Trilogue Orecchioni
Trilogue Orecchioni
www.elsevier.com/locate/pragma
                             Introducing polylogue
                            Catherine Kerbrat-Orecchioni
                      Groupe de Recherches sur les Interactions Communicatives§,
                     CNRS-Université Lumière Lyon 2, 5 av. Pierre Mendès France,
                                        69676 Bron, France
Abstract
  The introduction to this special issue begins by defining the notion of ‘polylogue’. Then,
after having summarized the results of our previous work on ‘trilogues’, I propose a survey of
the general perspective adopted by the authors, and of the main analytical tools they use.
Finally, the articles gathered in the volume are introduced in more detail in relation to the
particular situations and data they deal with.
# 2003 Elsevier B.V. All rights reserved.
Keywords: Dilogue/trilogue/polylogue; Plurilevel analysis; Typology of polylogues; Participation framework
  §
     All the authors of the articles composing this issue belong or are associated to this research team,
working in Lyon (France). The different texts which are collected here must in fact be considered the
result of a collective research project. Some of the articles were originally written in French, some others
directly in English. All the data we analyse was originally produced in French. The whole text was trans-
lated or edited by Louise Nicollet, whose thoroughness we are sincerely grateful for. Many thanks also to
Dick Janney for his encouragement, his patience, and his perfectionism in the revision process.
     E-mail address: kerbrat@univ-lyon2.fr (C. Kerbrat-Orecchioni).
   1
     Since the Greek prefix ‘dia-’ means not ‘two’, but ‘through’. In order to avoid ambiguity, we prefer to
speak of ‘dilogue’ when referring to exchanges between two people.
0378-2166/03/$ - see front matter # 2003 Elsevier B.V. All rights reserved.
doi:10.1016/S0378-2166(03)00034-1
2                     C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24
    Traditional analysis of saying and what gets said seems tacitly committed to the
    following paradigm: two and only two individuals are engaged together in it,
    [. . .] the two-person arrangement being the one that informs the underlying
    imagery we have about face-to-face interaction. (Goffman, 1981: 129)
    In the study of verbal interaction, there has been undoubtedly some bias
    towards the study of dyadic interaction. (Levinson, 1988: 222–223)
   2
     Also see Aronsson (1996), who asserts that in many non-Occidental cultures, basic communication
situations are of ‘polylogal’ type (e.g. in traditional African societies, the mother–child dialogue generally
takes place in the presence of siblings or other members of the family).
   3
     In his Lectures on Conversation, Sacks already bases his observations mainly on a set of data com-
posed of a therapy session bringing together an adult therapist and a group of teenagers. Concerning
SSJ’s article on turn system, O’Connell et al. (1990) note, however, that 71% of the 35 examples men-
tioned only involve two speakers; and that the large majority of empirical studies carried out in this per-
spective (exactly 82% out of a corpus of 22 publications—the sample is therefore limited, and stops in
1990) is based on ‘dilogal’ data.
                      C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24                          3
whereas many other aspects can be taken into account that are affected even more by
the number of participants. Finally, and above all, for proponents of CA, turn-taking
operates not between speakers but between ‘parties’, with speakers considered only as
being ‘incumbents’ of these parties. Schegloff (1995: 32–33),4 for example, claims that
‘‘the turn-taking system as described in SSJ organizes the distribution of talk not in
the first instance among persons, but among parties.’’ This can involve:
  Thanks to this notion of party, it is possible ‘‘to introduce order into this potentially
chaotic circumstance’’ constituted by the large number of participants. (1995: 40)
  For us, on the contrary, turn-taking operates per se between speakers. Even if
mechanisms of alignment based on statuses, roles, speakers’ objectives, etc. play an
important role in conversation, the succession of turns is first and foremost a phe-
nomenon which takes place between individuals. The notion of ‘party’ (which, in point
of fact, covers diverse phenomena) belongs to another level of analysis, as we will see.
