 22 CONVERSATIONAL NARRATIVE Sometimes a teller produces one or two utterances with rising contours in the orientation section of a narrative, as if to ensure that the listeners are attentive and able to assimilate the background information oﬀered, as Mark does in the next passage.