![]() The paper argues that culture and cultural identity on social media are a complex. The paper examines communicative repertoires and cultural identity construction amomaps outng students of the National University of Lesotho in the social media space. The result is a fresh and exciting work that will resonate with students and scholars in sociolinguistics, intercultural communication, applied linguistics, and education. This book affirms the importance of communicative repertoires with highly engaging discussions and contemporary examples from mass media, popular culture, and everyday life. The book also discusses how our repertoires shift and grow over the course of a lifetime, as well as how a repertoire perspective can lead to a rethinking of cultural diversity and human interaction, from categorizing people's differences to understanding how our repertoires can expand and overlap with others', thereby helping us to find common ground and communicate in increasingly multicultural schools, workplaces, markets, and social spheres. Each chapter describes and illustrates the communicative resources humans deploy daily, but rarely think about-not only the multiple languages we use, but how we dress or gesture, how we greet each other or tell stories, the nicknames we coin, and the mass-media references we make-and how these resources combine in infinitely varied performances of identity. K E Y W O R D S interactional analysis, translingual practice, transnational workĬommunicating Beyond Language offers a timely and lively appraisal of the concept of communicative repertoires-resources we use to express who we are when in dialogue with others. ![]() It then describes how this framework explains the different outcomes for language diversity in the contributing articles-ranging from inequality to solidarity, marginalization to inclusivity, and misunderstandings to in-telligibility-in workplace interactions. It goes on to review theoretical developments on the material-ity of language to revisit traditional concerns about social structure and communicative interactions, develop a more expansive orientation to repertoires, and demonstrate how interactional analysis might adopt suitable units and categories of analysis. Arguing that there is a need to situate localized workplace interactions in changing frames and task structures, the article demonstrates how interactional sociolinguistics might serve this purpose. It provides an overview of how neoliberal economic conditions have impacted workplace communication, generating new task structures and communicative practices. This distinction is most obvious when dealing with individual speakers: the repertoire approach requires a lot more data about aspects of the individual's linguistic diversity and linguistic ecosystem.This introductory article explains the need for interactional analyses of workplace communication, which is increasingly multilingual and multimodal in expansive spatiotem-poral contexts and layered frames. In some studies, repertoire-based approaches to sociolinguistics contrast with variationist approaches. That would make each accent and each performance one of the "pieces". I can also imagine the performative aspect of drama and theatre might require a range of accents to be part of the "repertoire". ![]() Gumperz's original example was about the varieties of the Hindi language that a Westerner might need to master in New Delhi, and the pitfalls along the way. Indeed, accents do form varieties that are within the scope of the "repertoire". The term also seems to have found a niche in describing the acrolect-mesolect-basilect / tformal-informal / rhetorical-communicative axis. The term is widely used in studies about code-switching environments, including natively multilingual ones. John Gumperz is credited with introducing it to sociolinguistics, as linguistic / verbal repertoire:ĭefined as the totality of linguistic forms regularlyĮmployed within the community in the course of socially significant interaction. However, unlike in musicology where the "pieces" are quite well-defined, in sociolinguistics the "speech varieties" in one's "speech repertoire" are generally defined by the authors of the study. Just as in music, the use of "repertoire" implies a range, and various different items. developmental neurolinguistics and sociolinguistics. This was later adapted to other linguistic fields, e.g. The use of the term "repertoire" in music appears to be relevant, but each "piece of music" was equated to various phonetic properties, defined by the study. The term "speech repertoire" actually came from phonetics research in the 1950s. ![]()
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