Manifestations of Speaker Attitudes in Conflict Stories*

Tomoko I. Sakita

!·-

. ..

1. Introduction
When we talk about past events, we do not simply report the events as a linear
enumeration of neutral information. We rather express our understanding of the humanrelations, our empathy to the participants and to the participants' psychological states. Basedon our egocentric modeling of the past outer-world in our cognition, we encode our subjective
views and evaluations of the events in our narratives. In other words, talking about something
recalled from memory is a creative activity, since the speaker makes choices at many points
reflecting a specific interpretation of her/his underlying thoughts (Chafe 1977, 1994). In thisprocess, the speaker conveys mental imagery, which is her/his interpretation of the events, tothe audience so that the audience receives as close mental imagery as the speaker
herself/himself holds. For this purpose, speakers use numerous linguistic devices that reflect
how they interpret the factual events, human relations, and the attitudes of the participants,
and in what way they wish to guide the development of the audience's mental imagery inaccordance with their own. For instance, speakers often utilize imitation of voice andgestures. They also use adjectives, relative clauses, and other modifiers to increase theagreement of the audience's mental imagery with their own.
This paper explores tense as one of the linguistic devices for the narrators to express
their interpretations of human relations, participants' psychological states, and their empathy
with the participants. It focuses on tense of "dialogue-introducers" (Johnstone 1987),
reporting clauses that precede direct quotes in narratives, such as I said, she says, I was like,and he goes. They switch tense between the present and the past in some peculiar ways
which previous discourse studies have found not merely rhetorical but discourse functional(e.g., Schiffrin 1981; Wolfson 1982; Johnstone 1987; Sakita 1998). This paper shows that
dialogue-introducer tense expresses the narrators' views of the reported speakers' attitudes in1
the stories.
Stories involving conflict present one of the situations that often involve attitudinal
shifts and contrasts among participants. Narrators of conflict stories often include a series of
direct reports of speech interactions as one of the crucial parts in the stories, which are inmany cases evaluative parts (Labov 1972; Tannen 1989; Chafe 1994). Narrators express
subjective views and evaluations of conflicting speech events, especially when they areparticipants in the conflicts. They attempt, in narrating the self-involving interactions, tojustify their own behaviors by foregrounding their views, in order to create sympatheticalignments with the audience to gain a base of support for their views. Narrators' use of- 74-

dialogue-introducer tense reflects such essentials of conflict stories as subtle power balances,feelings including anger and fear, and contrasting reactions between the narrators and theiropponents. This paper looks at discourse features of reported utterances such as discourse
markers, stumbling expr~ssions, repetitions, repairs, etc., that indicate the reported speakers'
attitudes. These discourse features, as manifestations of reported-speaker attitudes, correlatewith variations of dialogue-introducer tense.
This paper will present discourse analysis of narratives, which is originally based upon2
a quantitative survey of dialogue features . In section 2 below, I will first briefly
contextualize the present study as a development from the previous investigations of tenseswitching. In section 3, I will discuss definitions and functions of conflict stories. In section
4, I will examine conflict stories which range from serious conflict episodes that exhibit highdegrees of disagreement or aggression, to exchanges that involve subtle emotional conflict. I
will explore the correlations among reported-speaker attitudes, linguistic features within
dialogues, and dialogue-introducer tense forms. Finally, I will remark linguistic motivations
for the non-temporal but functional use of tense.
2. Background to the Present Study
Tense-switching between the past and the present has long been the subject of muchlinguistic study, from syntax, semantics to pragmatics. In terms of tense-switching of general
English verbs, traditional accounts of tense-shift from the past into the present have held thatthe historical present tense occurs when the narrators attempt to make the past event more
vivid (e.g., Sweet 1892; Jespersen 1931; Quirk, et al. 1985; Leech 1987). Pragmatic
explanation, on the other hand, has maintained that the tense-switching has the function of
events-separation (Schiffrin 1981; Wolfson 1982). However, the tense-switching of reporting
verbs has long been a controversial issue. Wolfson (1979, 1982), after carefully examining
numerous hypotheses, claimed that the tense-switching of the particular verb say is ananomaly. Schiffrin (1981) also admitted that the tense-switching of verbs of saying and direct

