Coxn.Mun.L.Ca-Tion. and Conflict in Calls to a 'Talk Radio' Show

Total Page:16

File Type:pdf, Size:1020Kb

Coxn.Mun.L.Ca-Tion. and Conflict in Calls to a 'Talk Radio' Show Opimionata Dicoure: Coxn.mun.l.ca-tion. and Conflict in Calls to a 'Talk Radio' Show 1Dy Ian. Hutch-by D 1 s 1----ta--t. ion. ulz)na i-t.-t.d. f or -th q_ual if ica-tion of DPla I 1 in. Sociology Un.ivrsity of York IDpartmrit of Sociology Augut 1993 This research focuses on interactional processes involved in the management of arguments about public issues in the context of public access 'talk radio' broadcasts. The work has two principal thematic directions. One involves the study of argument itself. Here the concern is to analyse strategies for building oppositions and alignments in disputes over competing versions of reality. The second direction involves the application of an interactionist approach to the discourse of the mass media. Here a main concern is with social forces at work in the discourse which situate the participants on the asymmetrical footings of 'host' and 'caller s , and related asymmetrical distributions of resources for intiating, sustaining and terminating disputes. The study utilises the methodology of conversation analysis. Beginning with a discussion of how this method can be used to analyse argument as a social activity in both conversation and institutional interaction (Ch. 2), we proceed to detailed analyses of the opening sequences of calls (Ch. 3), uses of persuasive language in the presentation of opinions (Ch. 4), modes of sceptical discourse (Ch. 5), the role of interruption in arguments and verbal confrontations (Ch. 6), and the way in which interactional asymmetries and power are involved in the argumentative nature of the closings of calls (Ch. 7). In all these chapters, connections are sought between the ways participants conduct their arguments and constraints imposed by institutional features of the setting. 1 Acknowledgements 4 1. On Talk and 'Talk Radio' 6 Methodological preliminaries 8 The focus on talk 10 Conversation analysis: Action and context 14 Talking: The business of the talk radio show 20 Data used in the study 25 Some background context for calls 28 The organisation of the study 32 2. Talk and the Kanagement of Conflict in Conversation and Institutional Interaction 35 Approaching argument: Arguments as 'Action-Opposition' sequences 37 Parameters of opposition in conversational argument 39 Comparative approaches to the study of disputing in institutional contexts 51 Won-formal' institutional interaction 58 Foregrounding opposition: Aspects of conflict talk on talk radio 63 Opinionated discourse 75 3. Organising Participation: The Structure of Opening Exchanges 78 The work of opening sequences 80 The conventional opening 87 Breakdown repairs 92 Interactional routine and institutional process 98 Concluding remarks 102 2 4. Call Validations as Opinionated Discourse 105 Baling an argument 107 Basic elements of call validations 109 First sentences: Focusing attention on an 'issue' 118 Vocabularies of opinion: Baling the case for a strong view 126 Instigating an argument: Baking the point and inviting a response 133 Concluding remarks 140 5. The Pursuit of Controversy 142 Resources for arguing: Attributing a position and building a contrast 145 'Finding fault' 149 Ad hoc doubt 155 Recipients' work: Recognising and resisting 159 'They said it wouldn't _happen here' 165 6. Confrontation Talk: Aspects of 'Interruption' in Argument Sequences 170 Perspectives on 'interruption' 172 Interruption and confrontation 175 Pressing the point _home 181 Uses of interruption I: !Reining back' 187 Responding to interruption: Retrieving the line 192 Uses of interruption II: Interruption and control 195 Concluding remarks 201 7. Closing the Call: Structural Asymmetry in Conflict Termination 203 Closings as interactional achievements 206 Closing the call: Preliminary observations 210 Terminating conflict episodes 216 'Cooperative' call closings 219 Confrontational closings: The 'power of the last word' 974 Structural asymmetry in conflict termination 231 8. Conclusion 235 Appendix A: Transcription conventions 239 Appendix B: Data sample 244 Notes 270 References 291 3 A cow ecig- exi-ts The original impetus for this project stems from a period I spent as Research Assistant to Dr Colin Sparks in the School of Communication, University of Westminster. During that time I engaged in writing a study of talk on radio call-in shows, the research for which was unrelated and in addition to the work I was carrying out for Dr Sparks. The ideas in that original study* developed over the next year or two eventually to lay the basis for the present work. My thanks go to Colin Sparks for his generosity in allowing me the time and intellectual space to engage in this research project, with the underlying theoretical standpoint of- wtich he himself, I am certain, would want to take serious issue. Also at the University of Westminster, Paddy Scannell was of great help and encouragement to me during my first fumbling encounters with the literature