   For the reasons discussed above, in designating the topic dealt with in this pub-
lication we will not speak of ‘multi-party conversations’ but of multi-participant
conversations, or rather multi-participant interactions (conversation, in the ordinary
sense, being only one particular type of talk-in-interaction). We will also speak of
polylogues.5 This term is etymologically appropriate, it fits into a coherent paradigm
(‘dilogue’, ‘trilogue’, ‘tetralogue’ etc.), and it is easy to handle, allowing, for example,
the derived adjective. Thus, we will refer to as polylogal all communicative situations
which gather together several participants, that is, real live individuals. Thus defined,
the notion of polylogue, although seemingly trivial, already poses some problems
owing to the difficulty of clearly defining the category of ‘participants’. I will come
back to this point, but for the moment, let me say that the situations analysed in this
issue involve variable numbers of participants, ranging from four (e.g. the interac-
tions involving a divorced couple and their respective notaries studied by Bruxelles
  4
      And before him, Sacks (Lectures vol. I, 523–524): ‘‘two parties does not necessarily mean two persons’’.
  5
      In a completely different sense from the meaning attributed to this term by Julia Kristeva (in Poly-
logue, Paris: Seuil, 1977). Picking up on Maurice Blanchot’s idea of ‘parole plurielle’, Kristeva’s approach
is related to what is commonly known as ‘polyphony’, or ‘dialogism’. To use the terminological distinc-
tion (introduced by Eddy Roulet) between dialogal discourse (which brings together several distinct
speakers) and dialogic discourse (which refers to a plurality of enunciative voices, more abstract entities
which can be embodied by one and the same speaker), we will say that Kristeva’s perspective is ‘dialogic’,
whereas our perspective in this issue is rather ‘dialogal’.
4                     C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24
3. Trilogues
   The objective of our earlier studies was to bring to light the specific features of
trilogues that distinguish them from dilogues. Trilogues were studied at every level
of their functioning, through a large range of data (everyday conversations,
exchanges in the media, and talk in different institutional contexts).
   If for example I ask A what time it is, I will be completely satisfied if it is B who
   answers me. Or to stay with the example of ‘Le masque et la plume’ [‘The Mask
   and the Quill’]:9 there are times when Bastide [the moderator] mistakenly asks for
   a commentary or explanation from one of the critics who has nothing whatso-
   ever to say on that subject. As is quite normal, another critic answers and no one
   even entertains the thought of taking offense.’’ (translated from the French)
  8
     The potentially destabilizing presence of a silent participant is superbly illustrated by Nathalie Sar-
raute’s play Le Silence (1967), based on the following situation (Paris: Folio, 1998, Abstract p. 93; trans-
lated from the French): ‘‘Six people—or rather six voices—find themselves unable to pursue a ‘normal’
dialogue due to the silence of a seventh person. [. . .] Why does Jean-Pierre remain so obstinately silent?
Why doesn’t he answer when someone asks him a question? What is he thinking? Does he pass judgment
on his more talkative partners? Is he hostile? indifferent?’’—all these puzzling and unanswered questions
will end up, as the play shows, undermining the conversation.
   9
     A discussion on a French radio program, analysed by these authors.
6                   C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24
than dilogues. They also place fewer constraints on participants, since the obligation
to cooperate—being in a way ‘diluted’ by the larger group—is not as strong for each
individual speaker.
      Within one and the same exchange, the initiating move, like the reacting
       move, can be composed of several contributions produced by different
       speakers.
      The question of the completeness/incompleteness of exchanges is posed in
       different terms, and the phenomenon of ‘truncation’ takes different forms.
      The structural organization of trilogues is clearly more complex than that of
       dilogues (intertwining of exchanges, conflicts over structuring, etc.).
   With regard in particular to the relation of dominance among the participants, the
trilogue allows certain members of the triad to form coalitions, a notion developed
by Theodor Caplow which will be investigated later (see Bruxelles and Kerbrat-
Orecchioni, this issue).
  In conclusion, for the analyst, the functioning of trilogues is in all regards more
complicated to describe than that of dilogues. For the participants themselves, the
more numerous they are, the more delicate conversational activities become.
Speakers must take all their recipients into account to some degree, and the recipients
themselves are intrinsically heterogeneous due to differences in status, knowledge,
expectations, objectives, etc. This situation can lead to apparently contradictory
utterances, as Müller (1997: 386) points out in his comment on Lonardi and Viaro’s
(1990) work on interviews between therapists and their patients:
   can be read as cases of ‘multiple recipient design’, i.e. the speaker attempts to
   tell, within one and the same turn, a proposition A to the therapist, but non-A
   to his co-present wife.