-·
( ~-

. ..........
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quotes is perplexing. Johnstone (1987) later reevaluated one of Wolfson's rejected
hypotheses and formulated a "relative status hypothesis" that dialogue-introducer tense
switches depending on the status of reported speakers. In Sakita (1998), I recently proposedthat tense-alternation phenomena are manifestations of multiple factors in complex reporting
processes. I presented a cognitive recollection theory and a consciousness stream theory,
claiming that tense-switching manifests the reporters' cognitive operations.
The present analysis of tense forms as manifestations of narrators' views of reportedspeaker attitudes suggests a much broader framework than Johnstone's (1987) relative status
hypothesis. Johnstone's hypothesis is based on the analysis of "authority stories" in whichnarrators report their interactions with authorities such as police officers, older neighbors,parents, and military superiors. She claims that narrators use the past tense for introducing
the speech of nonauthority figures, while the present tense for the speech of authority figures.

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These different tenses of dialogue-introducers indicate that the two characters in the story areon unequal "footings" (Goffman 1981). Her hypothesis, however, accounts only for limitedsituational cases and is not applicable to other situational contexts in which there is hardly any
distinction of statuses. I have noticed that many of Johnstone's authority stories could beseen in a broader framework of conflict stories. The authority stories often involve thenarrators' emotional conflict with the authority figures, and as Johnstone claims, narrators ofauthority stories intend to "present themselves to their audiences as having been far cheekier
than they probably actually were, to show that they are not the types who get intimidated
easily" (1987: 45), which is the point of authority stories. Apparent tense-contrasts inauthority stories are in fact the narrators' subjective interpretations of contrasts between the
narrators' attitudes and the authority figures' attitudes. This way of viewing tense as
manifestations of speaker attitudes would enable us to account for tense variations in not only
serious conflict episodes but in narratives that involve subtle emotional conflict. The present
analysis will lead to a further account for the tense-switching in narratives that involve
reported speakers' different attitudes and emotional positions.
3. Conflict Stories
Conflict occurs when two people disagree about an issue and choose to support
opposing sides. In most cases, both have concluded that, for the moment, their stances cannot
coexist simultaneously with one another (Stein & Miller 1993; Stein et al. 1997). In
argument, both arguers believe that their stance is more legitimate and more viable than thatof their opponent. Conflict may often involve anger, and the most frequent reasons for anger
are unexpected violations of moral or social standards, and attempts by an angry person toseek revenge or to guarantee that these violations never occur again (Stein et al. 1994). For
instance, the following excerpt narrates how a woman and her husband started an argument:(1)

I was at home .hh and urn (0.4) and then we had an ar:gument didn't we(.) Jeff said what
do you think (0.2) what hour do you think this is and(.) you shouldn't be home this late and3(.)and I said >at least I had the decency to phone yuh I coulda lied< (Edwards 1997: 145)

The narrator has come home late at night, for which her husband Jeff blames her. Jeff isangry because his wife has broken a moral standard, which is expressed by "you shouldn't behome this late." If the wife had apologized or guaranteed that the violation would never occur
again at this point, there would be no argument happening. But she answers in defense of her
behavior. She believes that the fact that she phoned him justifies her corning home late. Bothwife and husband believe that their stance is legitimate, which causes a conflict. Here,utterances are both introduced in the past tense, and their dialogue features are shown in ( 1)':(1)'

