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Vocalizations are a central resource for instructing in orchestra rehearsals. Conductors use them to make the musicians understand what they want to hear, i.e., through singing and rhythmic vocalizations they imitate or depict the envisaged musical qualities. In this contribution, I examine what vocalizations of orchestra conductors look like and how they are embedded in the instructional interaction between conductor and musicians. Based on a corpus of orchestra rehearsals in France and Italy, the paper uses multimodal conversation analysis to describe the vocal resources used by the conductors for singing, the interactional and sequential organization of vocalizations, as well as their functional properties. Vocalizing appears to often be accompanied by other semiotic resources, such as gestures and gaze, in order to form vocal-gestural demonstrations that embody musical aspects, e.g., tempo, phrasing, articulation, etc. The analysis reveals that vocalizations are employed by conductors for various purposes that exceed the simple action of imitating the music. Data are in French, Italian and English. • Conductors vocalize using arbitrary but similar syllables and onomatopoeic patterns. • Vocalizations are closely tied to and timed with prosodic and gestural events. • Vocal depictions provide gestalt-like information about music character. • Vocalizations indicate correctable aspects prospectively and retrospectively. • Vocal demonstrations specify verbal instructions and monitor musical performance. [ABSTRACT FROM AUTHOR]

Interaction is a dynamic process that evolves in real time. Participants interpret and orient themselves towards turns of speech based on expectations of relevance and social/conversational norms (that have been extensively studied in the field of Conversation analysis). A true challenge to Human Robot Interaction (HRI) is to develop a system capable of understanding and adapting to the changing context, where the meaning of a turn is construed based on the turns that have come before. In this work, we identify issues arising from the inadequate handling of the sequential flow within a corpus of in-the-wild HRIs in an open-world university library setting. The insights gained from this analysis can be used to guide the design of better systems capable of handling complex situations. We finish by surveying efforts to mitigate the identified problems from a natural language processing/machine dialogue management perspective. [ABSTRACT FROM AUTHOR]

We assume a multistage oligopoly wherein a given number of innovators compete by selling their substitutive technologies. Each innovator sequentially and independently chooses how many licenses to sell, and subsequently, all licensees compete à la Cournot in the product market. We show that, in equilibrium, the total number of licensees grows exponentially with the number of innovators. In addition, this sequential outcome is also obtained as a subgame perfect Nash equilibrium in pure strategies of a game with endogenous timing. Interestingly, by extending the duopoly model of Badia et al. (Math Soc Sci 108:8–13, 2020) to the case of more than two innovators and exploring pure strategy equilibria instead of mixed strategy equilibria, we derive drastically different policy implications, in terms of patent regulations. Our results suggest that more competition in the upstream market (e.g., by relaxing patent protection against the appearance of similar technologies) tends to increase downstream competition and welfare instead of discouraging or delaying technology adoption. In addition, our analysis is extended to explore the strategic role of public investment in basic R &D. [ABSTRACT FROM AUTHOR]

Interaction is a dynamic process that evolves in real time. Participants interpret and orient themselves towards turns of speech based on expectations of relevance and social/conversational norms (that have been extensively studied in the field of Conversation analysis). A true challenge to Human Robot Interaction (HRI) is to develop a system capable of understanding and adapting to the changing context, where the meaning of a turn is construed based on the turns that have come before. In this work, we identify issues arising from the inadequate handling of the sequential flow within a corpus of in-the-wild HRIs in an open-world university library setting. The insights gained from this analysis can be used to guide the design of better systems capable of handling complex situations. We finish by surveying efforts to mitigate the identified problems from a natural language processing/machine dialogue management perspective.

This paper, located in the paradigm of Linguistic Coaching Process Research, theoretically introduces Conversation Analysis (CA) as a means to explore the 'black box' of coaching, i.e., the concrete conversation, and to address pressing research gaps in this field. CA, developed to describe, analyse, and understand practices and patterns of talk-in-interaction, presents a rigorous, systematic, and transparent qualitative method to document and research the sequentially organised conversational structure of coaching as well as the discursive practices of coach and client. The analytical power of CA lies in identifying change-inducing practices and in detailing how these contribute to the local effectiveness of coaching. A case in point are questioning practices, whose transformative power as local agents of change emerges in their sequential set-up as 'coaches' question – clients' response – coaches' reaction in third position'. In an exemplary analysis using CA, we illustrate the (un-)successful processing of questions in coaching. The two data extracts stem from the ongoing project Questioning Sequences in Coaching. While the paper aims to shed predominantly theoretical light on how to linguistically unpack the 'black box' of coaching, it also aims to sensitise practitioners to consider interventions, e.g., questions, as embedded in the locally transpiring, turn-by-turn interaction with their clients. [ABSTRACT FROM AUTHOR]