of conversation analysis. His numerous and absolutely unselfish donations of personal time, advice, and intellectual enthusiasm were invaluable. My greatest debt is to my research supervisor over the last three years at the University of York, Dr Paul Drew. His careful, considered, and unfailingly incisive commentaries and criticism of my work have been instrumental not only in improving the structure and content of individual chapters, but also in shaping my own abilities as a researcher to develop and sustain the arguments those chapters contain. His patience has no doubt been sorely tested by my endless, compulsive tinkering, but if so, his professionalism has prevented him from showing it. 4 I acknowledge also the efforts of Laurie Taylor, Professor of Sociology at the University of York, in assisting me to gain access to the studios of the BBC in order to do some background ethnographic observation of a radio call-in studio at work, during the period of my research. Professor Emanuel A. Schegloff, of the University of California at Los Angeles, was kind enough to supply me with a significant amount of recorded and transcribed 'talk radio' data from his own library, which usefully supplemented my own corpus of recordings. Finally I wish to acknowledge the assistance of the Economic and Social Research Council, who funded the research on which this study is based. Two of the Chapters presented herein are based on publications which have appeared elsewhere. Chapter 5, 'The Pursuit of Controversy', is a revised version of my paper, The Pursuit of Controversy: Routine Scepticism in Talk on Talk Radio, which appeared in Sociology, Vol. 26 (1992), pp.673-694. Chapter 6, 'Confrontation Talk', is a revised version of my paper Confrontation Talk: Aspects of 'Interruption' in Argument Sequences on Talk Radio, which appeared in Text, Vol. 12 (1992), pp.343-371. *This research was subsequently published as Hutchby (1991). 5 Q xi a. 3_ ic ix ci • "1" z3t. 1 Ic R.a 1 L a • This is a study of social interaction and the use of language in a particular cultural setting, in which restricted forms of talk are routinely produced. The social setting in question is that of telephone conversations between hosts and callers to a British open line radio phone-in show, a type of broadcast communication that I will refer to, following the policy of its practitioners, as 'talk radio'. On talk radio a kind of discourse' is produced which is characterised by the expression and exchange of personal opinions about public issues of various kinds. Typically, callers (members of the public) call in to discuss with thy show's host matters on which they hold a strong view, about which they want to complain, or, less frequently, extol. In the data with which we will be concerned, hosts respond to callers' views first by listening to them, then by instituting discussions which, very frequently, become arguments with callers, by expressing scepticism of their views, taking issue with their stances, undermining the rational grounds of cases, and ultimately, taking up positions explicitly counter to those of callers. I will use the term 'opinionated discourse' to refer to these types of tendentious exchange. The aim of the study is, broadly speaking, to describe and analyse the interactional processes involved in the management of the arguments about public issues that routinely occur on some kinds of talk radio show.2 This involves us in following two principal thematic directions. One of these concerns the study of argument itself as a social practice. Here the task will be to analyse verbal strategies for building oppositions and alignments in disputes over 6 On Talk and 'Talk Radio' competing versions of reality. As we will see as the work progresses, questions such as these have been the subject of a significant body of recent sociological and sociolinguistic research, on which the present inquiry draws and to which, hopefully, it has something to contribute. The second thematic direction concerns the application of an interactionist approach to the discourse of 'mass media'. Although this is not a study in 'mass communication' per se, it is, nonetheless, about communication in a mass media setting: communication between members of the public and professional broadcasters which goes out via the radio to be received by an indefinitely large 'overhearing' audience. As I discuss below, mass communication analysts have in the past asked particular kinds of questions about talk radio: for instance, how effectively democratic is it, or in what ways might it function as an element in the shaping of, or else as a reflection of, 'public opinion'? These kinds of questions do not directly concern us here, however. My interest is in analysing the actual forms of talk through which the key activities of broadcast talk radio discourse - such as expressing opinions and arguing about them - are accompaished. But the fact that the discourse in question takes place in the context it does will still be treated as significant in a number of respects throughout the study.