Jeff said:
I said:{blame, anger}(defense, defiance}- 76-

One of the goals of telling conflict stories which are frequently the narratives of selfinvolving interactions is self-justification (Georgakopoulou 1997). Narrators reassert orreaffirm their own positions, and justify their behaviors and arguments in contrast to those ofother parties. By justifying their own behaviors, they attempt to create solidarity with theiraudience. The narrator's talk preceding excerpt (1) demonstrates how she was attempting tojustify her position:(2)(... ) and urn so I went out(.) came back at about one o' clock and I phoned(.) him at work(.)which I don't normally do but I thought I wanted to phone him .hh to say that I was backhome(.) and(.) urn (2.0) and that he could trust me and(.) uh it was just my way of (0.4)
like(.) saying (.) that I was (.) youknow(Ibid.)The narrator describes her norm-breaching telephone call to Jeff as evidence of her
consideration of him ("I wanted to phone him") and of her trustworthiness ("he could trustme"). Edwards (1997) points out that these work to- undermine Jeff's basis for mistrust of her
and to emphasize her honesty and reliability in phoning Jeff. What the narrator is obviously
doing is to construe the reality from her standpoint and to construct the narrative in a way tojustify her own position in contrast to that of her opponent. Accordingly, another significant
aim of conflict stories is the narrator's self-foregrounding. Narrators, in the act ofstorytelling, reinforce their own views and positions of the human relations and of the eventsin the conflict situations in the story world. In this manner, narrators foreground their own
selves to justify their own positions, and they create sympathetic alignments with theaudience and gain a widened base of support for their views. For such purposes, narrators ofconflict stories need to convey subtle power balances, feelings including anger and fear, andcontrasting reactions between their opponents and themselves. These essentials of conflict
stories, which shall be examined in the next section, have close relation with linguisticfeatures within dialogues and dialogue-introducer tense forms.
Conflict stories considered on a continuum include stories in which narrators aim totalk about a whole conflict episode that features aggression and threats, on one end. There
are, on the other end, stories that involve subtle emotionai conflicts in some parts of thenarratives. I shall start with a conflict story that has conflict as a central event, then examine
narratives that include some emotional conflict at some points.
4. Speaker Attitudes and Tense
4.1. Conflict vs. step-backConflict stories often involve subtle power balances and hostile negotiations that may
develop into aggression and physical threats. Consider the following excerpt about thenarrator's conflict with a man who wanted to get a cigarette from him, and the narrator's
rejection of the request. The narrator conveys how the man made him mad. After thisexcerpt, the story continues to the narrator's beating him:

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(3)

1. Three weeks ago I had a fight with this other dude outside. He got mad 'cause I wouldn't
give him a cigarette. Ain't that a bitch?
2. (Listener: Oh yeah?)
3. He walked over to me. [¢] "Can I have a cigarette?"
4. He was a little taller than me, but not that much.
5. I said, "I ain't goq~g__ffi.QI~. man," 'cause, you know, all I had was one left. An' I ain't
gon' give up my last cigarette unless I got some more.
6. So I said, "I don't have no more, man."
7. So he, you know, dug on..the-·p-ack, 'cause the pack was in my pocket.
8. She he said, "Eh man, I can't get a cigarette, man? I mean--1 mean we supposed to bebrothers an' shit."
9.
well, you know, man, .~.UJ.
Q.D..~. you dig it? An' I won't give up mylas' one to nobody."
10. So you know, the dude, he looks at me, an' he--I 'on' know--he jus' thought he gon' roughthat motherfucker up.
11. He said, "I can't get a cigarette."
12. I said, "That's what I said, my man."
13. You know, so he said, "What you supposed to be, 1-?.i:.l.ct~n~--~-I;JjQ What, you think you 1-?.i:.\.9.
an' shit?"
14. So-(said, "Look here, my man, I don't think I'm bad, you understand? But I mean, youknow, if I had it, you could git it, I like to see you with it, you dig it? But the sad partabout it, you got to do without it. That's all, my man." So the dude, he on' to pushin' me,man.
15. (Listener: Oh he pushed you?)[lines are numbered for convenience; emphasis is added, hereafter](Myhill1992: 62-65)

soTsaj;:·"Yeaii:·&.9.U.§..

