Transcribe the extract from CD-ROM Band 6:’Kitchen Floor’. Using this data and relevant theorists from E301, discuss the extent to which language creativity can be identified in everyday conversation in English.
Language creativity can be identified in everyday conversations. Some theorists argue that some uses of spoken language do not just convey information but give a performance, indicating creativity. Utterances and patterning, which can be argued are an element of language creativity, are also identified as part of everyday conversations (Eckert, p.127 Cook, p37 Maybin and Swann, 2006 & Coates CD-ROM Band 5, 2006).
The method used in the transcript data ’Kitchen Floor’, (Appendix 1) shows a degree of detail on the quality of speech used within informal conversation. In order to assess this, informal conversation must be defined. In ‘The Art of Common Talk’, Carter explores the view that random topic switching, overlapping, interruptions, hesitations and false starts may provide evidence of informal conversation (Cook 2004).
In addition inventive reformulations, repetitions, intensifying words and expressions are part of the artful use of language in narrative. Some of these features have been categorised by William Labov as either internal or external evaluation features. (Toolan, p.61, Maybin and Swann, 2006).
Carter states that it may be more instructive to see literary and creative uses of language existing along a cline. These are distinguished as three main models (Maybin and Swann, 2006:10).
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He places importance on fully considering social and cultural features as well as the notion of ‘clines of effect’ when investigating creativity in conversation (2004:117).
The method used in the transcript data ’Kitchen Floor’, (Appendix 1) shows an informal conversation highlighting a socio-cultural context and collaborative ideas interaction type. The transcript shows three female friends engaging in storytelling with specific memories. This concept is shown in Carter’s Matrix Table (2004:207).
Carter maps the relationship between language creativity and social context. This is associated with Carter’s sociocultural model.
Firstly one of the functions Carter describes in informal discourse is hyperbole (2004:136).
Hyperbole has a primary function to intensify an utterance. It can be an exaggeration to create emphasis or effect, but is not meant to be taken literally. This is a particularly linguistic focus but concentrates on the speakers and listeners who also use such creative language. Carter shows a wide range of hyperbolic forms that allow expressive choices which is associated with his inherency model. Within the transcript, this can be seen in line 14, ‘I was mad to take it on’ which might show that the speaker is trying to gain attention. It also produces a negative connotation with ‘mad’ associated with insanity or foolishness. This example could also be seen in Carter’s ‘evaluation cline’, by involving a negative stance towards what is being said. It could, instead have been replaced by a positive or neutral word choice or expression which would reduce attention and negativity. It may, however, have been employed to intensify her statement that her husband thought that she would undergo failure or defeat in ‘taking on’ the job, therefore linguistically strengthening her argument. Hyperbole can be seen again by the storyteller in line 40 ‘I’m humping 25 kilos of’, which again indicates a desire for attention.
Secondly the word humping is used instead of the core word carrying, suggesting she had to move the heavy cement awkwardly. An element of exaggeration may have been used with the word quantifier kilo stressing the feature word cement indicating its heavy weight. Both of these words could be seen as expressing a negative stance towards her husbands character, which, it could be argued, links to the theme ‘the inadequacies of men’. Hyperbole is also closely related to irony in that exaggeration can also be interpreted as an ironic tone of the voice. Irony has not been identified in Appendix 1 possibly due to subjectivity of listener interpretation leading to lack of transcript protocol, although it could be argued that it appears within the transcript in line 21 ”nothing I like more than a challenge” and 30 “and you’re sweating away” (2004:137).
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This shows that the speakers are doing more than just conveying information, and creativity within language can be identified here. It can also be related to Bakhtin’s notion of ‘double-voicing’ (Susan McRae and Joan Swann, p114,Maybin and Swann, 2006).
Further to the idea of a communication of more than just information, Carter believes that recognising the core in vocabulary can lead us to identify a degree of expressivity in vocabulary. He relates core and non-core vocabulary to a cline. (Carter, 2004:117-119).
This indicates a further dimension of language creativity.
Hyperbole is not the only way in which language creativity can be identified .The storytellers husband can be evaluated through the lexical choices used to describe him. These lexical choices also serve to create solidarity between speakers. Looking again at Line 40 “I’m humping 25 kilos of cement” it can be seen that by choosing the non-core word humping, this strengthens her statement that he was leaving her to do the heavy lifting work, like that of a camel! This shows how linguistic creativity can be used to give us insight into the character of the husband. It could also be agued that this word choice may also be closely linked along Carters cline of intensity .However, her statement might also be seen as a metaphor, it certainly does create an image. Metaphor may also be seen in lines 37 & 43 “he’d been driven to it…..”(Cameron, p46, Maybin and Swann, 2006).
