**3. Case study**

Example 1: DAs as part of background and foreground conversational expressions.

*Guest: Ampak se izkaže, da ta zdravnik ne zna nič drugega delat kot vedno iste in samo iste (A) obraze in so vsi poklonirani (B) – no to je (1) to. Fajn, ne (2)? Co-host: (C) Samo v bistvu, a veš, v bistvu sej če pri nas gledaš sj so tud pol vsi glih.*

*Guest: But it turns out that this doctor can create only one and the same (A) face and nothing else and that they are all cloned (B) – well this is it (1)*<sup>1</sup> *. Great, huh (2)? Co-host: (C) But actually, you know, actually if you took a look at where we are then they are also all the same.*

This segment represents a case of sudden turn release by the main guest. Previously, the participants were discussing the effects of aging, during which several sarcastic comments were uttered. The show's host afterwards tries to transition to the next topic, which is the play the guest was directing, called *The Ugly One*. However, the guest is offended by the co-host's snide remark, where he compares the name of the play and the guest, suggesting that the guest might also be an ugly one. Nevertheless, after being asked to tell the audience about the play, he briefly outlined the plot, which deals with cosmetic surgery in connection with the feeling of self-worth and success. He is still mid-sentence and speaking with a rising intonation (see **Figure 2**: B, *in so vsi poklonirani* "and they are all cloned") when he suddenly takes a deep breath and decides to stop summarizing the play with the words *no to je to* "well this is it". Additionally, he emphasizes that he no longer wishes to talk about the topic, as he adds *fajn, ne*? "great, huh?". With it, he simultaneously elicits feedback, which is yet another way to assign his turn to someone else.

**115**

also as a turn-take maneuver.

**Figure 2.**

Example 2: Ambiguity of DAs in conversational expressions.

*Host: eee eee eee(A) no eee (B) dejta ubesedet to midva se mava rada (1)*

*Host: uh uh uh (A) well uh (B) come on, define this we like one another (1)*

The example above is a case of strong turn assigning. As a surprise for the main guest, his stepdaughter was invited to the show. The show's host is trying to determine the correct nomenclature for the relation non-biological father/adoptive daughter, which are specific and probably less frequently heard words in Slovene. However, he is very clumsy when formulating his question, and neither of the guests understands him, but rather fill their answers with humor. The show's host is dissatisfied and tries to change the evolution of the conversation. However, he needs time to formulate proper utterances and thus uses fillers (see **Figure 3**: **A** and **B**). After the first filler (A), which acts as stalling, the content is not completely formulated, which is why he uses the second filler (B). At the same time, however, the guests become impatient. The second filler, therefore, functions not only as a stalling element but primarily

*Can Turn-Taking Highlight the Nature of Non-Verbal Behavior: A Case Study*

The utterance "well this is it" cannot be characterized as any other DA than turn management with the function of turn release as it serves no other communicative purpose. The phrase itself is tautological, deprived of any propositional content. The analysis of the accompanying body behavior also corroborates this fact. While outlining the plot of the play, he uses foreground NCI (A, B), namely illustrators, represented by two very prominent hand gestures. As he decides that he no longer wishes to explain the gist of the play, his NCI also changes. The body behavior is no longer prominent but very quick and even difficult to notice. The guest swiftly turns his head slightly to the right and back again (see **Figure 2**: 1) as if he was trying to point to the abstract "this" in "this is it" while still keeping eye contact with the host and co-host. The head movement was classified as a deictic NCI, specifically, a referent, since the guest is referring to the abstract "this". He then adds the utterance *fajn, ne?* "great, huh?" which primarily acts as feedback elicitation, but secondarily also serves the function of turn management. The accompanying body behavior is, again, subtle, just a slight shrug of the right shoulder (see **Figure 2**: 2). It was classified as a communication regulator. The co-host perceives his turn release request and takes the turn by commenting on the essence of the play. However, since the release was unexpected, his response is yet to be formulated. This is highlighted through the use of metadiscourse ("But actually, you know, actually") acting primarily as stalling within the time management dimension. However, of course, stalling functions

*Multimodal analysis of the conversational expressions: use of DAs in background and foreground expressions.*

*DOI: http://dx.doi.org/10.5772/intechopen.95516*

<sup>1</sup> The literal translation of the utterance is »this is this«.