Graphic adaptations of literary works originated in the Golden Age when Albert Kanter first produced comic versions of canonical texts in Classics Illustrated. By mid-century, these adaptations were so widely used in schools that Frederick Wertham disparaged their presence as 'a serious indictment of American education'. Graphic adaptations remained in secondary schools throughout the twentieth century, but almost always in pedagogical purgatory: deemed less literary than their source texts, used to entice struggling readers, most often read alongside the original, and judged solely by fidelity to their source. These teaching practices linger today, even as graphic adaptations have proliferated and improved in craft, ingenuity, and ambition. This article proposes a new framework for teaching graphic adaptations, moving away from the fidelity standard and positioning them as independent comics. [ABSTRACT FROM AUTHOR]

This article discusses the sequential devices which structure lyric poems. The sequentiality of poems is usually given little systematic attention to in poetry analysis. The main focus tends to be on speaker, imagery, theme and prosody. But a central aspect of the meaning of any poem is the manner in which the progression of the poetic utterance is organised. One such device, widely used in traditional and contemporary poetry, is the schema of the narrative. This article briefly sketches a theoretical approach to the description of the sequential extension of poetic texts and applies it to examples from the work of two prominent contemporary English poets, Simon Armitage, the present poet laureate, and Glyn Maxwell.

We show that the equivalence, unambiguity, and sequentiality problems are decidable for finitely ambiguous max-plus tree automata. A max-plus tree automaton is a weighted tree automaton over the max-plus semiring. A max-plus tree automaton is called finitely ambiguous if the number of accepting runs on every tree is bounded by a global constant and it is called unambiguous if there exists at most one accepting run on every tree. For the equivalence problem, we show that for two finitely ambiguous max-plus tree automata, it is decidable whether both assign the same weight to every tree. For the unambiguity and sequentiality problems, we show that for every finitely ambiguous max-plus tree automaton, both the existence of an equivalent unambiguous automaton and the existence of an equivalent deterministic automaton are decidable. [ABSTRACT FROM AUTHOR]

Based on video-recordings of several weeks of rehearsals of a Japanese theater piece played by French actors, and adopting an ethnomethodological and conversation analytic perspective, this paper focuses on how the same few lines of a scene are subsequently enacted. In particular, it explores how the scene is played, not only in relation to the script but also to the situated moment-by-moment unfolding of embodied movements constituting the actions and achieving their detailed formatting and meaning. Whereas the dialogue refers to the scripted text, we argue that the multimodal details of each scene constitute a unique situated course of action achieved for 'another first time,' whose multimodal configuration depends on the temporality and the shape of each step, gesture, and body posture, as they are embodied and responded to in the vivid present and its contingencies. We demonstrate this by revealing how variations of the scene are performed, explored, and serendipitously found by the actors. We focus in particular on embodied details like walking, sitting, hugging and kissing, and the sequential and temporal positions at which they co-occur with the lines of the script. The analysis demonstrates both the indexicality of the script interpretations and the creative contingencies of the embodied work of the actors. In this way, it aims at contributing to current growing literature revisiting theater rehearsal as a situated activity and an interactional multimodal achievement. [ABSTRACT FROM AUTHOR]

Drawing inspiration from key authors such as Weick, Taylor and Van Every, Greimas, Goffman, Sbisà, and Tsui, we propose to explore what we call the basic organizing unit, in other words, the minimal form that a sequence of action must take in order to claim a certain degree of organizationality. In order to empirically test this proposition, we purposively analyze interactions taking place outside of a classical organizational context, i.e., street hypnosis sessions. What interests us is not only how these sessions are organized, but also how they organize themselves. Our aim, therefore, is to identify key moments when a certain organizationality seems to express itself, an organizationality that we propose to detect through the identification of these basic organizing units. This leads us to show that the adjacency pair model, which has been historically defined as a fundamental unit of conversational organization should, in fact, be replaced by our triadic model of interaction. [ABSTRACT FROM AUTHOR]

