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PALGRAVE STUDIES
IN DISCURSIVE
PSYCHOLOGY
Analysing Digital
Interaction
Edited by
Joanne Meredith · David Giles
Wyke Stommel
Palgrave Studies in Discursive Psychology
Series Editors
Cristian Tileagă
Social Sciences & Humanities
Loughborough University
Loughborough, UK
Elizabeth Stokoe
Department of Social Sciences
Loughborough University
Loughborough, UK
Palgrave Studies in Discursive Psychology publishes current research and
theory in this established field of study. Discursive Psychology has, for the
past 30 years, established an original and often critical understanding of
the role of discourse practice for the study of psychological, social, and
cultural issues. This book series will provide both introductions to discur-
sive psychology for scholars new to the field, as well as more advanced
original research for those who wish to understand discursive psychology
in more depth. It is committed to the systematic representation of discur-
sive psychology’s contemporary ethos into all things social – from every-
day interactional encounters to institutional settings and the analysis of
wider social issues and social problems. Palgrave Studies in Discursive
Psychology will therefore publish ground-breaking contemporary contri-
butions on the relevance of discursive psychology for key themes and
debates across psychology and the social sciences: including communica-
tion, social influence, personal and social memory, emotions, prejudice,
ideology, child development, health, gender, applied interventions, insti-
tutions. The series editors welcome contributions from ethnomethodol-
ogy and conversation analysis, as well as contributions more closely
aligned to post-structuralism, approaches to analysis combining atten-
tion to conversational detail with wider macro structures and cultural-
historical contexts. We invite junior and senior scholars to submit
proposals for monographs and edited volumes that address the signifi-
cance of discursive psychology in psychology, communication, sociology,
applied linguistics. Please contact the series editors (c.tileaga@lboro.
ac.uk; e.h.stokoe@lboro.ac.uk) or the commissioning editor (grace.jack-
son@palgrave.com) for more information.
Analysing Digital
Interaction
Editors
Joanne Meredith David Giles
Department of Psychology Department of Psychology
University of Wolverhampton University of Winchester
Wolverhampton, UK Winchester, UK
Wyke Stommel
Center for Language Studies
Radboud University
Nijmegen, Gelderland, The Netherlands
© The Editor(s) (if applicable) and The Author(s), under exclusive licence to Springer Nature
Switzerland AG 2021
This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether
the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of
illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and
transmission or information storage and retrieval, electronic adaptation, computer software, or by similar
or dissimilar methodology now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication
does not imply, even in the absence of a specific statement, that such names are exempt from the relevant
protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and information in this book
are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or
the editors give a warranty, expressed or implied, with respect to the material contained herein or for any
errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional
claims in published maps and institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Contents
Name Index217
Subject Index219
Notes on Contributors
vii
viii Notes on Contributors
xi
List of Images
xiii
List of Tables
xv
1
Introduction: The Microanalysis
of Digital Interaction
Joanne Meredith, David Giles, and Wyke J. P. Stommel
“It’s noted that the style guide is that extracts are presented with a grey background.
However, there is inconsistency across chapters, with chapters 3, 4 and 5 having extracts
with no grey background, but all the other chapters do have this. I suspect this is because in
chapters 3, 4 and 5 the extracts are called examples or presented in tables. I would much
prefer it if all extracts could be presented as those in chapters 4 and 5, with a white
background with a box around them.”
J. Meredith (*)
Department of Psychology, University of Wolverhampton,
Wolverhampton, UK
e-mail: J.Meredith@wlv.ac.uk
D. Giles
Department of Psychology, University of Winchester, Winchester, UK
e-mail: David.Giles@winchester.ac.uk
W. J. P. Stommel
Center for Language Studies, Radboud University, Nijmegen, The Netherlands
e-mail: w.stommel@let.ru.nl
1 Introduction: The Microanalysis of Digital Interaction 3
Digital Interaction
For the purposes of this book when we talk about ‘digital’ interaction we
mean any communication which takes place within a digital environ-
ment which is designed to facilitate interaction. This can include blogs,
Another random document with
no related content on Scribd:
'Against it?' And he launched his thunderbolt. 'They are there at
the express invitation of the Duke.' Without pausing for breath he
completed the tale. 'On the second of the month the Lady Antonia
Malatesta was married to Duke Gian Maria, and her father has been
created Governor of Milan.'
