LANGUAGE IN INDIA

Strength for Today and Bright Hope for Tomorrow

Volume 15:4 April 2015
ISSN 1930-2940

Managing Editor: M. S. Thirumalai, Ph.D.
Editors: B. Mallikarjun, Ph.D.
         Sam Mohanlal, Ph.D.
         B. A. Sharada, Ph.D.
         A. R. Fatihi, Ph.D.
         Lakhan Gusain, Ph.D.
         Jennifer Marie Bayer, Ph.D.
         S. M. Ravichandran, Ph.D.
         G. Baskaran, Ph.D.
         L. Ramamoorthy, Ph.D.
         C. Subburaman, Ph.D. (Economics)
         N. Nadaraja Pillai, Ph.D.
Assistant Managing Editor: Swarna Thirumalai, M.A.

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The Aspect of Turn-taking in Hayavadana

Dnyaneshwar P. Suryawanshi, M. A., Ph. D.

Abstract

Conversational turn-taking is a prominent feature of face-to-face interaction. To make an interaction successful, turn-taking has to be a well organized event involving a set of aspects. This paper makes an attempt to explore the aspect of turn-taking in Girish Karnad’s play Hayavadana (1975). After analyzing two extracts from the play, it has been observed that mutual interest and attention during conversation are vital factors determining the outcome of interaction. Conversational floor is often influenced due to auditor’s inattention and disinterest in ongoing conversation. It has been found that backchannels occasionally suggest interlocutor’s lack of interest while communicating. Pause, aposiopesis, hedging, hitches, machine-gun-question and answer have their significance in the talk at hand.

Keywords: turn-taking, turn-avoiding, turn-constructional-unit, follow-up move, floor, backchannels, interruption, deference, repair, pause, aposiopesis, hitches, adjacency pairs, markedness, machine-gun-question and answer, latching.

Introduction

The aspect of turn-taking in Karnad’s Hayavadana has been closely examined in this paper. This turn taking is investigated so as to understand how various conversational strategies are maneuvered in the play. It has been found that turn taking in plays bears a close similarity with day-to-day face-to-face interaction. However, turn taking in plays has some distinct features of its own as one can find it while reading or watching a play.

For the purpose of analysis two passages from the play have been chosen. These passages are analyzed as per the following components.

This is only the beginning part of the article. PLEASE CLICK HERE TO READ THE ENTIRE ARTICLE IN PRINTER-FRIENDLY VERSION.

Dnyaneshwar P. Suryawanshi, Ph.D.
Assistant Professor and Head
Department of English
Vivekanand Arts, Sardar Dalipsingh Commerce & Science College
Aurangabad 431001
Maharashtra
India
dssurya@gmail.com
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