When we pay attention to the tense of dialogue-introducers, we notice that the narrator uses
the past tense (said) overall, except for one instance of the present tense (say) in line 9 and thezero-quotation (¢)which is without any introductory verbs in line 3. · Why does the narrator
shift to these non-past forms instead of keeping the past tense constantly? Let us closely
examine how the conflict story (3) is developed, to see what makes the dialogue-introducer
tense switch along with the story's development. The narrative begins in the past tense. Inline 3, the first remark a man u tters to the narrator is a request for a cigarette ("Can I have acigarette?" ). It is in zero-quotation form. This use of the zero-quotation form, as well as ofother present-tense dialogue-introducer forms, expresses searching and requesting attitudes incontrast to responsive and decisive attitudes, as seen in the following cases:
(4)

(5)
(6)

4

Misses Czinski's got her housecoat on and down the lawn by then . . . you know [¢]"what' s going on here Carol?" [raised pitch] I said "it's okay" I said "this .. . this guy says
he saw something and he can't even see it from where he's parked anyway"(Johnstone 1987: 40-41 )... and Misses Czinski's out there [¢] "Carol is there any problem?" [raised pitch] I said
"no ... no"(Ibid.)
there was another girl walking around she says "uh do you know where the sciencebuilding is" and I said "well" I said "you know, the guard just told me that this was thebuilding. So she say "are you gain' here for an Indian class by any chance" and I said "yes"After the man's request in line 3, the conflict starts. The narrator holds a slight hostility to the.

Iman, which is observed in his rivalry description of the man in line 4. From line 5 to the end,

- 78-the narrator consistently uses the past tense except for once in line 9. I argue that what causes
the narrator to switch to the present tense here and back to the past tense next lies in theattitudinal changes. In lines 5 and 6, the narrator rejects the man's request. In line 8, the man
responds, confirming his rejection ("Ehman, I can't get a cigarette, man?"). Here the manadds a remark which is considered to be a request for concession, "I mean--1 mean we
supposed to be brothers an' shit." To this request for concession and alignment, the narrator
responds in line 9, "Yeah, well; you know, man, all I got is one, you dig it? An' I won't giveup my las' one to nobody." This is the one that is introduced with the present tense (I say).
We notice that in contrast to the two consecutive rejections in lines 5 and 6, the narrator's
attitude in line 9 is different, giving an excuse for not offering a cigarette. In the first two
rejections, the narrator's simple and strong attitude appears in the rejection words "no more."
On t~e other hand, the narrator steps back in giving an excuse.
This observation of the attitudinal shifts is based on linguistic features we can see inthe context. First, in line 9, the narrator prefaces the rejection with turn initiators "yeah,""well," and "you know." "Yeah" shows his acknowledgement of the previou~ request foralignment (Schiffrin 1987). "Well" implies his not matching the man's expectation. It
indicates that the ideational options offered by the previous question are not precisely
followed in the content of answers (Ibid.). "You know" indicates his attempt to draw the
man's attention to his having only one cigarette left. He claims that his possession of only
one cigarette is a shared knowledge which leads to a reasonable rejection of the request.
These turn initiators used in a series not only soften his attitudes but also delay the rejection,
which is a main portion of the answer. Second, the narrator starts by giving an excuse
followed by an explanation, rather than simply rejecting the request. He even admits that hehas one cigarette left, compared to his previous claims that he had no cigarette. Third, he tags
a question "you dig it?'' With the prefacing "you know," it embodies his attempt to confirm
the man's understanding of his explanation. These show the narrator's temporarily softened
attitude and roundabout way of rejection, compared to the two previous simple rejections. In
addition, fourth, we see a linguistic clue of the motivation for the narrator's softening attitude.
Immediately before the narrator's response led by "So I say," the man softens his attitude torequest for concession, saying, "we supposed to be brothers an' shit." The man's softening
attitude is also reflected in his repeated use of "I mean" which signals a modification of theintentions of a prior utterance (Ib id.). Since the man has modified his attitude from
confirming rejection to requesting concession, the narrator steps back and prefaces his
rejection with turn initiators, and is also motivated to give an excuse. From the next remark
by the man in line 10, the conflict resumes, and the past tense is used constantly. Note thatthe narrator's last remark also includes an explanation, but it is not introduced with "I say,"which seems to contradict my claim that the narrator's previous use of the present tense
accompanies an excuse or explanation. In this case, the man's preceding remark is moreaggressive, containing repeated challenges with "bad an' shit?" In contrast to the narrator's-79-

stepping back at the man's "brothers an' shit," the repeated uses of "bad an' shit?" made thenarrator hold a firm attitude. So the narrator's last remark starts as a rebuttal and persuasion,that are reflected in the past-tense dialogue-introducer. Only from the remark "But I mean,
you know, if I had it, you could git it," he starts giving an e xplanation. But here already thetwo parties are in the mood for a physical fight. The whole dialogues are featured as listed in
(3)':
(3)'

