“…Conversation analytic studies of pain communication have emphasised the interactional nature of pain (Clemente , Heath , , Jenkins , Jenkins and Hepburn ) both in everyday contexts and in clinical consultations. Patients find opportunities to enact their pain in consultations with general practitioners: they infiltrate their utterances with breath tokens and quavers, coupled with various visual displays such as tightening the jaw.…”
Section: Pain Binaries and Research Methodsmentioning
confidence: 99%
“…Jenkins and Hepburn (: 487) document the ‘language games’ associated with pain expression, highlighting how children's pain is negotiated conversationally with parents in terms of its severity and authenticity. Jenkins (: 308) argues that ‘the authenticity and nature of a child's experience is produced, amended, resisted or accepted in the [conversational] turns that follow, with varying degrees of success’.…”
Section: Pain Binaries and Research Methodsmentioning
Pain is difficult to communicate and translate into language, yet most social research on pain experience uses questionnaires and semi-structured interviews that rely on words. In addition to the mind/body dualism prevalent in pain medicine in these studies pain communication is characterised by further value-laden binaries such as real/unreal, visible/invisible, and psychological/physical. Starting from the position that research methods play a role in constituting their object, this article examines the potential of participatory arts workshops for developing different versions of pain communication. Twenty-two participants were involved in workshops using drawing, digital photography, sound and physical theatre to explore pain communication. The use of arts materials made pain tangible. By manipulating pain-related objects, participants could consider alternative relationships to their pain. Pain's sociality was also explored, with relations with clinicians and others emerging as potentially cooperative rather than adversarial. Discussions considered whether pain felt internal or external, and whether it was possible to conceive of a self without pain. We argue that the socio-material context of participatory arts workshops enabled these alternative versions of pain. Such methods are a useful addition to medical sociology's heavy reliance on qualitative interviewing.
“…Conversation analytic studies of pain communication have emphasised the interactional nature of pain (Clemente , Heath , , Jenkins , Jenkins and Hepburn ) both in everyday contexts and in clinical consultations. Patients find opportunities to enact their pain in consultations with general practitioners: they infiltrate their utterances with breath tokens and quavers, coupled with various visual displays such as tightening the jaw.…”
Section: Pain Binaries and Research Methodsmentioning
confidence: 99%
“…Jenkins and Hepburn (: 487) document the ‘language games’ associated with pain expression, highlighting how children's pain is negotiated conversationally with parents in terms of its severity and authenticity. Jenkins (: 308) argues that ‘the authenticity and nature of a child's experience is produced, amended, resisted or accepted in the [conversational] turns that follow, with varying degrees of success’.…”
Section: Pain Binaries and Research Methodsmentioning
Pain is difficult to communicate and translate into language, yet most social research on pain experience uses questionnaires and semi-structured interviews that rely on words. In addition to the mind/body dualism prevalent in pain medicine in these studies pain communication is characterised by further value-laden binaries such as real/unreal, visible/invisible, and psychological/physical. Starting from the position that research methods play a role in constituting their object, this article examines the potential of participatory arts workshops for developing different versions of pain communication. Twenty-two participants were involved in workshops using drawing, digital photography, sound and physical theatre to explore pain communication. The use of arts materials made pain tangible. By manipulating pain-related objects, participants could consider alternative relationships to their pain. Pain's sociality was also explored, with relations with clinicians and others emerging as potentially cooperative rather than adversarial. Discussions considered whether pain felt internal or external, and whether it was possible to conceive of a self without pain. We argue that the socio-material context of participatory arts workshops enabled these alternative versions of pain. Such methods are a useful addition to medical sociology's heavy reliance on qualitative interviewing.
“…Let us further contrast the moan sounds with other nonlexical vocalizations reported in the interactional literature. To begin with, moans are reminiscent of pain sounds, in that they index suffering, but the sounds themselves are more similar in phonetic properties to reports of children's pain cries (Jenkins & Hepburn, 2015) or disgust responses (Wiggins, 2013), which include similar vowels and duration, whereas those of adults (Heath, 1989) are breathier or are unvoiced. Also, unlike pain sounds, the moans do not occur immediately after the game event occurs but involve a small silence, whereas pain sounds occur immediately upon triggering pain.…”
Section: Extract 3: Gn Sushi Go_0:18:35mentioning
confidence: 99%
“…Goodwin (1996) has shown how response cries can draw attention but also frame the triggering event as visible and understandable by co-present parties. Several studies have examined how nonlexical vocalizations coordinate attention to in situ experiences of pain (Heath, 1989;Jenkins & Hepburn, 2015;Weatherall, Keevallik, & Stubbe, 2019). The "flooding out" nature of these sounds, as predicted by Goffman, may contribute to their effectiveness in situations where the trigger for the response is very proximal; Wiggins (2002) found this to be true of tasting sounds like mm, saying they constructed immediacy and spontaneity.…”
This article examines nonlexical vocalizations in board game interactions, focusing on "moans." Moans are prolonged, voiced, response cries. Moans react to game events where the player has suffered in some way. Despite the complaint-relevant nature of moans, game actions are never withdrawn in response to a moan, Moans are treated as laughable, while lexical complaints invoke arguments and apologies. This article suggests that moans are a manifestation of managing Bateson's play paradox in that they denote suffering but also willingness to continue play and a validation of the prior event. Moans are suggested to be a contextualization cue for "this is play." Given the relative unconventionality of the form of moans, these tokens are suggested as evidence that lack of conventionalization may be a members resource rather than a problem. The article analyzes a corpus of 34 hours of video-recorded board game play (169 tokens) in English (Canadian, American, and British). This article examines a set of nonlexical vocalizations used by adults in a play setting, specifically the use of "moans" during board games. "Moans" are nonlexical response cries that occur in response to game events where the utterer "suffers" in some way; when something goes wrong for players in the game, they produce a response cry, which Goffman (1978, p. 800) described as "exclamatory interjections which are not full-fledged words." In examining moans, the article will contribute to our understanding of nonlexical vocalizations, play-in-interaction among adults, and contextualization cues for nonseriousness and play. In particular, this article will describe how moans are a member's method for achieving an action as play, thus providing a concrete example of one of Bateson's (1972/2006) signals, also called contextualization cues.
“…Goodwin et al's (2012) discussion of children's 'pleading objections' identify multimodal and interactional features that closely align with whining behaviour. Crying and vocalizations also appear in discussion of children's pain cries (Berducci, 2016;Jenkins & Hepburn, 2015), displays of distress (Wootton, 2012), and in a detailed account of children's recruitments of help from carers in pre-school settings (Kidwell, 2013). Across each of these studies, affective stances are considered as displays and part of the production of broader sequences of action.…”
Children's whining is identified in extracts of video-recorded social interaction at home with siblings, parents and other family. "Whining" is primarily a vernacular category, but can be identified in terms of a set of phonetic features including pitch movement, loudness and nasality, and contrasted with crying. We focus on the uses and consequences of whining, in and for social interaction. Rather than identifying and attributing experiential causes or correlates of whining, we examine what children do with it, how it is occasioned, and how others, mostly parents, respond to it. Whining performs actions such as objecting to transgressions and thwarted goals, and making complaints. Parental reactions include one or more of: "stance inversion," which is the adoption of a contrasting tone in next turn; formulations of the offending circumstances; orientations to remedying the problem; and rejection of the whine's basis, including dispositional formulations of the child's whining (e.g., being "grumpy"), and accounts for not complying with a called-for remedy. Data are in English.
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