   When a triad is conversing, the moments of ‘genuine’ trilogue (in which all
three members are actively engaged) never last long; instead, they alternate with
phases which seem rather dilogal in character, involving two active speakers and
a third participant who can adopt various attitudes and show extremely variable
involvement in the interaction in progress. Describing the interaction therefore
requires above all observing gradual shifting from dilogal structures to trilogal
ones and vice versa—observing, that is, the mechanisms of ‘connecting’ and ‘dis-
connecting’ the third participant. In any case, these moments of ‘dilogues within
trilogues’ must not be dealt with as real dilogue, since they take place in the
presence of a third party; this fact is always relevant and should be taken into
account.10
   The main characteristics of trilogues, in comparison with dilogues, are their
flexibility, instability, and unpredictability, which are identifiable at all levels of
their functioning: this is the major conclusion to which our observation of trilogues
has led. Flexibility is, of course, even greater in interactions involving more
numerous participants. Beginning with four participants, a new possibility appears:
‘splitting-off’, that is, the forming of distinct conversational groups which continue
parallel exchanges (see Traverso, this issue). Beyond four participants, the pro-
blems of describing the interaction increase dramatically (especially in case of
informal non-focusing interactions). The first impression created by an audio
recording of such an interaction is one of such confusion and anarchy as to dis-
courage any attempt at analysis. . . But then, via immersion in the data, islands of
organization and regularity begin to emerge, as we will try to show in the following
analyses.
4. Principles of analysis
  Our study of polylogues is based on the same principles which we developed for
describing trilogues.
  We distinguish among several levels of analysis, and several types of units. For
example, we consider ‘turns’ and ‘moves’ to be two different kinds of monologal
units.
  10
      For example, as pointed out by Brown and Levinson (1987: 12), the seriousness of a FTA (Face
Threatening Act) increases in the presence of third parties; and Paddy Austin goes so far as to state (1987:
20): ‘‘An individual’s face is vulnerable in direct proportion to the number of people to whom she presents
that face in any given interaction.’’
8                     C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24
  A turn is produced by only one speaker, but it can have several successive recipients
and hence it can be divided up into different utterance-events (Levinson, 1988).11
These segments are sometimes very short, as shown by Goodwin’s (1981) example ‘‘I
gave up smoking cigarettes one week ago today, actually’’, which is composed of three
successive ‘utterance-events’ (sections according to Goodwin’s terminology).
   But Goffman adds that this definition is in some cases totally contradicted, par-
ticularly in discontinuous situations characterized by an ‘open state of talk’, or in
multi-focus settings where different encounters are closely intertwined with each
other. Although in many cases the largest unit is clear-cut, in others, it is not, and
the investigator is wise to drop the idea of even attempting to describe a global
interaction, and instead be content with taking a more modest approach and exam-
ining only certain ‘moments of talk’. At any rate, it is at this ‘macro’ level that the
notion of script comes into play. Schank and Abelson define a script as ‘‘a structure
that describes appropriate sequences of events in a particular context’’, that is ‘‘a
predetermined, stereotyped sequence of actions that defines a well-known situation’’
  11
     An ‘‘utterance-event’’ is for Levinson (1988: 168) ‘‘that stretch of a turn at talk over which there is a
constant set of participant roles mapped into the same set of individuals’’.
  12
     The principle of rank-analysis was developed by various discourse analysts, such as Sinclair and
Coulthard (1975), Edmondson (1981), or Roulet (1981).
                      C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24                         9
(1977: 42–43). They add that ‘‘a script must be written from a particular role’s
point of view’’; for example, what we commonly call the ‘Restaurant Script’ is, in
fact, a script of waiter–customer interaction as seen from the customer’s point of
view.
  Since the same tools are not appropriate to describing the different levels and
components of interaction, it is necessary to call upon various descriptive traditions.
Thus, our analyses will occasionally make reference to Searle’s or Grice’s prag-
matics, Hymes’s ethnography of speaking, Gumperz’s sociolinguistics, social psy-
chology, cognitive approaches, etc. But our basic kit of tools is supplied more
specifically by:
  13
     In this perspective, exchanges (such as the adjacency pair ‘question-answer’) are in fact combinations
of moves and not of turns. A turn can be composed of several moves, and therefore be part of several
exchanges. Inversely, one and the same move can (more exceptionally) be distributed over several turns,
for example in case of co-énonciation (Jeanneret, 1991, 1995, 1999).
  14
     These phenomena are described more precisely by Brown and Levinson (1978, 1987), whose theory
of politeness is of great use to interaction analysis, for example in order to describe the mechanisms of
preference organization (Lerner, 1996).