Recommended publications
  • “No Reason to Be Seen”: Cinema, Exploitation, and the Political
    “No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political.
    [Show full text]
  • JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316)
    Bio information: JOHN SURMAN Title: FLASHPOINT: NDR JAZZ WORKSHOP – APRIL '69 (Cuneiform Rune 315-316) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: JAZZ One of Europe’s foremost jazz musicians, John Surman is a masterful improvisor, composer, and multi-instrumentalist (baritone and soprano sax, bass clarinet, and synthesizers/electronics). For 45 years, he has been a major force, producing a prodigious and creative body of work that expands beyond jazz. Surman’s extensive discography as a leader and a side man numbers more than 100 recordings to date. Surman has worked with dozens of prominent artists worldwide, including John McLaughlin, Chick Corea, Chris McGregor’s Brotherhood of Breath, Dave Holland, Miroslav Vitous, Jack DeJohnette, Terje Rypdal, Weather Report, Karin Krog, Bill Frisell, Paul Motian and many more. Surman is probably most popularly known for his longstanding association with the German label ECM, who began releasing Surman’s recordings in 1979. Surman has won numerous jazz polls and awards and a number of important commissions. Every period of his career is filled with highlights, which is why Cuneiform is exceedingly proud to release for the first time ever this amazing document of the late 60s 'Brit-jazz' scene. Born in Tavistock, in England, Surman discovered music as a child, singing as soprano soloist in a Plymouth-area choir. He later bought a second- hand clarinet, took lessons from a Royal Marine Band clarinetist, and began playing traditional Dixieland jazz at local jazz clubs.
    [Show full text]
  • An Annotated Bibliography of Works by the Brazilian Composer Sérgio Assad João Paulo Figueirôa Da Cruz
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2008 An Annotated Bibliography of Works by the Brazilian Composer Sérgio Assad João Paulo Figueirôa Da Cruz Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC AN ANNOTATED BIBLIOGRAPHY OF WORKS BY THE BRAZILIAN COMPOSER SÉRGIO ASSAD By João Paulo Figueirôa da Cruz A Treatise submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Music Degree Awarded: Summer Semester, 2008 Copyright © 2008 João Paulo Figueirôa da Cruz All Rights Reserved The members of the Committee approve the treatise of João Paulo Figueirôa da Cruz defended on June 17, 2008. ______________________________________ Evan Jones Professor Directing Treatise ______________________________________ James Mathes Outside Committee Member ______________________________________ Bruce Holzman Committee Member The Office of Graduate Studies has verified and approved the above named committee member ii ACKNOWLEDGEMENTS This dissertation would have not been possible without the support of many individuals who helped this project. I would like to thank Hanh Hoang for her assistance in the concretization of this document and Byron Fogo for his kindness to offer his help in this project. I do not have words to express my gratitude to all my committee members. I want to thank Dr. Jones for his devotion and wisdom directing this work, Dr. Mathes for agreeing to join the committee at the last minute, Dr. Olsen for his help and support during the years and finally Prof. Holzman for all these years which he gave his best to me! I would like to thank Fábio Zanon, Luciano César Morais and Thiago Oliveira for offering important research material for this project.
