A Second Transcription of SEWING
Our focus is on how Abe and Sue are using their bodies as well as their voices in constructing their turns, how each is attending aurally and visually to those productions of the other, and how they display their rapid orientation to and treatment of those nonvocalized components as interactionally relevant. We observe several occurrences of turn overlap, extended repetitions of nonvocalized embodied actions, and silences but no gaps in the interaction as indicated in the first transcription (based solely on vocalized turn units and transition-relevant places derived from them).
(Click the PLAY button for SEWING 2)
1 Abe: no:. thuh uh 'hh only boys. and the girls
2 a:re (0.2) [uh ah
[((EA-sewing[--------------------------->
[
3 Sue: [coo- [ SEWing
[((EA-sewing--->
4 Abe: (0.1) / [((--EA--->
5 Sue: [((--EA--->
6 Abe: [ Sewing.
[ ((nodding))
[((--EA---------->
[
7 Sue: [((--EA------>))
8 Abe: ((--EA--(0.4)-[------->))
[
9 Sue: [that's GOO:d
In line 1, Sue has her gaze continuously directed toward Abe. Abe responds to her just-asked question (whether or not the girls also make ships) in the negative ("no:"); and, after beginning to continue his turn with an article ("thuh"), Abe displays some trouble ("uh") and reformulates his extended response. He begins again his turn continuation with a definitive "only boys." Although there have been two transition relevant places so far in his turn (after the "no", and after the "only boys"), Abe now continues his turn seamlessly with no gap and begins to report on the girls' activity ("and the girls a:re ... uh ah") re-employing the definite article ("the"):
1 Abe: no:. thuh uh 'hh only boys. and the girls
2 a:re (0.2) [uh ah
[((EA-sewing[----------------------->
In line 2, Abe stretches out the "a:re" slightly, and this bit of his talk is immediately followed by a two-tenths of a second pause. This is not a transition relevant place, and both the stretch and the pause project some possible trouble (Schegloff 1984), in this case, a word search. Goodwin (1980) has shown that pauses are strategic interactional devices that may be used by co-present interactants to elicit the gaze of the recipient. Note that Sue is already gazing at Abe but she continues to do so throughout his next productions. Abe's next vocalized items are the gutteral gravel vocalization, "uh", and "ah", neither providing an appropriate and candidate next item due in terms of the word search but both displaying vocally his position as still current turn holder with a turn still in progress. However, what we want to focus on here is that at the same time that Abe is vocalizing "uh ah", he is also using his body to perform a nonvocalized component to his embodied action turn (a component that he will continue to re-perform four more times throughout the segment until Sue utters "that's" at line 9).