Sexual consent is advocated around the world to reduce sexual assault. The widespread affirmative consent model emphasizes a need for unambiguous consent. In this paper, we contribute to a deeper understanding of how ambiguities in the initiations of sexual activities are routinely solved to achieve consent. Drawing on conversation analytic research on joint decision-making, and a dataset of 80 cases of sexual initiation in contemporary TV-series and movies, we investigate the interactional practices by which sexual activities are presented as consensual and how consent is achieved across sequences of interaction. We found there to be social advantages of synchronous initiation, compared to sequential verbal initiations, which were associated with various social vulnerabilities. These vulnerabilities could however be circumvented by two practices, each of which made use of a distinct combination of verbal and embodied resources. While ambiguities exist, our results oppose the idea of sexual consent as a practically hopeless and awkward endeavor. Instead, consent consists of joint action that is achieved through recognizable and systematic ways. [ABSTRACT FROM AUTHOR]

Time is regarded as the immanent dimension for the social experience. This phenomenologically informed perspective of time is built into the ethnomethodological programme jointly proposed by Garfinkel and Sacks as they set out to uncover social orders through examining the temporal sequence in practical activity. However, Garfinkel and Sacks took different paths from this initial proposal in their separate development of Ethnomethodological Studies of Work and Conversation Analysis. Focusing on different forms of data, the two programmes adopted different approaches to time and action in constructing the time structures in their sociological description of activity. However, the difference has seldom been subjected to discussion and much less attempt to explore a possible synthesis of the two programmes from there. This article attempts to address this gap by proposing a perspective of multi-layered temporality in social interaction. The analysis examines three extracts from a university communication workshop for students and explicates different modes of how simultaneous sequences can constitute participants' action in situ : (1) simultaneous sequences by different actors; (2) simultaneous sequences by the same actor; (3) simultaneous sequences within a participatory framework. Contending the social actors' phenomenological potential to perceive simultaneous sequences in different time frames, we conclude that the 'situational time' in EM and 'conversational time' in CA can be commensurable. Interweaving different layers of temporality into an ethnomethodological description, practitioners can better reconstruct a 'reasonable total picture' of social activity to manifest its complex, seen-but-unnoticed endogenous social order. Beyond ethnomethodology, the multi-layered perspective of time provides the basis for a holistic approach to time, allowing the enquiry of broader social time through studying social life in vivo. [ABSTRACT FROM AUTHOR]

WWII remains a popular adaptation for videogames seventy years after its end, yet, what kind of war is depicted through these games? With inspiration drawn from Ethnomethodology, this article asks which cues WWII first person shooters, strategy games and flight simulation provide players with to categorize WWII. Eight different categorizations are identified. Even though preferred categorizations are found in each of the three genres analyzed, each game invites players to categorize WWII in several different ways. Moreover, it is shown that the sequentiality of these different categorizations is crucial for the way in which players are led to engage in virtual military engagements. They are offered varied moral orders and varied moral engagements.

The relationship between the ballata (a secular, popular poetic form with a refrain, often performed orally) and the lauda (a religious musical composition that gained popularity in Tuscany and Umbria in the 1260s) have long been contested by historians of Italian literature. The case of Siculo-Tuscan poet Guittone d'Arezzo's five ballate-laude demonstrate the high level of cross-fertilization between the ballata and the lauda, as he uses the secular poem's refrain form in creating his poetics of praise. More specifically, Guittone uses the refrain form to enact, with an extraordinary level of poetic self-awareness, an anti-sequential, circular, never-ending poetics of praise for the divine. A close examination of these poems, then, provides new perspectives on orality and textuality in the early Italian lyric, as well as pointing to new poetic possibilities resulting from the fusion of the two. These possibilities would prove fruitful in later Italian lyric, even contributing to Dante's attempts at out-of-time poetics in the Paradiso.

Abstract The automobile has reshaped our conceptions of space and our modes of accessing and penetrating the urban and non-urban territory in multiple ways, revolutionizing how architects perceive the city and contributing significantly to the transformation of the relationship between architecture and the city. Despite the fact that many architects and architectural critics and theorists have been attracted to automobile vision, in the field of history and theory of architecture and urban design, many questions concerning the impact of the automobile on our perception of the city and its territory have not yet been explored in depth. This is surprising when one considers that no other single factor changed the city so drastically during the twentieth century as the pervasive presence of the automobile. The article examines three different cases of architects—John Lautner, Alison and Peter Smithson, and Aldo Rossi—who tried to construct new visual regimes in photography from the car. The main objective is to present how new visual regimes in photography from the car informed in various ways the visual attitudes in their designs of buildings. The interexchange between the ways of capturing the views from the car and the formation of new design methods can explain the necessity to establish a new theoretical framework offering the possibility to historians of architecture and urban design to address in a sharp and concrete way the reciprocal relation between automobile vision and design approaches.

