Dialogue: Ti ho già
vista da qualche parte ( I've already seen you somewhere)
Federica: Sì, certo, il giornalista francese. Piacere, io mi chiamo Federica, e tu?
Rosa: Io sono Rosa, ciao. Probabilmente ci siamo incontrate da qualche parte con Jean. Che lavoro fai?
Federica: La fotografa, mi occupo anch’io di sport come Jean, perciò mi avrai vista con lui a qualche
gara.
Rosa: Probabile. Sei qui da sola?
Federica: No, sto aspettando il mio ragazzo che è andato a prendere qualcosa da mangiare. E tu, cosa
fai di bello? Sei collega di Jean?
Rosa: No, io studio.
Federica: Ah, cosa fai?
Rosa: Sono al terzo anno di Scienze dell’educazione e poi mi piacerebbe insegnare ai bambini.
Federica: Ah un bel lavoro, ma che pazienza! Ah, ecco il mio ragazzo. Lei è Rosa.
Lucio: Piacere, Lucio.
Federica: Rosa è un’amica di Jean, te lo ricordi quel giornalista di Parigi che abbiamo conosciuto…
The title of the dialogue
"I've already seen you somewhere" comes from the dialogue
between two people who do not know each other but have seen each
other on another occasion. The two characters of the dialogue are
Rosa and Federica and we see in the first conversational turn of Rosa a
co-presence of both the cultural dimension of the "short-term
time orientation" because the most relevant facts are often
placed in the past and in the same way we find a " strong
avoidance of uncertainty "with Rosa's need for clarity \
clarification on the possibility of already being a" known
"person for Federica. To achieve his need for clarity Rosa
formulates a question that allows you to create a connection with the
cultural dimension of the "collectivism", placing
relationships between people at the centre, citing a friendship in
common such as " I saw you with Jean." Federica ratifies this
description of reality with "yes of course" and specifies
with the words "the French journalist" as another way of adhering to
a cultural dimension of the "collectivism" because the
others are perceived as "out-group" otherwise he could have
stated the message saying "the sports journalist" as a way
to report the role of the tasks as prevalent on the relationships and
on the nature of the "in-group" supposed to belong to the
journalist. Afterwards, in order to enhance one's positive face, the
question is presented and exchanged with the intention of emphasizing
the will to seek a " feeling of membership" between the two
people. Rosa ratifies with his presentation and then qualifies his
answer remaining anchored in the dimension of "strong avoidance
of uncertainty" with his need for clarity through the statement
"I saw you with Jean" and then with his need to know which
is the work of Federica. In addition it could be said that one's
professional activity represents the most used way to adhere to an cultural dimension of
"individualism" in Italy because the tasks
are more important than the relationships in that kind of question but they are also a way to understand if it can arise an "in-group"
or "out-group" relationship between people. Federica
records this question by offering an answer that allows you to create
a link to emphasize the relationship with Jean in broad harmony with
the cultural dimension of the "collectivism".
Faced with this response, Rosa offers a reply to
mitigate this desire for "association" on the part of
Federica in harmony with the need to remain in the "individualism"
dimension where speaking for oneself is a good thing. This
"mitigation" work is done with the use of the adverb
"probably" and then Rosa continues with a question
formulated to stay in line with the need for "strong avoidance
of uncertainty" by asking "are you here alone?" as a
way to emphasize the importance of one's negative face in harmony
with the "individualism" dimension in which there is a
right to privacy and "I" is an important word in my daily
language". Federica does not ratify this reply specifying the
presence of her boyfriend and the fact of being there waiting for him
to leave with take-away food. This answer implies an adherence to a
"satisfied" dimension with the fact of mentioning the
presence of the boyfriend as a way to be happy and strengthen in the
traditional and historical sense his need for a positive face as a
girl in front of another girl. In a way, mentioning the presence of a
"boyfriend" is a way of adhering to a cultural dimension of
"masculinity" because this is how the boy will "manage
the facts (bring food) and she manages the emotions ( in this case
the management of relations with the outside world). Federica adheres
to this dimension of "strong avoidance of uncertainty" by
replying the question on "what job beautifully are you doing?" to
Rosa but with a more friendly and engaging style to grant positive face to Rosa but at the same time the desire for clarity is found
with the question of clarification that falls within the dimension of
"are you Jean's colleague?" to emphasize belonging to a
potential "membership" among these people. Rosa does
not ratify joining the "professional" world as a way to
adhere to a dimension of "strong avoidance of uncertainty"
while "studying" as an activity pushes people to adhere to a "weak
avoidance of uncertainty" because studying push people to try to become"
competent "in the eyes of others and they have to accept the uncertainty of
life during the study period. The study
creates an adhesion to a cultural dimension with a "long-term
temporal orientation" because the most relevant facts must be
placed in the future and also allows to adhere to a concept of
perseverance as a cultural trait of "strong avoidance of
uncertainty" . Federica acknowledges the answer on the study but
needs more complete information in order not to pay the costs to her
need to protect her negative face because her right to adhere to the
"individualism" dimension is threatened de facto because
she cannot process at best this information. In short, Grice's
principle of "manner" with the maxim "be relevant"
fails in this reply. Rosa's reply will be qualified to offer those
interactional benefits sought by Federica with the aim of protecting
her need for a negative face. In fact, in his reply we have an
answer that responds to a dimension of "strong avoidance of
uncertainty" by stating "I am in the third year of
educational sciences" and then adheres to a dimension of the
"long-term orientation" because the facts more
important must take place in the future even if work with children is
a job where "the present" prevails, that is, a "short-term
temporal orientation" because one must always be at the service
of children understood as "Others". Education work is also
a way of adhering to a "femininity" dimension through
Rosa's desire to find a balance between work and family. Federica
initially ratifies by offering benefits to Rosa's positive face by
placing her work in the "satisfied" dimension with the fact
that children offer positive emotions but at the same time mitigates
these benefits by mentioning the need for "patience" in
this work in harmony with the need to make efforts within the
long-term temporal dimension. Patience means living with a "weak
avoidance of uncertainty" because you need to be tolerant, work
with little stress and be comfortable in chaos. Then
Federica changes the subject by mentioning the arrival of the boy as
a way to try to create a sense of "belonging" in this
dialogue, that is to say a "we who becomes aware" by
immediately making presentations of her boyfriend to Rosa. The
ratification carried out by Lucio is of a minimal type to remain
within a "formal" style. In fact, Federica will provide
more information on Rosa's person to continue to try to create that
"strong avoidance of uncertainty" through a certain clarity
as well as the intention to place the interaction within a frame as
potentially like "in-group" as a way to reduce the social
distance between the two people. All these operations are objectives
to try to enhance Federica's need for a positive face which does not
find ratification with Rosa, who through her desire for
non-association tries to protect her negative face during this
meeting.
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