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Russel-Research-Method-in-Anthropology

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Qualitative Data Analysis I: Text Analysis 489<br />

becomes unpredictable or the content gets used up, and no one jumps <strong>in</strong> to<br />

take a turn at the appropriate time, then the current speaker may (but does not<br />

have to) cont<strong>in</strong>ue talk<strong>in</strong>g. If none of these th<strong>in</strong>gs happen, then there will be a<br />

gap <strong>in</strong> the conversation. Gaps don’t usually last very long if the rules of conversation<br />

are followed.<br />

Of course, the rules are often broken <strong>in</strong> real conversations. People often do<br />

<strong>in</strong>terrupt each other unsupportively and don’t wait to take their turns. People<br />

who get <strong>in</strong>terrupted don’t always push on, try<strong>in</strong>g to f<strong>in</strong>ish their turn, but rel<strong>in</strong>quish<br />

their turn <strong>in</strong>stead, without f<strong>in</strong>ish<strong>in</strong>g. People usually recognize when the<br />

preferred order of turn-tak<strong>in</strong>g has not been adhered to and engage <strong>in</strong> what are<br />

called repair tactics. For example, Sacks et al. (1974) noted that when two<br />

people start talk<strong>in</strong>g over each other, one of them might just stop and let the<br />

other f<strong>in</strong>ish.<br />

1. A: [It’s not like we–<br />

2. B: [Some people are–<br />

3. B: Sorry.<br />

4. A: No, g’head<br />

5. B: hhhh I wus jus gonna say that some people aren’t <strong>in</strong>nerested <strong>in</strong> sports at<br />

all.<br />

6. A: [Right<br />

This is a simple repair tactic that doesn’t <strong>in</strong>volve any serious content. Other<br />

repair tactics can be more complex. The result of this repair sequence could<br />

have come out differently, of course. But <strong>in</strong> the study of hundreds of natural<br />

conversations between equals, we can uncover the rules govern<strong>in</strong>g how people<br />

open and close conversations, how they repair mistakes (when they break the<br />

rules of turn-tak<strong>in</strong>g, for example), and how they segue from one theme to<br />

another.<br />

The turn-tak<strong>in</strong>g sequence can be suspended, as for example, <strong>in</strong> the tell<strong>in</strong>g<br />

of jokes and stories. If I say, ‘‘Did you hear the one about? . . .’’ and you say,<br />

‘‘No, tell me,’’ then this suspends turn-tak<strong>in</strong>g until you’re f<strong>in</strong>ished with the<br />

joke. If you <strong>in</strong>terrupt me <strong>in</strong> the middle of tell<strong>in</strong>g the joke, this breaks the rule<br />

for this conversation element. And the same th<strong>in</strong>g goes for storytell<strong>in</strong>g. If I<br />

say, ‘‘I was on the flight from Hell com<strong>in</strong>g back from Detroit last week’’ and<br />

you respond by say<strong>in</strong>g ‘‘What happened?’’ then I get to tell you the story all<br />

the way through. Certa<strong>in</strong> k<strong>in</strong>ds of <strong>in</strong>terruptions are permitted, but sidetrack<strong>in</strong>g<br />

me completely from the story is not permitted.<br />

Here, aga<strong>in</strong>, though, we f<strong>in</strong>d the rule broken all the time. And when sidetrack<strong>in</strong>g<br />

happens, one of several repair sequences might kick <strong>in</strong>. ‘‘Sorry, I got<br />

you off track. Then what happened?’’ is a repair sequence. We’ve all experi-

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