This contribution analyses two complex examples of the generic extension of lyric poetry in recent British literature. Tony Harrison’s film poem “The Shadow of Hiroshima” (1995) expands the lyric text into the visual dimension; Glyn Maxwell’s collection “The Sugar Mile” (2005) arranges a large number of individual lyric poems into a dramatic scenario. In both cases the generic transition is coupled with a further generic extension – the elaboration of a distinctly narrative sequentiality. In two important aspects the generic extension of these examples affects the rendering of a particular experience, namely the perception of and reaction to massive violence and destruction. One aspect concerns the organization of speech situation and perspective, especially the relation between a superordinate authorial voice and possible subordinate voices, the other aspect pertains to the status of the represented experience in the ambiguity between factuality and fictionality, characteristic of the stance of the lyric utterance in various periods throughout the history of poetry. In both respects the generic expansion in Harrison’s “The Shadow of Hiroshima” and in Maxwell‘s “The Sugar Mile” can be shown to utilize the representational potentials of lyric poetry in distinctly alternative directions.

The main goal of the study was to recognize the mechanisms underlying assemblage structuring of aquatic beetle fauna inhabiting a medium-sized, lowland river exposed to anthropogenic pressures. An attempt was made to identify the impact of numerous abiotic factors on how beetle communities are formed, with particular emphasis on geomorphological and landscape-related factors, which tend to be omitted from many studies of aquatic organisms. Our intention was to refer the results of our study to the general assumptions of the River Continuum Concept. Field studies were conducted in 2010, at 13 sites located along the Krąpiel River (north-western Poland). In total, 3,269 beetles were captured, representing 120 species and five ecological groups: crenophiles, rheophiles, rheobionts, stagnobionts a and stagnobionts b, which differ in environmental preferences. The core of the identified fauna was composed of stagnobionts, while rheophiles and rheobionts accounted for only 20% of the entire collected material. The formation of beetle assemblages was affected both by local factors, with an impact on aquatic environments, and by geomorphological factors, influencing a larger catchment. This was reflected in the high degree of conformity between dendrograms presenting similarities in the fauna at the studied sites, including the clustering of sites based on the abiotic factors that differentiated these sites. The presence of buffer zones, surfaces of patches denoted as "marshes" (marshland surface), "shrubs" (shrub surface), and "forests" (forest surface), and the distance to those patches seem to be the most important landscape factors affecting beetle communities. Of the factors influencing the aquatic environment, the following exerted the strongest effect: insolation, vegetation cover, presence of organic matter and BOD5, and anthropogenic pressure. The changes in assemblages of beetles determined in our study in the particular sections of the river course were a consequence of the effects of both internal factors and external ones, originating from the entire river's catchment, which is in accord with the basic assumptions of the RCC. [ABSTRACT FROM AUTHOR]

This study is about expressing spatial relationships between Figure and Ground in Finnish Sign Language discourse and shows that the variation in this expression is primarily discourse dependent. The main findings are, first, that Ground mainly precedes Figure whether the Figure is new or a known referent within the discourse; the reverse order is possible only when the Figure is known. Second, the lexical sign olla (‘have’) appears more frequently in expressing spatial relationships with a new Figure and less frequently with a known Figure but never in a construction with Figure preceding Ground; the form oli (‘had’), referring to the past, appears only in Figure preceding Ground constructions when Figure is known. Finally, the main way to express the spatial relationship between Ground and Figure is either the simultaneous production of the units, or Ground and an adposition sign. A sequential strategy is another way of expressing spatial relationships but this can be used only when the Figure is new within the discourse. The choice of strategy can be attributed to the emphasis put on the Figure’s presence when it is new while with a known Figure, the emphasis is on the location of that Figure.

