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SIA1 STO1 SIA2 STO1 SIA2 STO1 SIA2 PSIA2 PSIA2 SIA2 SIA3 STO3 SIA3 STO3 PSTO3 PSTO3� |
1K: 2A: 3K&A: 4K: 5A: 6K: 7A: 8K: 9A: 10M: 11A: 12M: 13K: 14A: 15M: 16K: 17M: 18A: 19M: 20K: 21M: 22K: 23A: 24K: 25A: 26K: 27A: 28K: 29M: 30K: 31M: 32K: 33M: 34K: 35M: 36K: 37M: 38K: 39M: 40A: 41K: |
Do we get to watch television? Of course we do. Oh really? Don�t be such a baby. Look, all we�re gonna do (reading) Nomads of the Wind! Is transcribe it Eastenders. Transcribe it and erase the stupid *tape.* *You�re* not gonna watch that tosh. What. Eastenders. Eastenders eight o�clock. Ted is confronted by the ghosts of his past. Followed by the nation�s favorite poems. Ghosts of his past? I told you.. one cheap tacky soap for.. each *week* *Two point four* children! Let�s watch +that+ +Yes+ +Two point four+ *children? (inaud.)* *I want to watch that.* So am I gonna go +(inaud.)+ +Hey!+ Eight o�clock and then say we want the telly.. *the video* *Do you know* do you know what I�m gonna miss then? What? The picture of my film.. I got the film out because it didn�t rewind Uh-huh And then I and the minute I took it out it went to S *and* *Mm-hm* I�m still gonna call the place in Milton Keynes tomorrow and see if it�s supposed to be doing that. *So it worked?* *And I* don�t know why it went.. it came out. I decided just to check and I W-whadja do? I just opened it like you were going to. In the dark? Yeah. And it had rewound so Didn�t like my idea then, that�s fine. I�m sorry.. I just.. I was nervous and I thought about it and decided it would be a good idea rather than trying to figure out about sending something to Milton Keynes and spending a lot of money and *(inaud.)* *Look.* The only reason +(inaud.)+ +(Inaud.)+ You open it because if the light gets on it it�ll ruin it and if there�s *no light* *We know* we know we know I I know I do know I�ve had a camera +since I was eight+ |
Turns 1 - 4 are about watching television. Turns 5, 7, and 9
are all part of a story about the recording which was prompted by M�s
actions (writing a response to the initial question about TV viewing,
rather than answering normally). Turns 6 and 8, meanwhile, and
continuing from 10 - 14 and 16 - 19 are again about watching
television, although this time the focus has shifted from Can we
watch TV? to What specifically shall we watch? In turn 15,
a PSIA is spawned from the mention of tacky British soaps. In the
second half of turn 19 and in 21, M attempts to shift the topic back
to a previous discussion of whether or not to sign out the Hall�s VCR,
probably because in M�s opinion there is nothing worth viewing on TV;
however, K overrides this with a story beginning in turn 20 and
carrying on from 22 - 36. This abrupt, apparently unmotivated
topic change is due to K�s having silently carried on reading the
TV Guide while M and A were talking in lines 17 - 19. She happened
upon the listing for Coronation Street, which reminded her of the
picture she had taken (this only becomes evident in turn 44K: So,
my point was my picture is standing in front of the World of
Coronation Street in Blackpool), and prompted her woeful tale of
ruined film. M of course isn�t yet aware that that�s where K�s
rambling is heading, and he starts a PSTO about film-changing in
general in turns 37 - 40. At turn 41, K assures M that he needn�t
lecture about the film.
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Discourse Analysis