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Löfgren, Agnes
Nom
Löfgren, Agnes
Affiliation principale
Fonction
Post-doctorant.e
Email
agnes.loefgren@unine.ch
Identifiants
Résultat de la recherche
Voici les éléments 1 - 8 sur 8
- PublicationAccès libreResponse cries and syntax(2025)
; Sally Wiggins - PublicationRestriction temporaireAre you serious? Workplace agenda and aesthetic negotiations with depictions at opera rehearsals(2024-08-28)
; - PublicationRestriction temporaireThe Interactional Histories of Performance Bodies : From Describing to Depicting Proposed Ideas at Opera Rehearsals(2024-07-22)This article investigates opera performers’ ideas on what they can do on stage to music in the service of portraying the characters of an opera production. The performers both describe and depict their ideas, that is, tell and show them, in proposals. Using multimodal interaction analysis, the article examines how the relative deployment of depictions and descriptions in performer proposals change over time. During joint decision-making micro-histories, the proposals become increasingly depictive, as displayed access, alignment, and agreement with the ideas increase. If ideas originate in previous instructions and decisions, however, proposals are immediately constructed with depictions, and if ideas are resisted, they are never fully depicted. The article thus reveals the dialogical and interactional development of ideas on their way to materialize as artwork. The data consist of 20 hours of video recorded opera rehearsals in Swedish, English, and some Italian, which is the language of the libretto.
- PublicationRestriction temporaireRepetition for real-time coordination of action: Lexical and non-lexical vocalizations in collaborative time management(2024-02-23)
; Sally WigginsRepetition has often been argued to be a semiotic device that iconically signifies ‘more content’, such as intensity and plurality. However, through multimodal interaction analysis of materials in English, Estonian, and Swedish, this paper demonstrates how self-repetition is used to coordinate actions across participants and temporally organize the ongoing activity. The data are taken from infant mealtimes, pilates classes, dance training, boardgames, rock climbing, and opera rehearsals. Repetition of both lexical and non-lexical tokens can prolong, postpone, and generally organize segments of action as well as co-create rhythms and moves in a moment-by-moment reflexive relationship with other (non-vocalizing) participants. A crucial feature of repetitions is that they can be flexibly extended to fit the other’s public performance, its launching, continuation, and projectable completion. We argue that the iconicity of repetition emerges through its indexical relationship to other bodies, as a real-time jointly achieved phenomenon. - PublicationAccès libreBodies to suit the music: Depictions in opera rehearsalsThis thesis investigates how participants in 20 hours of video-recorded scenic opera rehearsals make use of depictions (Clark, 2016), a communicative strategy based on iconicity, to create performance bodies, i.e. what the performers should do on stage to music. The method is grounded in ethnomethodologically informed conversation analysis and interactional linguistics (EMCAIL). The thesis aims to reveal how participants in opera rehearsals construct and respond to depictions, what interactional and semiotic functions depictions carry, and the nature of the relationship between depictions and descriptions, and in extension between language and the body in social interaction. The thesis comprises three individual articles. Article I focuses on how performers and the director deploy depictions in proposals of performance bodies. It is argued that depictions reference both themselves as the current state of the artwork, and prototypes of mundane behaviour (distal scenes). The article compares the self-referentiality, or introversive semiosis, of depictions with how interactional practices in general develop over time. Article II focuses specifically on how performers make proposals with depictions. The article concludes that depictions are multimodal gestalts whose interpersonal coordination reflects the distribution of deontic rights during the rehearsals in a visuospatial way, beyond the adjacency pair. Article III focuses on changes in turn design, and the relative deployment of depictions and descriptions, over joint decision-making micro-histories. It is shown how proposals move from descriptive to increasingly depictive states as the participants assure that there is displayed epistemic access to, and alignment and agreement with, the proposed performance bodies. The use of language early in the process secures conditionally relevant responses to the proposed ideas and thereby successful outcomes of proposals. The article reveals the essentially joint nature of the decision-making process on performance bodies. The thesis uncovers the temporally heterogenous nature of depictions. They are achieved in stepwise manners: both in terms of their moment-by-moment realization in turns, and in terms of their development over interactional histories. They are dialogically achieved both in the local and historical sense: their successful realization is dependent on cooperation from co-present participants who are also intrinsically involved in their development over time. Further, it is argued that depictions are both an interactional practice for creating opera performances and the very same performances at their current states. The thesis contributes to a holistic and integrated view of social interaction where no resources, whether traditionally conceived of as linguistic or not, are considered more important than others for the local constitution of social action.
- PublicationRestriction temporaireRelocating to Depict: Managing the Interactional Agenda at Opera Rehearsals(2023-08-22)A performer in an opera has to portray the character they are playing not only through the music but also in their visuospatial behaviors on stage. This article is about how performers and directors negotiate such portrayals through depictions that make proposed actions available for the other participants. The focus is on how depictions are initiated, through relocations in space, and how these initiations are responded to. We see how performer and director collaboratively manage the complex visuospatial requirements of a successful rehearsal. Data are in Swedish and English.
- PublicationAccès libreSuspending Syntax: Bodily Strain and Progressivity in Talk(2021-07-21)
- PublicationAccès libreIntroversive semiosis in action: depictions in opera rehearsals(2021-04-06)
; Emily HofstetterThis paper focuses on how opera rehearsal participants use depictions to accomplish proposals; they use a locally created scene, comprised of concrete embodiments to represent another physically or temporally distant scene. Whereas earlier work investigating depictions in interaction has mainly focused on demonstrations in pedagogical scenarios, this paper will discuss how depictions serve the ongoing creation, and aesthetic negotiation, of a yet-to-be-artistic product. In simultaneously creating and referencing iterations of this artwork, participants’ depictions are both self-referential, in introversive semiosis, as well as externally referencing prototypes of mundane behaviour, in extroversive semiosis. We argue that the negotiations of the extroversive and introversive references through depiction constitute the artistic labour of creating a performance. Furthermore, we suggest that the iterative nature of rehearsing an artistic piece demonstrates analogies between introversive semiosis and interactional techniques for projection and depiction. Opera is accomplished through dynamic collaborative social processes, techniques for which include the depictions described in this paper.