The automobile has reshaped our conceptions of space and our modes of accessing and penetrating the urban and non-urban territory in multiple ways, revolutionizing how architects perceive the city and contributing significantly to the transformation of the relationship between architecture and the city. Despite the fact that many architects and architectural critics and theorists have been attracted to automobile vision, in the field of history and theory of architecture and urban design, many questions concerning the impact of the automobile on our perception of the city and its territory have not yet been explored in depth. This is surprising when one considers that no other single factor changed the city so drastically during the twentieth century as the pervasive presence of the automobile. The article examines three different cases of architects—John Lautner, Alison and Peter Smithson, and Aldo Rossi—who tried to construct new visual regimes in photography from the car. The main objective is to present how new visual regimes in photography from the car informed in various ways the visual attitudes in their designs of buildings. The interexchange between the ways of capturing the views from the car and the formation of new design methods can explain the necessity to establish a new theoretical framework offering the possibility to historians of architecture and urban design to address in a sharp and concrete way the reciprocal relation between automobile vision and design approaches. [ABSTRACT FROM AUTHOR]

Based on a 3-year ethnography on crime prevention of the police in Germany, this article analyses how the police incorporate youth in their de-escalation work preceding an annual demonstration on the 1st of May. A multimodal conversation analysis of work meetings traces how membership categorisation and assumption of social responsibility change: over the course of several months the police turn initially reluctant youth who the police at the outset considered 'troublemakers' into their 'helpers'. They build an alliance by working with youth centres, influential people from the neighbourhood and participants of the previous year's project. Whereas the police are the driving force at the beginning of the project, on the day of the demonstration they remain in the background and merely supervise the youth. This sequential development is discussed as a precarious process of disciplining the youth, driving the formation of a neighbourhood community and encouraging political consensus in society. [ABSTRACT FROM AUTHOR]

U prilogu se raspravlja o semantičko-pragmatičkoj relaciji sekvencijalnosti i konsekvencijalnosti te mogućnostima njihova gramatičkog obilježavanja asindetskim mehanizmom povezivanja klauza u zavisnosloženoj rečenici. Nakon kratkog pregleda literature i stavova iznesenih o tome i drugim srodnim pitanjima te definiranja temeljnih pojmova razmatra se primjenjivost asindetske veze u zavisnosloženim rečenicama s vremenskim, uzročnim, posljedičnim, namjernim i pogodbenim klauzama.

Linguistic relativity, rightly understood, implies that the presence or absence of certain grammatical categories and discursive styles can influence how we perceive and experience the world around us. In this study, monolingual speakers of Chol Mayan, a tenseless language, were shown a series of visual stimuli portraying different sequences of events, and were asked to describe what they saw to an interviewer. Participants were shown a long silent story composed of many sequential images, and a set of shorter stories composed of a minimum of two sequential images and a maximum of five sequential images. None of the stories that the Chol speakers told in response to the stimulus followed a sequential-chronological order, and all sequential images were described in non-sequential terms. In line with the linguistic relativity hypothesis, it is argued that this interesting discursive effect may be the result of the tenselessness of the Chol language. [ABSTRACT FROM AUTHOR]

Some characterizations of hereditary C*-subalgebras of weakly Rickart C*-algebras with weak* angelic dual balls are given. In particular, it turns out that weak* angelicity, weak* sequentiality and weak* sequential compactness of dual balls are the same on this class, and that they are characterized by using ideals of compact elements in those algebras. As an application, it is shown that a weakly Rickart C*-algebra has weak* angelic dual ball if and only if it coincides with the ideal of compact elements, which happens if and only if the algebra is finite dimensional. [ABSTRACT FROM AUTHOR]

Copyright of Ñawi: Arte, Diseño y Comunicación is the property of Escuela Superior Politecnica del Litoral and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

World Englishes are the product of contact between English and other languages in multilingual habitats through the nativization phase. Yet the actual contexts of code-switching that contribute to the emerging regional variety have scarcely been described. This research focuses on code-switching among bilingual Filipino students, to illuminate this dynamic phase in varietal evolution. Using data from an online academic forum, it analyses the code-switching patterns within and between turns in the discussion, to see how they facilitate or inhibit the mobilization of Tagalog elements into code-mixed English. The data show intense levels of code-switching especially within individual turns. At the change of turns, the sequentiality principle is often set aside, and code-switching often involves Tagalog discourse markers and other function words. These include some elements noted two decades earlier (Bautista 1998) as potential features of evolving Philippine English, which have never been codified. The new data provide empirical evidence of how non-English elements are progressively taken up into World Englishes, in interactive use of English among bi-/multilingual speakers. [ABSTRACT FROM AUTHOR]

We propose the first steps towards a rigorous analysis of the effectiveness of an emerging pedagogy, Computational Thinking. We found that two aspects of the pedagogy have a positive effect with regard to enhancing two cognitive processes, namely sequential thinking and in abstract thinking. Our data was gathered experimentally with a cohort of mixed-ability undergraduate students enrolled on three distinct courses. The study employed a mixed 2 × 2 factorial design with type of classroom intervention, measurements were taken at baseline and following delivery of computational thinking methodologies designed to focus on specific components of the pedagogy. The dependent variable was percentage improvement from baseline, and the analyses were conducted using 2 × 2 mixed ANOVA, an alpha criterion of p <.05 was adopted for all analyses. The specific components investigated were algorithmic thinking and abstraction, and we found a positive correlation between enhancements of sequentiality and abstract thinking. [ABSTRACT FROM AUTHOR]

