On a Random Friday Evening in My Hometown of Dixon, My Best Friend and I Decided That We
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891-23-4567
4-28-08
Setting
On a random Friday evening in my hometown of Dixon, my best friend and I decided that we had nothing better to do than eat Subway and Ben & Jerry’s ice cream throughout the night. When living in a small town like we do, considering the fact that it is cold outside, this is what the majority of underage people are doing. My friend Marcia and I sat in my kitchen for the majority of the night, catching up on what was going on in each other’s lives. We had not seen each other for several weeks (which is unusual for us), and acted like our usual selves as we formed a mild case of “ADD.” The topics and utterances that we say make us seem like we are crazy girls, but really we just love to create a fun time when all else fails.
Analysis
Knowing someone for twenty years gives interesting and interactive conversations that many do not share.Structure of the text lets readers understand why certain words were said after each other, why sarcasm was allowed, or what the point of the layout really means. The coordinated managements of meaning can be used to understand the conversation that happened on this random Friday night. CMM has two types of rules that are followed when trying to distinguish why and when text was used. In the regulatory rule, the setting and people in the conversation must be taken into account before statements are made (Wood, 1997). In lines 69 and 70, a fat joke is made between the two speakers. This situation shows that the two are okay with fooling around and bluntly saying words such as “fat” and “cow” in front of each other. If this conversation took place between a boy and me or an acquaintance and me, feelings of hurt would have hit instantly. However, best friends know each other well enough to know when jokes are allowed, which can be seen again in lines 31 and 32. If a serious conversation starts, the jokes are not put in and a more empathetic setting takes place. The next rule of CMM is the constitutive rule.When a speech act is used such as a directive, certain rules must be followed to carry out the purpose of the act (Wood, 1997). In lines 14 and 15 a question (classified as a directive) is asked about returning home. The proper rules are followed when the question is first responded to with a statement. It is then followed with a change of behavior when the listener acknowledges that she will come back. This could also be seen as a request from person R.
Through these types of rules of CMM, this conversation, or statements from the conversation, can be put into the hierarchy of context to further the understanding of the purpose of the speech. Lines 33 through 36 show an example of a small scenario. When R says “I don’t know what to say to that,” M responds with a laugh and then the statement, “That’s a surprise.” These two statements start out the first step of the hierarchy, content, showing the type of context that will start the hierarchy. Next a speech act must be seen(Wood, 1997). M’s response can be seen as an insult or sarcasm. To understand how the speech act is followed, the third step, episode, must be considered(Wood, 1997). The broad episode between the two is joking and subject sharing between friends while indulging in ice cream. When the episode is understood, the speech act can be seen as a sarcastic joke which both people can laugh without feelings getting hurt. In the fourth step, the relationship is defined(Wood, 1997). The relationship between the two speakers is best friends. By understanding the relationship, reading and analyzing the conversation lets one know that sarcasm is used greatly, which also leads into the next step, and that what some may see as a harsh insult or rude, the speakers see as hilarious and common. The next step is the autobiography of the speaker(Wood, 1997). From the phrase “That’s a surprise,” the speaker,M, is witty. She likes to make boring times fun. R is the person who takes and gives sarcasm and jokes. She gets made fun of more in the conversation than M does but never acts sad, showing that even though both are heavy on the “insults,” they know it is all fun. The last step of the hierarchy is culture(Wood, 1997). In the American culture, talk is rapidly changing. Topics change at a quick pace, while being direct is important. Some cultures believe women should not talk the way this conversation takes place. There should be no sarcasm or random topics if they do not deal with family or household duties. Different approaches to talk and topics are taken in regional cultures as well. Being in a small town compared to those who live in a big city or suburb, talk is different. This conversation might be seen as uninteresting or ridiculous to those who have not been raised in the area. Two girls talking about belching and being over sarcastic in the small town could be compared to two girls talking about shopping and gossip in a big city. Each culture takes surroundings and entertainment into account when talking.
CMM defines the meaning of the structure of the conversation. Meaning of conversation is decided each time one starts. This is done through the cooperative principle where the two speakers came to a conscious or unconscious (in this scenario) compromise on what will be understood and what will be violating the rules (Pomerantz et al.,1997). Going along with the cooperative principle, Grice’s four maxims are used throughout conversations as following the rules or violating them.
The first is the maxim of quantity, or saying only what needs to be said(Pomerantz et al.,1997). Throughout the conversation, the rule was seldom broken, seeing that not more if less was said to start a topic. Topics were switched in an instant that one was started or stopped before more could be said. Although it seems that the two speakers do not say enough to answer questions or explain stories, the tone in their voices and the fact that the two understand the short answer of “sure” or mocking people helps to create an implicature to save the quantity maxim.