    [Show full text]
  • I Attended Church Several Times on Sunday Mornings at University Methodist at the Corner of Guadalupe and 24Thstreets
    First Encounter During the time I was in Austin as a UT grad student (1955-57) I attended church several times on Sunday mornings at University Methodist at the corner of Guadalupe and 24thstreets. In the fall of 1956 I also investigated programs at Wesley Foundation, the Methodist Church chaplaincy division for students. After the first session I attended, the larger group broke up into smaller “interest groups.” Many went with a leader who seemed quite popular (I later learned his name was Bob Ledbetter). I joined a smaller group (about six or eight people) led by an associate pastor at University Methodist, the Rev. Richardson. We’d discuss art in religion, particularly various paintings of the image of Jesus. Two in particular that I remember we looked at were the famous Salmon’s Head of Christ and another painted by the French artist Georges Roualt. For both paintings the Rev. Richardson conducted what I’d later realize to be an “art form” conversation. Obviously, although I didn’t know it at the time, he’d had contact with Austin’s Christian Faith and Life Community and its charismatic theological director, Joseph W. Mathews. In the conversation our study group came to the conclusion that Salmon’s painting was sentimental and schmaltzy and that Roualt’s (“Christ Mocked by Soldiers”) was more powerful. Ecumenical Institute Introduction As a grad student at the University of Minnesota (1961-67) I attended the of First Methodist Church and Wesley Foundation. A Mrs. Peel had left money in her will to bring to the church each year a special preacher.
    [Show full text]
  • The Dark Night of the Soul: the Archetype and Its Occurrence in Modern Fiction
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1973 The aD rk Night of the Soul: the Archetype and Its Occurrence in Modern Fiction. Ibry Glyn-francis Theriot Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Theriot, Ibry Glyn-francis, "The aD rk Night of the Soul: the Archetype and Its Occurrence in Modern Fiction." (1973). LSU Historical Dissertations and Theses. 2577. https://digitalcommons.lsu.edu/gradschool_disstheses/2577 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1.The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image.
    [Show full text]
  • Universiv Micrcsilms International
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. Tlie sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • An Annotated Bibliography of Canadian Oboe Concertos
    An Annotated Bibliography of Canadian Oboe Concertos Document Presented in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Oboe in the Performance Studies Division of the University of Cincinnati College-Conservatory of Music January 11, 2016 by Elizabeth E. Eccleston M02515809 B.M., Wilfrid Laurier University, 2004 M.M., University of Cincinnati, 2007 D.M.A. Candidacy: April 5, 2012 256 Major Street Toronto, Ontario M5S 2L6 Canada [email protected] ____________________________ Dr. Mark Ostoich, Advisor ____________________________ Dr. Glenn Price, Reader ____________________________ Professor Lee Fiser, Reader Copyright by Elizabeth E. Eccleston 2016 i Abstract: Post-World War II in Canada was a time during which major organizations were born to foster the need for a sense of Canadian cultural identity. The Canada Council for the Arts, the Canadian Broadcasting Corporation and the Canadian Music Centre led the initiative for commissioning, producing, and disseminating this Canadian musical legacy. Yet despite the wealth of repertoire created since then, the contemporary music of Canada is largely unknown both within and outside its borders. This annotated bibliography serves as a concise summary and evaluative resource into the breadth of concertos and solo works written for oboe, oboe d’amore, and English horn, accompanied by an ensemble. The document examines selected pieces of significance from the mid-twentieth century to present day. Entries discuss style and difficulty using the modified rating system developed by oboist Dr. Sarah J. Hamilton. In addition, details of duration, instrumentation, premiere/performance history, including dedications, commissions, program notes, reviews, publisher information and recordings are included wherever possible.