  15
     This ‘eclecticism’ characterizes most of the French research work in analysis of interactions, but it is
also claimed by some Anglo-Americain researchers, like Aston (1998: 13): ‘‘Since our primary objective
was not that of testing a specific discourse theory, however, our approach to the description of the data
has been substantially eclectic; the different theoretical backgrounds of the various members of the group,
and the nature of our aims, have entailed that rather than opting for a single descriptive model a priori, a
series of models have been examined, with a consensus as to requirements gradually emerging.’’
10                   C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24
5. Problems of typology
  Polylogues can be of very diverse nature. Among the classification criteria on which
a typology can be established, there is first of all the number of participants, which
can be extremely variable. However, as Grosjean and Traverso state (1998: 51):
  In this same article, Grosjean and Traverso bring other relevant axes to light, one
of these being the focused or unfocused nature of the interaction being observed. On
this topic, they introduce a number of useful distinctions which sharpen that of
Goffman between simple ‘gatherings’ and veritable ‘encounters’, where the group
forms around a common focus of attention.
   In shared focus encounters, the different participants are oriented towards one and
the same activity, verbal or non-verbal. These interactions can take place in a formal
or informal frame, formality being a gradual phenomenon (Drew and Heritage,
1992a: 27; see also Grosjean’s and Traverso’s analyses of ‘semi-formal’ situations, this
issue). The less formal the situation is, the more phenomena of ‘splitting-off’ can be
observed. Their highest level of frequency is to be found in everyday conversations
among friends.
  The classic example of an unfocused gathering is the waiting room, where non-
involvement is the rule, but copresence in an enclosed space brings about a situation
of ‘latent communication’.16
  Multi-focus gatherings are situations in offices, workshops, etc. where the different
participants or groups of participants go about different activities in the same place:
     Under these conditions, an ‘open state of talk’ can develop, participants having
     the right but not the obligation to initiate a little flurry of talk, then relapse
  16
     A situation which is managed in very diverse ways depending on the culture: unlike the way things
work in France, in some societies, copresence in the same place almost automatically leads to beginning
conversation.
                       C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24       11
  back into silence, all this with no apparent ritual marking, as though adding but
  another interchange to a chronic conversation in progress. (Goffman, 1981:
  134–135)
  When a word is spoken, all those who happen to be in perceptual range of the
  event will have some of participation status relative to it. The codification of these
  various positions and the normative specification of appropriate conduct within
  each provide an essential background for interaction analysis. (Goffman, 1981: 3)
6.1. Problems
6.1.1. Participation
  Participants are defined by Goffman as being ‘‘in perceptual range of the event’’.
But the criterion of perceptual access (visual and/or auditory) is too limited, because
 17
      See Marcoccia (this issue).
12                    C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24
it excludes situations such as written discourse, relayed talk, etc. It is also too broad,
in the viewpoint of some researchers. In fact, for Goffman, every person present on
the site of the interaction, whether officially ratified or non-ratified as a participant,
has ipso facto a certain ‘participation status’, insofar as this copresence cannot fail to
have some impact on the behaviour of the people who are in contact with each other.
Levinson (1988), however, in opposition to Goffman, defines only those who are
‘ratified’ and ‘attentive’ as ‘participants’. And Goodwin (1981: 107 ff), noting a con-
tinuum between evident engagement and total disengagement (and vice versa), adopts
a kind of intermediate position, suggesting that even those who are ‘momentarily
disengaged’ should be included in the category of participants. It seems therefore
advisable to recognize the existence of different degrees of participation, according to
the scheme proposed by Bell (1984):
6.1.2. Ratification
   Ratified participants are, according to Goffman, officially a part of the conversa-
tion group, as witnessed by the way the members of the group are physically posi-
tioned (proxemics, postures, eye-contact network). Yet there is a great deal of
disagreement among theoreticians regarding this issue as well. For Drew (1992), for
example, jurors in courtrooms are considered ‘overhearers’ since they are forbidden
to speak; Heritage (1985) has the same attitude regarding the ‘audiences’ of news
interviews; and McCawley (1984: 263) contributes a very slight nuance to this view,
claiming that ‘‘the jury are only very loosely speaking ratified recipients [. . .]. The
spectators are not, even in a loose sense, ratified recipients, though they in many
cases are intended recipients.’’ Nevertheless, if seems difficult not to admit that jur-
ors and even spectators of a trial in a courtroom are ratified to a certain extent,
given the legitimacy of their presence on the site, their displayed interest in the pro-
ceedings, and the fact that the discourse produced is also (sometimes even mainly)
intended for them. Indeed, it seems preferable to recognize that there are different:
     *degrees of ratification: We can agree with McCawley that the jurors are ‘more
     ratified’ than the spectators, who are nevertheless still ratified;
     *modes of ratification: Complete ratification (in both the production and reception
     formats) can be opposed to ratification as a listener only (ratification in the
     reception format). The latter is the case of all kinds of ‘audience’, such as the
     spectators attending a court trial, a town council meeting, or a TV talk show,19
 18
    Indeed, this is the way Bell designates Goffman’s category of ratified non-addressed recipients.
