Discourse processes in dyadic communication

Hjelmquist, Erland

doi:10.1016/0378-2166(82)90037-6

Cited by 6 publications

(2 citation statements)

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“…However, numerous studies have shown memory for the exact wording of verbal discourse, particularly where that discourse had high interactional content (e.g., Keenan, MacWhinney, & Mayhew, 1977;Kintsch & Bates, 1977). Additional evidence for verbatim memory of conversations between a speaker and listener was provided by Hjelmquist (1982). Whereas the studies just mentioned tested only recognition memory, Hjelmquist and Gidlund (1985) found evidence of verbatim memory for the key ideas of informal conversations when using a free recall procedure.…”

Section: Discussionmentioning

confidence: 91%

“…Her resentment and the man's overbearing ways would have to be inferred by the audience by the tone of voice, gestures, and apparent emotional states of the actors. Inferences of this type have been shown to influence the comprehension and retention of oral discourse (Hjelmquist, 1982). Therefore, it is not surprising that actors generate a great many elaborations about the characters' probable backgrounds, motives, and relationships.…”

Section: Noice and Noicementioning

confidence: 98%

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An example of role preparation by a professional actor: A think‐aloud protocol

Noice¹,

Noice

1994

Discourse Processes

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Previous research has shown that professional actors gain a deep understanding of a role by analyzing a script to discern the plans their assigned characters are following. The think-aloud protocol reported here shows this plan-recognition process in action by specifying the relationship between the aspects of the text attended to and the information derived from them. A coding procedure was developed that revealed that the actor attends not only to the meaning but also to such elements of the text as structure, punctuation, and linguistic devices in order to determine the character's internal states (e.g., intentions and motivations) and specific performance characteristics (e.g., speech and movement patterns). This approach may be dictated by the actor's need to turn written text into living conversation. The types of elaborations that the actor derived from the input and the role that these elaborations may play in the understanding and learning of lengthy complex material are discussed.

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