    [Show full text]
  • CELEBRATING 10 YEARS of EXPERIMENTAL MEDIA and PERFORMING ARTS OCT 11-13 / 2018 Curtis R
    CELEBRATING 10 YEARS OF EXPERIMENTAL MEDIA AND PERFORMING ARTS OCT 11-13 / 2018 curtis r. priem experimental media and performing arts center rensselaer polytechnic institute 10 YEARS THURSDAY, OCTOBER 11 SATURDAY, OCTOBER 13 7:00PM 12–11:30PM DOUBLE QUARTET: STRINGS AND SPACES / FORMOSA QUARTET SLOWMEDOWN / MARIA HASSABI CONCERT HALL, STUDIO 1 - GOODMAN, STUDIO 2, THEATER STUDIO 2 12–11:30PM WAVE FIELD SYNTHESIS / 3D AUDIO INSTALLATION FRIDAY, OCTOBER 12 STUDIO 1 - GOODMAN 12–11:30PM 2:00PM SLOWMEDOWN / MARIA HASSABI THE COGNITIVE AND IMMERSIVE SYSTEMS LAB / HUI SU STUDIO 2 STUDIO BETA 12–11:30PM 4:00PM WAVE FIELD SYNTHESIS / 3D AUDIO INSTALLATION THE COMPUTER AS TIME MACHINE / JOHANNES GOEBEL STUDIO 1 - GOODMAN STUDIO BETA 7:00PM 7:00PM IF IT BLEEDS / ISABELLE PAUWELS IN THE MOOD FOR FRANKIE / TRAJAL HARRELL THEATER 7TH FLOOR LOBBY 8:00PM 8:00PM SAGITTARIUS A. / YARA TRAVIESO LOST HIGHWAY SUITE / OLGA NEUWIRTH & CONCERT HALL INTERNATIONAL CONTEMPORARY ENSEMBLE (ICE) CONCERT HALL 9:30PM IN THE MOOD FOR FRANKIE / TRAJAL HARRELL 9:30PM 7TH FLOOR LOBBY SUDDEN RISE / MOVED BY THE MOTION THEATER 10:30PM IN THE MOOD FOR FRANKIE / TRAJAL HARRELL 7TH FLOOR LOBBY CONTENTS DIRECTOR’S WELCOME 9 EVENTS 11 INSTALLATIONS 43 ARCHIVE 53 BIOGRAPHIES 57 BEYOND EMPAC 67 STAFF 71 The commissions, productions, and presentations for 10YEARS are supported by Rensselaer Polytechnic Institute, the National Endowments for the Arts, and the Jaffe Fund for Experimental Media and Performing Arts. This weekend, we celebrate 10 years of an incredible gift given to all of us: to you, our audience, to the artists creating and performing their works here, to the researchers using this facility, to the Rensselaer community, and to us on the EMPAC team.
    [Show full text]
  • Vocal Jazz Soloist
    ’S Jazz Education Hall of Fame José Diaz YOUNG Page 118 STARS SHINE Jazz Education Achievement Awards Kent Devereaux THE BEST STUDENT Page 121 Steve Sveum MUSICIANS OF 2014 Page 123 Alto saxophonist Patrick Bartley, a student at the Manhattan School of Music, is this year’s Undergraduate College winner in the category Jazz Instrumental Soloist. JUNE 2014 DOWNBEAT 95 BRIAN HATTON 37th Annual Student Music Awards Fantasy V, Jazz Soloist Brubeck Institute Junior High School Winner Esteban Castro Piano Spring School Oscar Perez Tenafly, NJ Junior High School Outstanding Performance Gus Hurteau Vibes Westlake Middle School Randy Porter Oakland, CA High School Winners Fernando Ferrarone Trumpet & Alto Saxophone Felix Varela Senior High School Daniel Strange Miami, FL Zoe Obadia Cole Davis Dan Gailey Trio Collective Lawrence, KS Alto Saxophone Bass Bloomington High School North LaGuardia High School Janis Stockhouse Glen Ridge High School Nick Hetko Kevin Lagos Kevin Blancq Bloomington, IN Piano Glen Ridge, NJ New York, NY University of Miami Josh Bermudez Martin Bejerano Performing Arts High School Outstanding Guitar Coral Gables, FL High School Winner Performances New World School of the Arts Jim Gasior Graduate College Winners Precollege Combo Anton Derevyanko Miami, FL Manhattan School of Music José Valentino Tenor Saxophone Jeremy Manasia Medfield High School Andy Arditi Piano, Flute, Saxophone New York, NY Douglas Olsen Tenor Saxophone University of South Florida Medfield, MA Colburn School of the Arts Dr. David Williams Lee Secard Tampa, FL Performing Arts High School Andrés Rovira Los Angeles, CA Outstanding Performances Piano Aaron Hedenstrom Paideia School Undergraduate Saxophone BTW Jazz Combo I ‘13 College Winner Kevin Bales University of North Texas Booker T.