Asaf Hanuka's autobiographical comic strips collected into one album, The Realist, chronicle everyday episodes in the life of a young Israeli family. The silent nature of many of the panels brings forth the gap between the idea and the praxis. We investigate silence in relation to both genre and Israeliness in order to examine what silence promotes and to what extent it serves the narrative better than sound or words when generating criticism, displaying helplessness, coping with traumatic events, etc. Our six case studies are conducted in the framework of both silence theories and multimodal discourse theories. [ABSTRACT FROM AUTHOR]

The article has showed that the asyndetic clause linking mechanism in complex sentences is applicable not only in coordination (parataxis) but also in subordination (hypotaxis). Nevertheless, as far as sequentiality and consequentiality are considered, it is confirmed that asyndetism is much less present in subordination compared to coordination. Temporal sequentiality is always asyndetically coded by applying the principle of iconic representation. It means that the order of clauses reflects the order of the sequential discourse parts. In that case we encounter the coordinated sentence structures. The principle of iconic representation is normally applied in the process of asyndetic linking of clauses that are in the semantic relation of consequetiality as well. However, the iconicity principle can also be violated which makes it possible to signalize subordination (cf. Srušio se, pogođen je u glavu). This procedure works only when the basic causative-consecutive semantic relation is included. [ABSTRACT FROM AUTHOR]

As part of a larger research paradigm on understanding client change in the helping professions from an interprofessional perspective, this paper applies a conversation analytic approach to investigate therapists' requesting examples (REs) and their interactional and sequential contribution to clients' change during the diagnostic evaluation process. The analyzed data comprises 15 videotaped intake interviews that followed the system of Operationalized Psychodynamic Diagnosis. Therapists' requesting examples in psychodiagnostic interviews explicitly or implicitly criticize the patient's prior turn as insufficient. They also open a retro-sequence and in the following turns provide for a description that helps clarify meaning and evince psychic or relational aspects of the topic at hand. While the therapist's prior request initiates the patient's insufficient presentation, the patient's example presentation is regularly followed by the therapist's summarizing comments or by further requests. Requesting examples thus are a particular case of requests that follow expandable responses regarding the sequential organization; yet, given that they make examples conditionally relevant, they are more specific. With the help of this sequential organization, participants co-construct common knowledge which allows the therapist to pursue the overall aim of therapy, which is to increase the patients' awareness of their distorted perceptions, and thus to pave the way for change. [ABSTRACT FROM AUTHOR]

Copyright of ANIAV: Revista de Investigación en Artes Visuales is the property of Universidad Politecnica de Valencia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Abstract: The notion of “deontic rights”—the capacity of an individual to determine action—is described as a tool to analyze human power plays in the turn‐by‐turn unfolding of social interaction. Drawing on various bodies of literature, the paper portrays the organization of the adjacency‐pair sequence as the key locus of negotiation over deontic rights. How such negotiations happen in practice is also considered. Two deontic patterns instantiating themselves in sequential relations—deontic congruence and deontic incongruence—are discussed. Negotiations of deontic rights are suggested to take place specifically in and through three different forms of deontic incongruence, each of which involves a subtle mismatch between the claims of deontic rights of the first speaker and the recipient's treatment of these claims. These implicit power plays easily escape the eye and are therefore difficult to reflect upon and counteract by the participants themselves, which makes a thorough understanding of these mechanisms important. [ABSTRACT FROM AUTHOR]

The objective of this study was to confirm the existence of knowledge relating to the cursive writing movement for French pupils in 3rd year of kindergarten, 2nd grade and 5th grade of elementary school. 141 pupils were asked to watch a visual presentation of cursive handwriting to determine whether they were able to detect violations of two rules of handwriting: continuity and sequentiality of the cursive handwriting movement. Our results showed progressive development of the understanding of characteristics of the cursive handwriting movement, with different developmental trajectories of knowledge for the different rules. The ability to detect continuity of the cursive writing movement developed earlier than the ability to detect sequentiality. Correct decisions were not always accompanied by correct justifications, which developed more slowly than detection of rule violations. [ABSTRACT FROM AUTHOR]