This can be associated with Carter’s cognitive model. Alternatively it might be placed at the more non-creative end of the cline as there isn’t a great deal of reaction from the listeners. The chosen word ‘meanwhile’ in line 37 indicates an intervening moment in time. It is likely that at that moment in time she was not “humping 25 kilos of cement” on her back, while listening to her husband. One of the benefits of using Carters clines is that it enables a broad exploration of the discourse to be undertaken. In the case of transcribing the data from the ‘kitchen floor’ an overlap between the two clines was identified. Thus showing a sliding scale of Carters cline’s of effect.
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Whilst analysing hyperbole, metaphor, and lexical choices can help us start to identify creativity in the transcript, repetition functions and interaction markers are also something to consider .Particularly striking are the interaction markers of shared values, or solidarity and support shown in the transcript (Carter 2004:8).
Patterning such as back-channelling and interruptions are evident throughout the transcript with the repeated use of ‘yeah’ from both females. Interestingly in line 17 female 2 overlaps with “yeah, I can imagine yeah” This use of repetition is important as;
“Repetition is a resource by which conversationalists together create a discourse, a relationship, and a world. It is the central linguistic meaning-making strategy, a limitless resource for individual creativity and interpersonal involvement.” (2004:101) Tannen in Carter.
Line 17 not only highlights interpersonal involvement through repetition and use of interaction markers, but by choosing the word ‘imagine’ shows a belief or support of the story and an intimacy or solidarity between her and the storyteller. This shows membership within the group and an example of a creative speech act.
Continuing with the idea of patterning within everyday conversation being an indicator of language creativity, Carter terms his pattern forming and re-forming theories as the two main levels of creative interaction(2004:102).Firstly, pattern re-forming features use figures of speech, metaphoric invention, supportive back-channelling, some of which have already been identified in the transcript. This is where speakers play more with language and rules are broken drawing attention to patterns. Secondly pattern forming features are less overt, maybe even subconscious or subliminal repetition is shown (2004:164).
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An example could be found when looking at the word ‘dare’ used by Female 1 finishing off her story in line 3. The closely connected word ‘challenge’ is used later by the storyteller again in line 21 ‘challenge’ indicating a risk in both sentences. Rules are more likely to be conformed to here but both patterns are sometimes combined.
Echoing is another pattern forming feature but Cook points out that repetition is not simply an echo, repetition with variation, lexical and grammatical repetition along with clausal repetition are some other indicators. We can see ‘clausal repetition’ of the regularly recycled verb ‘going to’, six times throughout the discourse by one speaker, the storyteller. This specific repetition and the variety of interpretations which manifest from this can be used to illustrate the extent to which creative language use can be identified within everyday language use. Firstly in line 14, ‘going to’ follows the past tense word ‘wasn’t going to’ and the verb help. By the very nature that the storyteller is recalling a memory from the past would explain the tense. There is a negative connotation again indicating that her husband had no intention of helping her. This relates again to Carter’s evaluation cline. In the second example in line 19, ‘going to’ is in third person with the use of direct speech. This could have been chosen to help her bring her husband to life and make the story more real. By repeating the same statement that her husband had no intention of helping her, indicates the importance to the topic she is trying to get across.
The pattern continues where the third is found in line 19, still under the direct speech however, part of a ‘conditional clause’. By choosing the word ‘if’ she suggests a choice is still to be made to do the kitchen floor alone. The use of the word ‘challenge’ used later by the storyteller can be linked to this clause. It shows that she is choosing to take on the task. This is closely connected to Carter’s Cognitive model. The forth is found in line 32 however the words that follow were impossible to understand and could not be transcribed. It is therefore unclear what impact this may have had on the conversation and indicates a limit to the subjective interpretation of the transcript, particularly with reference to the use of creativity .The fifth might have been repeated as she had been interrupted at this point by Females 1 and 2. It may be important for her to tell this line as she does gain pleasurable effects of laughter from both the females in lines 35 and 36. The final one is found in line 37 at the end of the story. Female 1 in line 38 echoes were ‘going’ however she had changed the pronoun to ‘your’ before she describes in third person an imaginary scenario for the storyteller “sweating away”. Consequently indicating a link to Cook’s notion of ‘schema refreshment’ (Carter, 2004:60).
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In conclusion, analytical approaches of theorists including Carter and Labov have been drawn upon. Determining a degree of literariness in the ‘kitchen floor’ transcript has been associated with Carter’s three models. A clear overlap can be identified across Carter’s evaluation and intensity clines. For example, line 40 “meanwhile, I’m humping around 25 kilos of cement’ highlights a ‘sliding scale’ of creativity. Carter admits these are clinal and involve continua (2004:117).
It could be argued that this flexibility and adaptability is a strength of the clines, enabling fluid interpretation of creativity within conversations.