*Can Turn-Taking Highlight the Nature of Non-Verbal Behavior: A Case Study DOI: http://dx.doi.org/10.5772/intechopen.95516*

*Types of Nonverbal Communication*

**3. Case study**

**Table 2.**

expressions.

*they are also all the same.*

Example 1: DAs as part of background and foreground conversational

**Signal Kappa score** Word Segmentation (semi-automatic) 0.95 Part-of-Speech (semi-automatic) 0.81 Pitch (automatic) / Syntax (semi-automatic) 0.79 Sentence type 0.97 Gesture unit 0.82 Gesture phrase 0.53 Modality 0.88 Prosodic phrases 0.71 Sentiment 0.67 Dialog function 0.64 Dialog dimension 0.71 Intent (semiotic class) 0.48 Emotion label 0.51 Gesture unit 0.75 Movement phase 0.66

*samo iste (A) obraze in so vsi poklonirani (B) – no to je (1) to. Fajn, ne (2)?*

*nothing else and that they are all cloned (B) – well this is it (1)*<sup>1</sup>

*Results of the preliminary inter-coder agreement experiment.*

<sup>1</sup> The literal translation of the utterance is »this is this«.

*Guest: Ampak se izkaže, da ta zdravnik ne zna nič drugega delat kot vedno iste in* 

*Co-host: (C) Samo v bistvu, a veš, v bistvu sej če pri nas gledaš sj so tud pol vsi glih.*

*Guest: But it turns out that this doctor can create only one and the same (A) face and* 

*Co-host: (C) But actually, you know, actually if you took a look at where we are then* 

This segment represents a case of sudden turn release by the main guest. Previously, the participants were discussing the effects of aging, during which several sarcastic comments were uttered. The show's host afterwards tries to transition to the next topic, which is the play the guest was directing, called *The Ugly One*. However, the guest is offended by the co-host's snide remark, where he compares the name of the play and the guest, suggesting that the guest might also be an ugly one. Nevertheless, after being asked to tell the audience about the play, he briefly outlined the plot, which deals with cosmetic surgery in connection with the feeling of self-worth and success. He is still mid-sentence and speaking with a rising intonation (see **Figure 2**: B, *in so vsi poklonirani* "and they are all cloned") when he suddenly takes a deep breath and decides to stop summarizing the play with the words *no to je to* "well this is it". Additionally, he emphasizes that he no longer wishes to talk about the topic, as he adds *fajn, ne*? "great, huh?". With it, he simultaneously elicits feedback, which is yet another way to assign his turn to someone else.

*. Great, huh (2)?*

**114**

**Figure 2.** *Multimodal analysis of the conversational expressions: use of DAs in background and foreground expressions.*

The utterance "well this is it" cannot be characterized as any other DA than turn management with the function of turn release as it serves no other communicative purpose. The phrase itself is tautological, deprived of any propositional content. The analysis of the accompanying body behavior also corroborates this fact. While outlining the plot of the play, he uses foreground NCI (A, B), namely illustrators, represented by two very prominent hand gestures. As he decides that he no longer wishes to explain the gist of the play, his NCI also changes. The body behavior is no longer prominent but very quick and even difficult to notice. The guest swiftly turns his head slightly to the right and back again (see **Figure 2**: 1) as if he was trying to point to the abstract "this" in "this is it" while still keeping eye contact with the host and co-host. The head movement was classified as a deictic NCI, specifically, a referent, since the guest is referring to the abstract "this". He then adds the utterance *fajn, ne?* "great, huh?" which primarily acts as feedback elicitation, but secondarily also serves the function of turn management. The accompanying body behavior is, again, subtle, just a slight shrug of the right shoulder (see **Figure 2**: 2). It was classified as a communication regulator. The co-host perceives his turn release request and takes the turn by commenting on the essence of the play. However, since the release was unexpected, his response is yet to be formulated. This is highlighted through the use of metadiscourse ("But actually, you know, actually") acting primarily as stalling within the time management dimension. However, of course, stalling functions also as a turn-take maneuver.

Example 2: Ambiguity of DAs in conversational expressions.