 19
    In the last case, there are two categories of spectators, those who are present in the television studio
and those who are watching the program on their TV screens. In a sense, both are ratified as listeners.
                     C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24                     13
6.1.3. Address
   Within the category of ratified participants, Goffman distinguishes between
addressed recipients (to whom the speaker officially addresses his or her utterance)
and non-addressed recipients (‘side participants’ for Clark, ‘auditors’ for Bell). The
determination of addressee(s), however, poses the problem of address markers. As
explicit signals (principally terms of address) are rather seldom present, we most
often have to deal with subtle and gradual cues such as the content of the utterance
(which more specifically ‘concerns’ a particular listener), or paralinguistic and kine-
sic indications (vocal intensity, intonations, eye and body orientation, head move-
ments). Goffman insists in particular on ‘visual cues’,21 and defines the addressee as
‘‘the one to whom the speaker addresses his visual attention’’ (1981: 133). But such
markers are often ambiguous, and they may even be contradictory with each other
(examples of a clash between verbal and non-verbal markers: a sweeping glance
accompanying an utterance in the second person singular or just the opposite).22 So,
instead of referring to a discrete opposition between ‘addressees’ and ‘non-addres-
sees’, it seems preferable to assume that address cues often establish a gradual
ranking of main addressee(s) and secondary addressee(s). This continuum can have
two forms.
 20
     In the example of the town council meeting (Witko, 2000), the roll-call procedure constitutes the
main ratification technique.
  21
     Inaccessible to the analyst who does not have access to a video recording. . . We note here that the
problem is posed in completely different terms when the data being studied is written: see in this issue
Marcoccia’s study on a case of communication via the Internet.
  22
     For an example during a corporate work session, see Lacoste (1989: 266–267).
14                    C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24
     *Semi-self talk: This is the case when it is not certain whether the speaker is talking to
     him- or herself or to someone else.23 Well-known examples are interjections, excla-
     mations, ‘response cries’ (cf. Goffman, 1981: Chapter 2), and ‘out-louds’ (cf. Levinson,
     1988: 206 ff). There are also cases in which someone thinks aloud in someone else’s
     presence, as in private comments by a customer in a cafeteria line, or by an office
     employee working in front of a computer; and in domestic situations where each
     participant goes about his own activities, producing brief apparent soliloquies, which
     are not in fact authentic ‘self talk’, since the presence of other people exercises a certain
     degree of control over the vocal productions of all the participants (see Vincent, 1995).
     *Collective address: This is the case when a speaker is talking before a large
     audience, as in a classroom setting, for example, where the teacher’s sweeping
     glance over the audience is perforce unequal, ‘favouring’ some members (because
     they perhaps produce more back-channel signals), although still not exactly
     leaving the other members of the audience ‘unaddressed’.
6.1.3.2. Continuum between t1 and t2. Between t1 and t2 (two consecutive moments
in time), a gradual shift can occur from one addressee to another. For example, the
main addressee can be changed in mid-sentence by shifts of gaze, subtle vocal var-
iations, etc. This can even be done more brusquely by using the pronominal marker,
as in the following two examples (one of which is excerpted from a television debate
and the other from an informal conversation):
     (1) He doesn’t want to be reduced to one of the two aspects of your personality.
     [co-reference between ‘‘he’’ and ‘‘your’’, in relation to a change in the orientation
     of the speaker’s glance]
     (2) Since you stopped teaching the class, she doesn’t know how to talk!
  23
     ‘‘She said something in a muffled voice, in a murmur, but it was difficult to know whether she was
saying that for his benefit or to herself.’’ (Milan Kundera, Risibles amours, Paris: Gallimard, 1974: 180;
translated from the French). The ‘semi-self talk’, or ‘half-aside’ (semi-aparté) is a frequent theatrical
device, particularly in Molière’s comedies.