He[¢]:
I said:I said:he said:
I say:
He said:
I said:he said:
I said:{request}{rejection}{rejection){confirmation of rejection, request for concession){TI, excuse, explanation}{confirmation of rejection}{affrrmation of rejection}{confirmation of hostility, reproach}{rebuttal, persuasion, explanation, excuse)(TI::;;turn initiator)

From this example (3) and numerous other instances, I assume that a narrator tends touse the past tense (said) in narrating conflicting exchanges, reflecting the both parties'
pushing forward with the balance of power in conflict and switches to the present tense when
there is any softening or stepping back from the conflict. I assume the following pattern for
the tense that shows the delicate balance of power in the conflict episode:In narrating conflict stories, narrators typically start with abstracts to summarize thestories, and orientations to set the scenes. In the substantial parts, there are arguments that
accompany pushing power from both sides, suspensions, withdrawal from conflict, andvarious kinds of negotiation. In these complicating-action parts, there generally arise
varieties of moves related to conflict, such as challenge, concession, false charge, show of
hostility, interruption, precaution, rebuttal, rejection, reproach, threatening, and warning. To
better guide the listeners' development of the mental image of the story world with thesecomplex reported-speaker attitudes, narrators use tense-shifting along with the developmentof the stories.
4.2. Conflict vs. step-forward
In the data set, there are seemingly opposing cases to what I just hypothesized. Let
me raise one example. In the following excerpt, the present tense seems not to be used forstepping back from the conflict:(7)

1... a::;;nd .. he just .. said "well, that theory was .. debunked."
2 .... I said "Oh? by whom."
3 .... He said "well by .. Peterson."-80-

4 .... I said ... "who's Peterson."

5. .. He says "you don't know Peterson? ... Oh my goodness ... Why he's one of our great ...
local .. geologists."

6 .... I said "well, .. uh that's nice, but why would he be the one to debunk this."
5(Chafe 1994: 218-19)

The narrator reports her telephone conversation with someone. She introduces utterances
both by herself and by the interlocutor with said, except for one utterance in line 5. Bothparties involved in this conversation are experiencing an emotional conflict. In line 1, theinterlocutor denies the theory that the narrator has mentioned. In line 2, the narrator asks him
to be clearer on who denied the theory, to which the interlocutor gives a response in line 3. Inline 4, the narrator still keeps asking for clarification of who Peterson is. In response to thisquestion, for the first time the interlocutor takes a longer turn in line 5. His response is not
only to answer who Peterson is, but also to claim that the narrator does not know Peterson,
whom he claims to be one of their great local geologists. This claim is rather personal,
deviant from arguing on the theory or the theorist. The man is emphasizing the narrator's
lack of knowledge. This is the point that is introduced with the present tense (he says).
Against this claim about the narrator's ignorance, however, the narrator stays calm in line 6,
and reverts to her point, requesting for clarification of why Peterson is the one to debunk thetheory. She points out the irrelevance of her lack of knowledge of Peterson. What we senseout of this short excerpt is that neither of the parties compromises. One is insisting that thetheory has been debunked, while the other is not persuaded but keeps asking questions to
object to his explanation. For the interlocutor, the narrator's not knowing Peterson is an
opportunity to gain the upper hand, to lead to his superiority. Here he finds a chance to breakthrough the conflicting power balance, and he bursts into a personal remark, with heightened
6
emotion. These exchanges are featured as follows:(7)'

he said:
I said:He said:
I said:He says:
I said:{claim, negation of the other's claim}{clarification Q}{A}{clarification Q}{A (Q), exclamation, claim, emotional burst, superiority}(Q"'question, A"'answer){acceptance, clarification Q, calm}