    [Show full text]
  • Henry Thoreau, Ralph Ellison, and Jonathan Lethem
    American (De)solitudes: Henry Thoreau, Ralph Elison, and Jonathan Lethem Jack Horton A thesis submitted in partial fulfilment of the requirements for the Doctorate in Philosophy degree in English Department of English Faculty of Arts University of Ottawa © Jack Horton, Ottawa, Canada, 2019 $ii Acknowledgements iv List of abbreviations vi Abstract vii Introduction 1 Chapter 1: Threshold 35 Chatper 2: Praxis 82 Chapter 3: Dispossession 128 Chapter 4: Parabola 191 Chapter 5: de/solitude 261 Conclusion 320 Works Cited 336 $iii The prison system must be dismantled and never rebuilt. $iv Acknowledgements The list of people who supported me, who helped me reach this end, and who asked nothing in return is too long to contain on these bare pages. The group of people formative in the development of this thesis are done an injustice if all we have to offer them is a mention on a page. In no way does being on this list oblige you to read this thesis. In no way does not being on this list mean you were not important to me. Here’s somewhat of a list, in alphabetical order. To: Alec Shaw, who made me a better person; your support was endless, as was your friendship. Alex Roodman, who can go ahead and put this work in read-only mode. Amir Nazempour, who is far away but never lost in translation. Ariel Airey-Lee, who—OK, thank. Brady Steeper, who has been my best friend for over a decade. [Dr.] Craig Gordon, who deserved so very much better than this. Dan Baker, who always, always asked.
    [Show full text]
  • Piano Bass (Upright And/Or Electric)
    January 2017 VOLUME 84 / NUMBER 1 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Managing Editor Brian Zimmerman Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Markus Stuckey Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D. Jackson, Jimmy Katz, Jim Macnie, Ken Micallef, Dan Ouellette, Ted Panken, Richard Seidel, Tom Staudter, Jack Vartoogian, Michael Weintrob; North Carolina: Robin Tolleson; Philadelphia: David Adler, Shaun Brady, Eric Fine; San Francisco: Mars Breslow, Forrest Bryant, Clayton Call, Yoshi Kato; Seattle: Paul de Barros; Tampa Bay: Philip Booth; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Belgium: Jos Knaepen; Canada: Greg Buium, James Hale, Diane Moon; Denmark: Jan Persson; France: Jean Szlamowicz; Germany: Detlev Schilke, Hyou Vielz; Great Britain: Brian Priestley; Japan: Kiyoshi Koyama; Portugal: Antonio Rubio; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • (Dis)Order of Public Disputes: How Speakers Resist, Partition and Do
    The sequential and moral (dis)order of public disputes: How speakers resist, partition and do being reasonable in talk-in-interaction by Jack B. Joyce A DOCTORAL THESIS Submitted in partial fulfilment of the requirements for the award of Doctor of Philosophy at Loughborough University September 2019 © Jack B. Joyce 2019 Abstract This thesis puts forward a strong argument for why more up-to-date interactional research is needed into disputes and why disciplines, methodological approaches and theories should come second to the phenomenon. This thesis investigates how people behave in disputes. Disputes are a ubiquitous part of everyday life – we know a great a deal about disputes in particular contexts, how people disagree, and how disputes can be resolved. However, little is known about the specific interactional features of public disputes. Public disputes are disputes which occur in a public place where there are onlookers – for instance, on public transport, on the radio, or during protests, for instance. These are activities which regularly occur throughout everyday life as our opinions, beliefs, views, identity and/or knowledge etc. clash. This research examines actual, naturally-occurring disputes between strangers in public. The focus is on the ways that people challenge those contestations, resist those challenges, and manage their relationship with their co-disputant. The data comprises a corpus of over 100 recordings of disputes between members of the public. The data were collected, transcribed, and analysed within an ethnomethodological framework using a combination of conversation analysis, membership categorisation analysis, and discursive psychology in order to demonstrate how the phenomenon is handled sequentially and rhetorically.
    [Show full text]