*Host: eee eee eee(A) no eee (B) dejta ubesedet to midva se mava rada (1)*

*Host: uh uh uh (A) well uh (B) come on, define this we like one another (1)*

The example above is a case of strong turn assigning. As a surprise for the main guest, his stepdaughter was invited to the show. The show's host is trying to determine the correct nomenclature for the relation non-biological father/adoptive daughter, which are specific and probably less frequently heard words in Slovene. However, he is very clumsy when formulating his question, and neither of the guests understands him, but rather fill their answers with humor. The show's host is dissatisfied and tries to change the evolution of the conversation. However, he needs time to formulate proper utterances and thus uses fillers (see **Figure 3**: **A** and **B**). After the first filler (A), which acts as stalling, the content is not completely formulated, which is why he uses the second filler (B). At the same time, however, the guests become impatient. The second filler, therefore, functions not only as a stalling element but primarily

#### **Figure 3.**

*Multimodal analysis of the conversational expressions: The duplicity of DAs when interpreted as background or as foreground conversational expressions.*

as turn keep device. Once he formulated his idea, he begins with the imperative formulation *dajta* (for this purpose best translated as) "come on". This utterance is accompanied by the host's extended and raised left arm, both (temporarily) open hands, slightly raised shoulders, and a protruding head movement (see **Figure 3**: 1). This NCI was classified as a referential deictic (1a), as the host's hands and head are extending towards the guests. At the same time NCI can also be perceived as visualizing the word *dajta,* thus being recognized as an illustrator. From the context of DAs, the utterance can be interpreted as having the underlying function of turn-taking or, due to the imperative formulation, the instruct function within the task dimension. As highlighted in the example, the use of DAs determines the perceived NCI.

**117**

**Figure 4.**

*conversation.*

*Can Turn-Taking Highlight the Nature of Non-Verbal Behavior: A Case Study*

This segment illustrates NCI in tree different turn management functions. Prior to the several turn-taking acts, the show's host is mocking the guest for his alleged morning ritual where he hula-hoops in his garden. The co-host humorously adds that he hugs surrounding trees and shrubs in the garden. First, the guest smiles at this mental image, but then his facial expression changes to serious, and he cautions that it is very hard to hug shrubbery. As the co-host asks why this is so, he turns the answer into a comical depiction of how he gets stung by thorns whereby he uses the colloquial Slovene word *ful,* which means *very* or *a lot*. The co-host is fascinated by this word choice of the guest, a theater actor, who just minutes before teased him for not enunciating correctly. He, therefore, mocks his (almost plosive) pronunciation of the word *ful* and the guest joins in in the mocking. The show's host, however, tries to join the conversation (see **Figure 4**:1), but his co-host still continues the mocking by saying "gooseberry" (see **Figure 4**: A) in a very comical manner, trigging light laughter from the guest but befuddlement from the host. The host turns to the co-host, hoping for clarification, the co-host stares back at him and finally tells him to continue with the show. After briefly gathering his thoughts, the host

This excerpt, therefore, contains turn-taking, turn-assigning, and turn-accepting. Following a series of task dimension DAs, the show's host tries to take the turn by uttering the filler *eee* "uh". He fails, as his co-host drowns him out with "gooseberry". There is no NCI accompanying the host's utterance, as he barely moves (see **Figure 4**: 1). We, therefore, classified the NCI as undetermined. An indicator for his turn-take attempt is his gaze, which remains directed towards the guests (see **Figure 4**: 1) throughout the

*Multimodal analysis of the conversational expressions: Use of turn-take and turn-grab to mediate the* 

*DOI: http://dx.doi.org/10.5772/intechopen.95516*

nods, says "yes" and changes the topic.

*Co-host: continue (3).*

*Host: yes (4)*

Example 3: DAs in turn management within a multiparty conversation.

