ABSTRACT

In the current revival of Gumperz’ notion of the verbal repertoire, which today is rather termed as communicative or semiotic repertoire, some scholars tend to locate repertoires with individual speakers whereas others see them primarily as emerging from particular spatial arrangements. What is often underestimated in both approaches is the importance of the bodily and emotionally lived experience of communicative interaction. This experience, however, can be critical in preventing resources from being deployed even though they are individually available and appropriate to the situation as well as in mobilising unexpected resources to achieve understanding. Conceiving the repertoire as holding an intermediate and mediating position between situated interactions, (sometimes competing) discourses, and subjects’ lived experiences of communicating, in this paper, I examine the interplay of these instances by introducing the notion of the ‘body image’: an imaginary, affectively loaded representation of the own body in relation to others. Finally, I discuss the language portrait (in which participants visualise their semiotic resources with reference to the outline of a body silhouette) as a window onto the body image and as a method to empirically investigate how people evaluate their resources and position themselves with regard to ideologies of communication.

摘要

在Gumperz的口头汇辑概念的复兴中如今被人们称为交际或符号学的曲目，一些学者倾向于将曲目与单个演说家联系在一起，而另一些学者则主要将其视为来自特定的空间安排。两种方法中经常被低估的是沟通互动的身体和情感生活经验的重要性。但是，这种经验对于阻止资源的部署至关重要，即使这些资源可以单独使用并且适合于具体情况，也对于调动意外的资源以达成理解至关重要。在本文中，将曲目库设想为在所处的互动，（有时是竞争的）话语和主体的交流经验之间处于中间和中介的位置，我通过介绍“身体图像”的概念来研究这些实例之间的相互作用：“假想的，情感上地承载着自己的身体与他人的关系的表示”。最后，我讨论了语言肖像（参与者可以参考人体轮廓来可视化他们的符号学资源），作为进入人体图像的窗口，以及作为一种方法来实证研究人们如何评估自己的资源以及如何定位自己的语言肖像的方法。交流意识形态。