It was necessary to see the social context of the conversation, particularly as a starting point for analysis. Gaps in transcript clarity may have detracted from this and it is therefore impossible to be sure of a clear picture. It is important to be aware that conversation is spontaneous and also depends somewhat on the storytellers intended end. More than one cline or evaluation has been recognised when looking at the literary value. These approaches have positive values by helping determine the various degrees of creativity. If different figures of speech require different degrees of mental processing as Carter suggests, it could be questioned as to whether these choices define the level of mental processing or whether language is chosen for its audience. This can be seen through the two theorists’ similar viewpoints .It could be argued that by categorising different features of discourse we can better identify a level of creativity. However how far we and others see or make judgements on people’s identities, social contexts and definitions of creativity itself can be questioned. This raises further questions of our own subjectivity as analyists and the impact this may have on the identification of language creativity.
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Selecting repetition was essential in this transcript analysis. It has been recognised as proceeding throughout the main part of the transcript. Particularly Carter’s notion of pattern forming and reforming. This has helped to begin to embody some of the unique and individual ways the conversation has been created. Explaining the choice of specific non-core words, and applying Carter’s patterning notions illustrates the importance of Deborah Tannen’s quote signifying that repetition is a limitless resource for individual creativity and interpersonal involvement.
Overall, examples and features have been found and analysed thus recognising the extent to which creativity has been identified. Although creativity is relatively ubiquitous and can be seen in many forms continually explored or discussed, is in some way limitless and constantly changing.
References
Alan Owen with contributions by the course team, (2006) The art of English: everyday creativity, study Guide 1, The Open University.
Janet Maybin and Joan Swann, (2006) The art of English: everyday creativity, Palgrave Macmillan in association with The Open University.
E301 The art of English: everyday creativity,(2006) CD-ROM 1
Ronald carter, (2004) Language and Creativity The Art Of Common Talk , Routledge (Taylor &Francis Group).
Female 1: undid the paper and like put a little bit of salt on and handed it to him
Female 2: (( loud laughter))
Female 1: you know and he looked at me and he didn’t DARE say anything so he
Female 2: ((soft laughing))
Female 1: had to sit and eat it with his fingers which he HATES but I was goanna
Female 2: ((Laughter/ giggling))
Female 1: make a point of the fact that I was not goanna put it on plate and
Female 2: ((Faint Laughter))
Female 1: do the whole bit and make the tea and th=//
Storyteller: // It’s like Charles when I was
Storyteller: doing the kitchen floor [you see he told me before I started it that I
Female 1: [he’s so: arrogant
Female 2: huh
Storyteller: was mad to take on the job that I wouldn’t do it and he wasn’t going
Female 1: yeah [leaning
Female 1: on the door while he was saying it//
Female 2: yeah // I can [imagine yeah
Storyteller: to help [me He said (.) pp yeah [he said // I’m not
Storyteller: going to help you with this so if you’re going to do it you’re doing it
Female 2: yeah yeah
Storyteller on your own I said yea ok there’s nothing I like more than challenge//
Female 1: ( xxxxxx ) //men
Female 2: ((Laughs))
Female 1: ‘LOVE saying things like that
Storyteller: [= and he: actually did do that he stood and
Storyteller: leaned against the kitchen sis= [the
Female 1: yeah [the = the door
Storyteller: sideboard in the kitchen telling me he was depressed and that he was
Female2: ((Laughs))
Female 1: ‘AND ‘YOU’RE ‘SWEATING ‘AWAY ( xxxxxxxx )
Female 2: [=the water
Storyteller: going to take ( xxx ) felt like – he felt like reaching for [= the
Female 1: ff ((laughs))
Storyteller: the nearest bottle of sleeping tablets he was going to take. He’d been
Female 1: f ((laughs))
Female2: f ((laughs))
Storyteller: driven to it that afternoon he [was going to end it and meanwhile,
Female 1: [and you’re going (.) ‘YES
Female 1: ‘CHARLES ‘ITS ‘AWFUL ‘ISNT ‘IT!
Storyteller: I’m humping 25 kilos of cement across the kitchen
Female 2: ( xxxxxx ) could you bring me that cement
Storyteller ((yeah))
Female 1: ((Laughs)) Female 2: before you do it
Transcript Conventions
‘ high stress
: Lengthening
[ overlapping turns
// ‘latching’ one turn follows another with no perceptible gap
= two utterances closely connected without a noticeable overlap, or different parts of a single speaker’s turn
(.) pause of less than one second
– break off/unfinished word
P piano/quietly
pp very quietly
(f) forte/loudly
ff very loudly
CAPITALS loud/increases emphasis
(( )) may refer to non-speech element such as laughter
(xxxxxxx) impossible to understand and cannot be transcribed.
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Appendix 1 Transcript