In the maxim of quality, or speaking the truth, implicatures were used to follow the follow the rule (Pomerantz et al.,1997). There are several points where phrases were sarcastic, or not true for example lines 31 and 32. Again the violation is accepted, knowing that R is not stupid because she cannot get the ice cream open. The incident is taken in a joking manner. In line 39, the maxim is violated when the topic of retrieving scissors is discussed. M had gotten the scissors when R should have gotten them for her. R’s response is false, knowing that she will not get stabbed in the back. She was making a comment of how M seemed disgruntled by the fact. One can tell M accepts the violation when a response is said about having to get them instead of actually trying to stab. Violating the maxim of quality happens frequently between the two. Most of the time overlaps can be seen when one then starts to mock or joke with the other. Implicatures cover every incident so truth is never lost.
The next maxim, relevance, has violations and implicature, but at other places, is fulfilled by the speakers (Pomerantz et al., 1997). Lines 30 and 31 end and start separate topics without relevance or common themes to change. The subject of turning twenty-one to trying to open ice cream is a random switch. Although it is violated, it becomes an implicature when M follows along with the comment and starts to try to open her ice cream with scissors. This can also be seen in lines 48 to 49, and within a single utterance from lines 54 to 55. Both times the statements are allowed to be either ignored or continue a new topic. Relevance is followed in lines 1 through 13, talking about school changes. It then has a smooth topic change, finding a common theme in turning 21 at line 16. One many may think is irrelevant is at line 51; however, when R mentions being cold outside, she says it in a manly voice, which allowed M to reference a joke about being slippery outside. The joke had to do with similar words used by R that reminded M of a similar situational joke. This goes on to reference Dane Cook acts for several lines (55-59). At line 71, relevance is lost without an implicature to find a topic. M starts to say something which R is confused about for the next portion of the conversation. M does not resolve it but instead tries to tell R to forget about it.
The last maxim, manner, follows rules of expelling ambiguity and strives for clarity (Pomerantz et al., 1997). Throughout the conversation between the speakers clarity is seen. Though parts may be confusing to the reader, they follow the cooperative rule set by R and M. By understanding the hierarchy of context such as the relationship and episode that occurs in the conversation, one can understand the topics talked of along with relevance.
After listening to the conversation between the two of us, it became noticeable that even though we make fun of each other, we show respect at the same time. Neither one of us tries to out talk to other or interrupt numerous times. In this friendship, the respect is shown through good listening and understanding the difference between a joke and the truth. Listening to other parts of the conversation of the night gives further examples that the two of us want to be there for each other, have a good time, and show that we can share problems and stories without feeling unwanted.
Transcription
(1) R. Yeah I’m ready for school to be over with.
(2) M. I’m with ya there.
(3) R.Now I don’t know if I am-
[
(4) M. I get to go somewhere now ’ instead of stay here.
(5) R. hhmm hmm hhmm hhmm. When you suppose to be moving?
(6) M. ((mouth full))I don’t know. ((groan)) Hopefully in the summer cuz .Eh.
[
(7) R. the-tzat-tzat-tzat
[ ]
(8) M. Exactly.That’s not really specific but hopefully in the summer.
(9) R. Can be like August you should wait until like-
[
(10) M. No not, August
(11) R. When?
(12) M. ((pause)) July June.
(13) R. You should wait until July then you got a month with me. Yay for a month!
(14) R. (2.0 s) Are you coming back for your birthday?! Are you coming back for ˚my birthday?!<
(15) M. Sure
(16) R. You better. Hell:o weekend long.
[ ]
(17) M. egh-
(18) M. (3.0 s) After I turn 21 I will be doing something the weekend of (1.0 s), the weekend after, the weekend after that and ↑ probably the weekend after that.
(19) R. ° Like what?
(20) M. Cuz you know how many people say like ↓ ‘Oh I’m wanna get =
[
(21) R. Yeah yeah.
(22) M. =you drunk.’ Im gonna have to space it out
[[
(23) R. ‘↓Well too late’
(24) M. / I’m gonna have to space it out
(25) R. Hm, well my friend Rob is like ‘I wanna buy you your first shot, blah blah blah’ and I’m like mmmhh=
[ ]
(26) M. Probably not.
(27) R. =yeah I was like mmhhh, well my parents=
[
(28) M. Too late.
(29) R. =Yeah , my parents will probably want to by me my first drink, s::o sorry bout cha.