                      C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24                       15
bystander within the perceptual space. On the basis of this criterion, examples of
overhearers would be: factory workers doing repair work in an office where a meeting
is being held, or staff in charge of handling technical problems during a conference.
Such participants are only exceptionally promoted to the status of ‘addressees’.
Examples of eavesdropping, on the other hand, would be hearing a private conversa-
tion through a half-open door—or listening to a recording of a conversation which
just happens to have fallen into your hands as a conversation analyst. . .
   In addition to this speaker-linked criterion, Goffman’s definition brings in another
criterion, connected to the attitudes or motives of hearers themselves. Overhearers,
according to Goffman, follow the talk temporarily, unintentionally, and inadvertently,
enacting shows of disinterest and minimizing their actual access to the talk. Eaves-
droppers, on the other hand, are indiscreet listeners who do everything they can to
intercept discourse which is in no way intended for their ears; in Goffman’s words,
‘‘they may surreptitiously exploit the accessibility they find they have.’’ (1981: 132).
6.2. Proposals
  The target does not always coincide with the addressee. When there is a dis-
crepancy between these two types of recipients, we speak of a ‘communicational
trope’ (trope communicationnel)24—a phenomenon which is described masterfully by
Marcel Proust in various passages of À la recherche du temps perdu (translated from
the French):
 24
     See Kerbrat-Orecchioni (1990: 92 ff) on the different forms of this phenomenon (also see Mizzau
(1994) on triangolazione communicativa). I introduced the term ‘trope communicationnel’ in L’implicite
(Paris: Colin, 1986), where I propose an ‘extended theory of the trope’. I then studied this mechanism on
several occasions, in particular as it operates in drama: theatrical discourse can indeed be considered an
immense communicational trope, since the audience is an ‘eavesdropper’ for the characters, but a target
for the author and the actors. Interviews and various types of talk on the media operate to a certain extent
in the same way—cf. Greatbatch (1992: 269–270), who considers the audience as the ‘primary address’ in
news interviews (the term ‘primary’ actually meaning here ‘intended’).
16                   C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24
     ‘The duchy of Aumale was in our family for a long time before becoming a part of
     the Maison de France’, explained Monsieur de Charlus to Monsieur de Cam-
     bremer, in front of an astounded Morel to whom, to tell the truth, the entire dis-
     sertation was, if not addressed, then at least intended. (Sodome et Gomorrhe II: 212)
     I afforded myself the pleasure of informing her, but did it by addressing the
     information to her mother-in-law, as when playing billiards, in order to hit a ball
     one plays against the edge of the billiard-table, that Chopin, far from being out
     of fashion, was Debussy’s favorite musician. (ibid.: 212)
     Mr. X, you were born in Paris in 1940. After brilliantly pursuing studies in
     philology at the Sorbonne, you were obliged to leave in order to go into mili-
     tary service in Algeria [. . .].
     The eloquent man should demonstrate the wisdom which will allow him to
     adapt to circumstances and to people. I do indeed think that one should talk
                     C. Kerbrat-Orecchioni / Journal of Pragmatics 36 (2004) 1–24                  17
  neither all the time, nor against everyone, nor for everyone, nor to everyone in
  the same way. Thus, the man who is capable of adapting his language to what is
  appropriate to each case will be said to be eloquent. (Cicéron, l’Orateur:
  XXXV–XXXVI, 123; translated from the French)
   Conversation analysts express the same idea in their own terms. Following Sacks
et al. (1974: 727), the Recipient Design Principle is ‘‘the most general principle par-
ticularizing conversational interaction.’’ It is valid for all types of listeners and not
only for the addressee: ‘‘audience design informs all levels of a speaker’s linguistic
choice’’ (Bell, 1984: 161). In the same way, Clark (1989, 1992) also notes that when
we speak, we ‘design’ our utterance with all our potential listeners in mind, but we
do not deal with them all in the same way. Special attention should be paid to
one’s addressee, whereas towards overhearers, ‘‘speakers can legitimately choose
among a range of attitudes’’, such as indifference, disclosure, concealment, or
disguisement (1992: 255–256). Paralleling this, the listeners’ responsibilities are
not the same, nor are their abilities and handicaps. This principle has been
illustrated for all types of participants, that is, side participants (Clark and
Carlson, 1982), audiences (Drew, 1992), and overhearers (Schober and Clark, 1989;
Johnson and Roen, 1992).
ratified participants and bystanders, and sideplay, which consists of ‘‘hushed words
exchanged entirely among bystanders’’ (1981: 133–134).
