critical discourse analysis
Table 1 MDA transcripta Time, turns 3:57 to 4:21, 12 turns Ideas The introduction to the idea that in the book“nothing happened.” No social action or justice occurred because the protagonist was powerless Imageb Multimodality (29) Jenna is leaning slightly towards Faye (30) Faye’s ankles are crossed and she looking down at her book (31) Faye looks at Jenna, softens her tone (32) Faye’s head moves back and forth to compliment what she is saying (33) Faye’s tone of voice raises (34–36) Faye’s tone of voice raises Verbal discourse (29) Faye: I think that’s interesting (30) Um, I think I can see how (31) maybe you could feel that (32) but I didn’t feel that at all (33) Jenna: what did you feel like? (34) Faye: This little, this book made me upset (35) I don’t like to read books (36) where nothing happens (37) Jenna: ohhhhh R. Rogers, M. Mosley/ Linguistics and Education 19 (2008) 107–131
(37) Jenna’s mouth opens wide, eyebrows raise, eyes get wide, shifts gaze from the table to Faye
a Description: The table includes one idea segment from a 17-min book club conversation on the book Iggie’s House. Chelsey takes 47 turns, 10 which are characterized as overlapping speech to move another’s talk along. She also makes two failed attempts to gain the oor. Faye takes 75 turns, 5 of which are overlapping and used to agree with another participant. Jenna takes 96 turns, but 48 turns include overlapping speech only that moves the conversation along or shows agreement (mmm hmm, right, laughter). b We recreated this image using a drawing in the style of Leander and Rowe (2006) to mask the identities of participants for the purpose of this article. However, we used actual video-stills in our analysis. In this image, numbers correspond to multimodality in each turn, arrows denote directionality of body movements during a turn, and thin lines that become thicker denote the focus of g
aze.
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critical discourse analysis
116R.Rogers,M.Mosley/LinguisticsandEducation19(2008)107–131
anti-racismtheteacherusesthelinguisticresourcesofstyle“s”(e.g.modality,pronounuse)topositionherselfasa
certaintypeofteacher“S”(e.g.anti-racistteacher,colorblindteacher).
Meaningmakingisrealizedthroughverbalandnonverbalutterances(e.g.gestureorpostureshift).Thus,wetook
stockofthewaysinwhichmultimodalresourcesweredistributedacrossgenre,discourseandstyle.Forinstance,
gesturescanholdaninteractiontogether(genre),functioningasacohesivedevice;whileatthesametimemarking
emotionandastancethatisnotpresentinwords(style).Whatisrelevanttothepresentanalysisisthechaining
orpatterningofmodesandhow/whatchainsofmodesindividualsdrawonandhowthesearereshapedwithinthe
moment-by-momentinteractionsofthegroupandhowthesearethenchangedandreworkedforindividuals.
Asindicatedinourdescriptionsabove,thelower/uppercaseletterspopularizedbyGee(1999/2006)isa
usefulconventiontosignifytherelationshipsbetweenlinguisticelementsandsocialpracticeswithintheCDA
framework—g/Genre,d/Discourseands/Style.Thatis,thelinguisticelementsof“g”genre,“d”discourse,and
“s”stylearepartofalargermatrixthatsignalssocialpracticesandmeta-narratives(“G,”“D,”“S”).Because
usingg/G,d/D,ands/Sthroughoutthepaperiscumbersome,werefertotherelationshipbetweenlanguagebits
andsocialpracticeswhichunderlieeachaspectoftheframeworkusinglowercaseletters(genre,discourse,and
style).
Wechartedthepatternsofgenre,discourseandstyleforeachparticipantinthebookclub,lookingforpatternsin
participationacrossthemodes(again,seeAppendixA).Atthislevelofanalysis,forexample,wenotedthatFaye
oftenuseda“yes...but”construction,apolitenessconventionusedtoentertheconversationwithtogetthe oorwith
acounter-point(genre)coupledwiththemeta-narrativethatanti-racismshouldbeactionbased(discourse)andheld
togetherbyverbalandcognitiveverbalprocesses,materializedthroughanactivevoice(style).Whileshedidthis,she
wouldoftensoftendirectpointsaboutWhitepeopleparticipatinginracismbyshiftingeyecontactacrossmembersof
herbookgroupandbyusingasoftenedtoneofvoice.
Wealsomadeachartofallofthesemioticresourcesthateachindividualwithinthegroupused.Forexample,for
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