A dead silence followed, broken at last by Facino. The thing was
utterly incredible. He refused to believe it, and said so with an oath.
'My lord, I tell you of things that I have witnessed,' Benegono
insisted.
'Witnessed? Have you been in Milan? You?'
Venegono's features twisted into a crooked smile. 'After all there
are still enough staunch Ghibellines in Milan to afford me shelter. I
take my precautions, Lord Count. But I do not run from danger. No
Pusterla ever did, which is why this hell-hound Duke has made so
many victims.'
Appalled, Facino looked at him from under heavy brows. Then his
lady spoke, a faint smile of bitter derision on her pale face.
'You'll understand now why I am here, Facino. You'll see that it
was no longer safe in Milan for Facino's wife: the wife of the man
whose ruin is determined and to be purchased by the Duke at all
costs: even at the cost of putting his neck under Malatesta's heel.'
Facino's mind, however, was still entirely absorbed by the main
issue.
'But Gabriello?' he cried.
'Gabriello, my lord,' said Venegono promptly, 'is as much a victim,
and has been taken as fully by surprise, as you and every Ghibelline
in Milan. It is all the work of della Torre. To what end he strives only
himself and Satan know. Perhaps he will lead Gian Maria to
destruction in the end. It may be his way of resuming the old struggle
for supremacy between Visconti and Torriani. Anyhow, his is the
guiding brain.'
'But did that weak bastard Gabriello never raise a hand ...'
'Gabriello, my lord, has gone to earth for his own safety's sake in
the Castle of Porta Giovia. There Malatesta is besieging him, and the
city has been converted into an armed camp labouring to reduce its
own citadel. That monster Gian Maria has set a price upon the head
of the brother who has so often shielded him from the just wrath of
the Commune and the people. There is a price, too, upon the heads
of his cousins Antonio and Francesco Visconti, who are with
Gabriello in the fortress, together with many other Ghibellines among
whom my own cousin Giovanni Pusterla. Lord!' he ended
passionately, 'if the great Galeazzo could but come to life again, to
see the filthy shambles his horrible son has made of the great realm
he built!'
Silence followed. Facino, his head lowered, his brows knitted, was
drawing a geometrical figure on the table with the point of a knife.
Presently whilst so engaged he spoke, slowly, sorrowfully.
'I am the last of all those condottieri who were Gian Galeazzo's
brothers-in-arms; the last of those who helped him build up the great
state which his degenerate son daily dishonours. His faithless,
treacherous nature drove the others away from him one by one,
each taking some part of his dominions to make an independent
state for himself! I alone have remained, loyally to serve and support
his tottering throne, making war upon my brother condottieri in his
defence, suffering for him and from him, for the sake of his great
father who was my friend, for the sake of the trust which his father
left me when he died. And now I have my wages. I am sent to
restore Alessandria to the pestilential hands of these false Visconti
from which it has been wrested, and whilst I am about this errand,
my place is usurped by the greatest Guelph in Italy, and measures
are taken to prevent my ever returning.' His voice almost broke.
There was a long-drawn sigh from the Countess. 'There is no
need to tell you more,' she murmured. 'You begin to open your eyes,
and to see for yourself at last.'
And then Venegono was speaking.
'I come to you, Facino, in the name of all the Ghibellines of Milan,
who look to you as to their natural leader, who trust you and have no
hope save in you. Before this Guelphic outrage they cringe in terror
of the doom that creeps upon them. Already Milan is a city of blood
and horror. You are our party's only hope, Milan's only hope in this
dreadful hour.'
Facino buried the knife-blade deep in the table with sudden
violence, and left it quivering there. He raised at last his eyes. They
were blood-injected, and the whole expression of his face had
changed. The good-nature of which it habitually wore the stamp had
been entirely effaced.
'Let God but heal this leg of mine,' he said, 'and from my hands
the Visconti shall eat the fruits of treachery until they choke them.'
He stretched out his hand as he spoke towards the crucifix that
hung upon the wall, making of his threat a solemn vow.
Bellarion, looking beyond him, at the Countess, read in the covert
exultation of her face her assumption that her greed for empire was
at last promised gratification and her insensibility that it should be
purchased on terms that broke her husband's heart.
CHAPTER XIII
THE VICTUALLERS
CHAPTER XIV
THE MULETEER