*Guest: grmičevje je zlo nerodno objemat Co-host: zakaj? Guest: ful pič … ful ful te (A) Host: ful ful pič ful pič Co-host: ful me Guest: drevo je fajn men Host: eee (1) Co-host: kosmulja (2) Co-host: nadaljuj (3). Host: ja (4)*

*Guest: it's very tricky to hug shrubs Co-host: why? Guest: totally pricks … you get totally totally (A) Host: totally totally pricks totally pricks Co-host: I get totally Guest: trees I like Host: uh (1) Co-host: gooseberry (2)*

*Can Turn-Taking Highlight the Nature of Non-Verbal Behavior: A Case Study DOI: http://dx.doi.org/10.5772/intechopen.95516*

*Co-host: continue (3). Host: yes (4)*

*Types of Nonverbal Communication*

as turn keep device. Once he formulated his idea, he begins with the imperative formulation *dajta* (for this purpose best translated as) "come on". This utterance is accompanied by the host's extended and raised left arm, both (temporarily) open hands, slightly raised shoulders, and a protruding head movement (see **Figure 3**: 1). This NCI was classified as a referential deictic (1a), as the host's hands and head are extending towards the guests. At the same time NCI can also be perceived as visualizing the word *dajta,* thus being recognized as an illustrator. From the context of DAs, the utterance can be interpreted as having the underlying function of turn-taking or, due to the imperative formulation, the instruct function within the task dimension. As

*Multimodal analysis of the conversational expressions: The duplicity of DAs when interpreted as background* 

highlighted in the example, the use of DAs determines the perceived NCI. Example 3: DAs in turn management within a multiparty conversation.

*Guest: grmičevje je zlo nerodno objemat*

*Guest: ful pič … ful ful te (A) Host: ful ful pič ful pič Co-host: ful me*

*or as foreground conversational expressions.*

*Guest: it's very tricky to hug shrubs*

*Host: totally totally pricks totally pricks*

*Guest: totally pricks … you get totally totally (A)*

*Guest: drevo je fajn men*

*Co-host: kosmulja (2) Co-host: nadaljuj (3).*

*Co-host: zakaj?*

**Figure 3.**

*Host: eee (1)*

*Host: ja (4)*

*Co-host: why?*

*Co-host: I get totally Guest: trees I like Host: uh (1)*

*Co-host: gooseberry (2)*

**116**

This segment illustrates NCI in tree different turn management functions. Prior to the several turn-taking acts, the show's host is mocking the guest for his alleged morning ritual where he hula-hoops in his garden. The co-host humorously adds that he hugs surrounding trees and shrubs in the garden. First, the guest smiles at this mental image, but then his facial expression changes to serious, and he cautions that it is very hard to hug shrubbery. As the co-host asks why this is so, he turns the answer into a comical depiction of how he gets stung by thorns whereby he uses the colloquial Slovene word *ful,* which means *very* or *a lot*. The co-host is fascinated by this word choice of the guest, a theater actor, who just minutes before teased him for not enunciating correctly. He, therefore, mocks his (almost plosive) pronunciation of the word *ful* and the guest joins in in the mocking. The show's host, however, tries to join the conversation (see **Figure 4**:1), but his co-host still continues the mocking by saying "gooseberry" (see **Figure 4**: A) in a very comical manner, trigging light laughter from the guest but befuddlement from the host. The host turns to the co-host, hoping for clarification, the co-host stares back at him and finally tells him to continue with the show. After briefly gathering his thoughts, the host nods, says "yes" and changes the topic.

This excerpt, therefore, contains turn-taking, turn-assigning, and turn-accepting. Following a series of task dimension DAs, the show's host tries to take the turn by uttering the filler *eee* "uh". He fails, as his co-host drowns him out with "gooseberry". There is no NCI accompanying the host's utterance, as he barely moves (see **Figure 4**: 1). We, therefore, classified the NCI as undetermined. An indicator for his turn-take attempt is his gaze, which remains directed towards the guests (see **Figure 4**: 1) throughout the

#### **Figure 4.**

*Multimodal analysis of the conversational expressions: Use of turn-take and turn-grab to mediate the conversation.*

co-host's interruption. As he turns to the co-host, he remains speechless and waits for him to elaborate. The co-host subsequent NCI, on the other hand, is a clear referential deictic (3) accompanying the DA of assigning the turn. His gaze towards the host was not enough to prompt a response, so he adds a firm head nod (see **Figure 4**: 3) towards him and verbalizes his intent of assigning the turn to him with "continue". This firm head nod is why the DA was not secondarily classified as a turn release, but as instructing within the task dimension. The host almost simultaneously responds to this NCI with a slight nod himself (see **Figure 4**: 4) and thereupon the verbal confirmation "yes". The nod was identified as a communication regulator NCI. The verbal confirmation functions as a turn accept DA. Both the DA and the NCI are of background nature.
