Emotion in Interaction by Anssi Peräkylä, Marja-Leena Sorjonen

By Anssi Peräkylä, Marja-Leena Sorjonen

The significance of emotion in daily interactions has develop into a critical subject of analysis in a large choice of disciplines, together with linguistics, sociology, social psychology, anthropology, and conversation. Emotion in Interaction deals a suite of unique reports that discover emotion in clearly taking place spoken interplay. The articles study either the verbal and non-verbal assets for expressing emotional stance (lexicon, syntax, prosody, laughter, crying, facial expression), the emotional points of motion sequences (e.g. information supply and conflicts), and the position of feelings in institutional interplay (medical consultations, psychotherapy, health and wellbeing vacationing and helpline calls). What unites the articles is an knowing of the expression of emotion and the development of emotional stances as a technique that either shapes and is formed by means of the interactional context.

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Our focus on emotion as stance is, however, most relevant to the analysis emerging from neuroscience, of how emotions mark and inflect in a most consequential fashion E M O T I O N A S S TA N C E 3. 4. 5. 6. 7. 8. 9. 10. , 2004). In concert with work that views emotion as something that can be adequately described by restricting analysis to the individual, much work on emotion and language inspired by Wierzbicka (1995) has focused on her notion of semantic primitives. As Bamberg (1997, p. ” See Besnier (1990) and Wilce (2009) for reviews of language and emotion.

In addition to prosody, the entire body, face, torso, and limbs, index a display of “unhappiness” (lines 9, 11). There is a sad, desperate look on Alma’s face. She also leans back, stretching out both her head (turned a bit to the left) and her arms, arranging her body similarly to an iconic display of the Virgin Mary. Saga with her gesture covers her face. Figure  (  ) Emotion in Interaction Figure  (continued) When later, shown in Figure 9, Mom demands compliance by finally turning of the television herself, the girls’ embodied responses—Alma’s gesture of exasperation and Saga’s slapping the couch, while looking at Mom—display their exasperation and frustration with Mom’s action (lines 21, 22).

What seems to lie at the heart of this outburst is the seating position that has been adopted by her mother at lines 6–10 in response to the child’s request at line 3—an analysis later confirmed by the mother’s “Whe:re do I sit then” at line 28, which treats the location of where she is sitting as the main problem, and her later “Oh: dea::r I sat on the wrong seat I think” at line 35. What has been breached is an expectation that the child could feel had been established within the earlier interaction.

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