I assume the following tense patterns for this excerpt:

Notice that the characterization of say(s) is different from what I discussed in relation
to example (3), in which say(s) introduced the attitude of stepping back from the conflict incontrast to the challenging attitude of said. Here in (7), I have characterized the use of say(s)as stepping forward rather than stepping back from the conflict. What is common to these
two seemingly opposing attitudes is that the conflict annoys the speakers, so that they attempt-81-either to step forward or step backward from the conflict. The one in (7) who is stepping
forward and finding a way to gain the upper hand is actually attempting to find a key toescape from the power balance to superiority. The pattern for conflict and conflict-avoidancereflected in tense choice is therefore generalized as follows:

When the conflicting power balance is kept more parallel by both parties, the dialogueintroducer stays in the past tense. However, when the balance is broken, even temporarily,
the tense switches to the present. With this pattern of tense usage, the narrator conveys apower balance and its temporal breakthrough in the narrated world.
4.3. Different-directional switch
We have so far analyzed the attitudinal contrast in reporting conflict dialogues. Let us
tum to some different-situational cases which involve subtle emotional conflict, and examine
whether they fit in the account of the attitudinal contrasting use of dialogue-introducer tenses.
Excerpts (8) and (9) have similar question-and-answer pairs, but have differentdirectional tense-shiftings. Excerpt (8) is from an episode about the narrator's fall. He was
asked by a man if he had been drunk. Excerpt (9) is from an authority story in which thenarrator recounts the time when she was stopped by a police officer:(8)(9)

So he said to me, "Were you--did you have something to drink?"
I says, "I don't drink at quarter to twelve in the morning. It's too early."(Wolfson 1982: 65)
and he goes, "you been drinking?"
and I said, "WELL ... yeahh ... I had a few beers this afternoon." (Johnstone 1987: 39)
1•

1

In (8), the question is introduced with said, while the narrator' s response is led by says. In(9), by contrast, the question is introduced with the present-tense verb goes, while thenarrator's answer is led by said. When similar pairs of question and answer are reported withdifferent tense-shifts as in these cases, I suggest that the narrators' conceptualizations of thetwo situational contexts are not the same. The narrators may reflect attitudinal contexts in theways they introduce dialogues.
In (8), the man is not simply asking a question with mere curiosity or without any
idea. The man is cautious of the s_tranger lying down on the street. He is suspicious,
supposing that the stranger is drunk and may cause some danger to him. He has a blaming
attitude. The narrator, sensing the man's suspicious attitude, attempts to dodge his question,
giving an excuse-like response, to soften the tension between them. Here, pushing power· toward a conflict is expressed with the past-tense dialogue-introducer. In contrast, a softer
attitude with stepping back from causing a conflict is expressed in the present tense.
On the other hand, in (9), the narrator attempts to convey that the police officer's- 82-attitude is not authoritatively strong, and the narrator responds with the firmer, neverintimidated attitude. Indeed, Johnstone (1987) states that the point of people telling theirinteractions with authority figures is to show that they are not intimidated by the authority .
Against the police officer's question whether the narrator had been drinking, she admits it, as
if saying, "So what?" This unintimidated attitude is related to the narrator's utterance"WELL" which is stronger than a.simple response marker. It emphasizes that the police
officer's presupposition should be canceled (Owen 1983), in that his yes-no question format
is irrelevant. She implies that she only had a few beers in the afternoon, but that she has notbeen drinking recently. It also indicates that she disagrees with the police officer, meaning"yes but ... " (Pomerantz 1984). The narrator's attitude with this response is, "Yes, I only
had a few beers this afternoon, but I haven't been drinking much. So what is wrong with it?''
The narrator intends to spotlight her never-intimidated attitude when facing the authority's
professional checkups. Such a contrast is not intended in (8), on the contrary.
The following dialogic features are assumed for the two excerpts:(8)'

he said:
I says:{suspicion, blame}{dodge, excuse}(9)'