   It is up to the speaker to attribute a particular participation status to each
member of the reception format, and first of all, to choose one or several main
addressee(s). Such choices are made on the basis of various principles.26 But they
are also highly adaptable, and, above all, negotiable. Goodwin (1981), for example,
shows that when it seems that the targeted addressee is not listening, the speaker
will fall back on another addressee who seems better disposed to listening, but this
‘sliding’ from one addressee to another will sometimes have to be accompanied by
the speaker’s reshaping and redesigning the utterance. Still another case is when a
speaker favours one member of the audience to an excessive extent in a situation
where the address is supposedly collective, and the person who is ‘too often looked
at’ tries to remedy this embarrassing situation by refusing eye-contact with the
speaker; such a strategy is aimed at getting the speaker to distribute address signals
more equitably.
   The point of the preceding remarks is that an addressed participant can behave in
such a way as to display a relative lack of involvement, and an unaddressed parti-
cipant can, in contrast, behave in such a way as to display a wish to be treated as an
addressee—and can even manage to get this to happen. Building the participation
format is a fundamentally collaborative process.
6.3. An example
standing in the same line as B are more ratified than those who are standing in lines
at the other counters (although the people in the other lines may nonetheless be
taking an interest in the goings-on in front of another counter, if only to change
lines in case their own line stops moving).
   The other postal employees behind counters are more ratified than the waiting
customers. They are part of the staff and can, if necessary, be ‘called to the rescue’.
They are therefore legitimate listeners. Among them, C, an on-the-job trainee, has
been given a particular status, close to that of a secondary addressee (as he is more
or less supposed to observe everything that goes on). Other postal workers who
happen to be present in the post office are also legitimate listeners, but they become
ratified participants less easily than the employees actually behind the counters who
are specifically in charge of customer contact.
   This post office participation framework constantly changes, not only because
the main addressee at t1 moment in time becomes the current speaker at t2
moment in time, but also owing to perpetual movements within the reception for-
mat, such as ‘broadening’, ‘reduction’, ‘restratification’, and ‘reorientation’ (cf.
Traverso, 1997).
   So this is a complex polylogal situation. Observed as it unfolds, it is, in fact,
like a ‘crossroads of interactions’, where interactions between A and various
successive customers, and interactions between A and other postal employees
closely intertwine—and this description is valid only if analysis is limited to
what takes place among the people who are present within the four walls of
the post office. . . But this notion of an ‘interaction behind closed doors’ is
really an artifice, as Latour (1994: 590) reminds us, for, in fact, all interactions
are infinitely open ‘‘to other elements, to other times, to other places, to other
participants’’:
  It is said, without looking too closely, that we are interacting with each other
  face-to-face. To be sure, but the garment we are wearing comes from some-
  where else; the words we are using were not designed for the situation; the
  walls we are leaning against were designed by an architect for a client and
  built by construction workers, all absent now, although their actions con-
  tinue to make themselves felt. Even the person whom we are addressing
  comes from a background which goes far beyond the framework of our
  relationship. [. . .] If we wanted to draw a spatio-temporal ‘map’ of all that is
  to be found in an interaction, and if we wanted to make a list of all those
  who are participating in one way or another, we would not see a clearly-
  outlined frame, but instead a very disheveled intertwining network implying
  an untold number of extremely diverse dates, places and people. (1994: 590;
  translated from the French)
vol. I: 523), adding that if two-party conversations are ‘‘much blander’’, multi-party
conversations ‘‘could be much more interesting’’ (ibid.: 533). With such encourage-
ment, how can one resist the urge to take on this challenge?28
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Catherine Kerbrat-Orecchioni is a Full Professor at Lumière University (Lyon, France). She also holds the
‘‘Linguistics of Interaction’’ chair at the Institut Universitaire de France. She has been a Visiting Professor
in the French Departments of Columbia University (NYC) and the University of Geneva. Her main
interests are pragmatics, discourse analysis, and interaction. She is the author of several books: La Con-
notation, L’Enonciation, L’Implicite, Les Interactions verbales (3 vol.), La Conversation, and Les actes de
langage dans le discours.