(30) M. Drink is different than shot.
(31) R. Eh, that’s true, I can’t get this ice cream open.
(32) M. Cuz your ↑ stupid.
((Pause))
((laugh))
(33) R. ↑ I don’t know what to say to that.
(34) M. ((laughs))
(35) R. Don’t laugh
(36) M. -That’s a surprise.((laughs)) Oh, I am on FIRE tonight! ‘Zing!’ ((laughs)) Just admit it.
(37) R. (1.5 s) No!, Ya know we have scissors for those kinds of things.
(38) M. ‘ya know we have scissors for those’ Egh.
(2.0)
(39) R. She’s gonna stab me in the back with scissors.
[
(40) M. Well ya know what? You didn’t get them for me.
(41) R. I had to , sit here.
[
(42) M. ‘I had to sit he:re’ N:ah
(43) R. There not mi-
(44) M. These scissors are crap. ((chuckles))
(45) R. ↑ GA::WD!
(46) M.( ) open.((laugh)) I really can’t.
(47) R. Ugh, that was a nasty belch.
(48) M. O:h good , just don’t blow it over here. Ugh.
[
(49) R. How do girls spend their Friday night when they live in a small town-and its cold outside.
(50) M. Cowtipping.
(51) R. ((chuckles)) No its cold outside. We can’t even do that.
[
(52) M. ‘Listen / listen, it’s slippery outside. Now turn me-east.’
(53) R.((laughs))
(54) M. I really want to finish this but not with the onions. (2.0 s) Onion, there’s only one left.
(55) R. You glass bitch=
(56) M. ((laughs))
(57) R. =You are very top heavy, you will fall/you will fall you are very top heavy((laughs))
(58) M. ((coughs)) ((eating noise))
(59) R. Dane Cook performed at Illinois State like two years ago , I wanna see him.He needs to come back. I like Dierks BentleyI’m happy to see him but h-
(60) M. He’s on Comedy Central all the time.
[
(61) R.I know. Northern’s getting Carrie Underwood , Wanna know why? ((whispering)) ( ) ‘I feel bad for you, blahdee, blahdee, blah.’
(63) M. Is this suppose to be here?
(64) R. It’s fine((chuckling))-that’s why I didn’t say it out loud. It will be a very long(1.5)
(65) M. Silence?
[
(66) R. Yeah.
(67) M.° ‘I wonder what they’re saying?’
(68) R. ((laughing)) Hhm:m. ((pause))Hurry up and eat your sandwich.
(69) M. Why, so you don’t feel fat?
(70) R. Yes! God very good.
((Pause))
(71) M.°° Monday
(72) R.((long sigh))
(73) M. °°I’m needy.
(74) R. What?!
(75) M. ( ) Don’t walk out on me I’m needy.
(76) R. What?
(77) M. It said on TV.
(78) R. What about TV?
(79) M. Nevermind.
(80) R. I’m so confused!
(81) M. I know it!
(82) R. ((holding laugh)) I don’t understand what you’re saying. Don’t walk o-
(83) M. That’s what I said’ ‘Scrubs will return in just a minute, don’t walk out on me I’m needy.’
(84) R. O::h
(85) M. Accept it, ya just couldn’t let it go.°
(86) R.((laughs)) I was trying to figure ou-
(87) M. Why couldn’t ya just let it go.
(88) R. I was trying to figure out what was going on! (3.0 s) It’s eleven o’clock at night.
(89) M. It’s ten fifteen!
Transcription Legend
( )Empty is unrecognizable utterances
(( )) Shows nonverbal behavior
(seconds or pause) Shows amount of pause or short pause
[[ Simultaneously overlap
[ Shows overlap
= Shows uninterrupted in overlap of speaker
- Shows abrupt cut off
: Shows extended syllable or phoneme
‘ dialogue’ Whatever is in between apostrophes is taking the voice of another(impersonating)
, Shows brief pauses followed by continuing utterance
° Dialogue becomes quieter than at other areas. The number indicates the softer the
utterance becomes
↑↓ Shows change in pitch and intonation
Talk delivered at quicker pace than rest of talk
? Rising inflection, can be question or not
!Animated tone
/ Repeat word(s)
____ Shows emphasis on word
CAPS Show exaggerated emphasis on word
Reference
Pomerantz, A, & Fehr, B.J. (1997). Conversation analysis: An approach to the study of social
action and sense making practices. In T.A. van Dijk (Ed.), Discourse as Social
Interaction (64-91). London:Sage
Wood, J. T. (1997). Communication theories in action: An introduction. Belmont, CA:
Wadsworth.