Now looking briefly across all six examples cited, there is one other point of
note in the teacher’s performance, which relates to its paralinguistic dimension.
We can observe that Ajarn Murray’s speech varies in pitch—moments of
high or very high register, vowel-lengthening, and one descending glissando;
tone—indignant, amazed, disbelieving, deadpan; and timbre—squeaky voice.
Further, he makes use of a gasp, and the vocal effect of crackling electricity.
These paralinguistic elements function in three ways. First, they can be funny
in themselves. Second, they intensify the playfulness of the teacher’s
spoken language. And third, they signal to any members of the class who
may not have quite followed the verbal humour that a change of footing
has occurred.
Now looking briefly across all six examples cited, there is one other point ofnote in the teacher’s performance, which relates to its paralinguistic dimension.We can observe that Ajarn Murray’s speech varies in pitch—moments ofhigh or very high register, vowel-lengthening, and one descending glissando;tone—indignant, amazed, disbelieving, deadpan; and timbre—squeaky voice.Further, he makes use of a gasp, and the vocal effect of crackling electricity.These paralinguistic elements function in three ways. First, they can be funnyin themselves. Second, they intensify the playfulness of the teacher’sspoken language. And third, they signal to any members of the class whomay not have quite followed the verbal humour that a change of footinghas occurred.
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