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W’s intervention in the middle of K’s topic initial utterance can be seen as an acknowledgment of K’s suggestion of what the group will talk about; but at the same time, this intervention probably reveals W’s thinking that taking up with K’s initiated matter at this point might sound somewhat too soon, as reflected in W’s use of the words maybe first. K’s response to W’s initiation is a minimal token of concurrence Okay (line 5) with a rising tone suggesting a questioning of the preceding move in which W attempts to reorient the group from ‘talking about gift suggestion’ to ‘talking about the film’. Immediately, however, K’s Okay is followed by H’s contribution that substantially topicalizes W’s initiation (lines 6-7). H first tells the name of the film which results in a burst of laughter among the participants including him; he then produces a summary of the nature of the film er so it’s a biography of Forrest. The feature of this as a summary is obvious in that this is designed as an upshot of the immediately preceding utterance (i.e. the name of the film) pink and black nike high heels , signaled by ‘er so’. After this summary assessment (Jefferson 1984; Drew and Holt 1998) of the nature of the film, H is about to continue, but is overlapped by W and J in a confirmatory move: W offers an acknowledgment of H’s assessment (line 8), accompanied by a nodding of his head; J expresses her view of MBT Lami(/mbt-lami-c-8.html)the film as a very touching movie (line 9), followed by W’s comment: and kind of comedy (line 11), with his left arm moving up and down as if to emphasize his point of view. Line 4 to line 11 is thus a sequence in which the participants concentrate on the topic of ‘film’. Drew and Holt (1998: 509) observe that speakers tend to mark that they are about to change the topic of conversation by the design of the prefatory or turn-initial components/features of the turn in which they introduce the new topic. In this episode, when H says like Forrest Gump I think he is a very optimistic guy (line 14), he marks this as a shift to a different matter by beginning his turn with a minimal agreement form Yeah, followed by a prolonged So::, and then producing a prefatory ‘if…’ structure. Evidently, the Yeah here serves as a device to close down the topic in the prior turn process.
K’s topic-initial utterance, however, is not topicalized in the following turn. Not waiting for K to complete his topic-initial utterance, W intervenes with we talk about what film we have watched (line 4) extra large oil paintings , which sounds like a digression from K’s utterance in the prior turn. Note that W’s initiation is prefaced by a soft discontinuity marker (Drew and Holt 1998) 0kay, followed by the words maybe first. Such prefatory components can be read as resources W uses to abort K’s initiation and introduce his MBT Chapa(/mbt-chapa-c-3.html)candidate topic, that is, talk about the film. In other words nike heals , these prefatory components are produced by W to disengage his turn topically from the prior.
A similar pattern has been identified by Jefferson (1993) and Howe (1991), who both suggest that pauses and acknowledgment tokens precede topical shifts. The prolonged ‘so’ and the ‘if…” structure, in combination, signal that H is about to talk about something that is different from the matter in the immediately preceding turn but that connects back beyond the immediately prior turn to K’s topic-initial utterance at the beginning of this episode. These prefatory components thus contribute to managing the transition to the forthcoming ‘character’ sequence that disengages with the immediately prior turn but connects to the major task content as obviously marked by H through the use of the ‘if…’ structure. H’s topic shift move is clearly reinforced as we can see K insert a turn with He do (line 16) which overlaps with H’s he never gives up (line 17).