he goes:
I said:{police checkup, simple Q}{TI, A, acknowledgment, "So what?"}

The different-directional tense-shiftings in narrating the two similar exchanges about drinking
in (8) and (9) have actually resulted from different attitudinal contexts that the narrators
attempted to convey.
We have seen up to this point that the narrators' uses of dialogue-introducer tenses innarratives that involve conflict situations are manifestations of reported-speaker attitudes.
The past-tense dialogue-introducers often introduce dialogues that feature conflicting,challenging, or never-intimidated attitudes. They may be used in pair, reflecting the power
balance. On the other hand, the present-tense dialogue-introducers tend to reflect thereported-speaker attitudes in relation to stepping back from conflicts, watching the situations,suspending conflicts, or making excuses.
4.4. Attitudinal modifications
The cases we have examined involved tense-shifts that contrasted two speakers'
attitudes, but the dialogue-introducer tense-shifts may also often represent a subtle shift ofone speaker's emotional state or a modification of the narrator's view of the speaker. In
examining personal narratives, I have often encountered the cases in which the narrator shifts
tenses in introducing the same two utterances by one person. This type of tense-shift in reportof the same person has two ways of occurrence--either when the reported speaker's attitude
shifts in a course of conversation, or when the narrator's view of the speaker's attitude shifts.
These two cases reflect how tense represents narrators' evaluations of the speaker attitudes.

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Example ( 10) contains a dialogue-introducer tense-shift that accompanies a reported
speaker's attitudinal shift in her repeated responses. A woman is reporting her priorinteraction with her daughter as an illustration of why she should date boys only of her own
religion:(10)

And when I heard she was goin' out with him, I said, "You're goin' out with him," I said,"You're goin' out with a Gentile boy?" She says, "Well Daddy knows his father." I said,"I don't care." So she introduced him, and they went out, and she came home early, and I
said, "Well, y' goin' out with him again?" She says, "Nope." I said, "Did he get fresh?"
She said, "No!"(Schiffrin 1990: 250-51)

The tense-contrast in the last two lines reflects the shift of the speaker's firmness in repeatednegations. When the narrator' s daughter comes home from dating, the narrator asks if she isgoing out with him again, to which the daughter gives a light negation "Nope." The narrator
further asks another question, "Did he get fresh?" The daughter is apparently annoyed oreven insulted by her mother's blatant interference, and answers with a firm negation "No!"The narrator reports the daughter's shift in attitude toward her, by first using the present tense
to introduce the light response ("She says, 'Nope,"') then switches to the past tense to
introduce the emphasized or insisted negation ("She said, 'No!'"). The narrator' s tense-shift
in this case represents the reported speaker's instantaneous shift in attitude. 8
Let us move to the other case of tense-shift in report of the same-person utterances-the tense shifts along with the modification of the narrator's view of the reported-speakerattitude. Example (11) involves the narrator's modification of her view of herself as areported speaker. It is an excerpt from an authority story told by a woman about the time
when she was stopped by a police officer:(11) and I said "what's the problem" and he says ".w.~.U misses llm_, __.__._ I saw back down there by
the high school Ub.~!1~ you were going !JJHJ~~ FAST there it's a thirty-mile-an-hour zone

9.h__.__ ,__._" he(Johnstone 1987: 41)

Y.9.~.kiJ.9.~" and I says "yeah I know" I said "ah I know" . . . and he says ",__ ,_,__

goes ".w.~.U ... Ij_t,~,~_t want to let you know you're doing a good job"

The police officer claims that the woman committed a traffic violation by speeding. But his
way of speaking to her conveys that his attitude is not strong and authoritative. Or at least,
the narrator attempts to convey his attitude as such, by (i) introducing his utterances with thepresent tense throughout, and (ii) reconstructing his utterances with linguistic features thatindicate his soft attitude ("well," "urn ... ," "I think," "a little FAST," "you know," "I just").
On the contrary, the narrator intends to convey her own attitude as a stronger, neverintimidated one. In line 3, she reports her response to the police officer in repetition: "/says'yeah I know' I said 'ah I know."' She is repairing her utterance from "yeah I know" to "ah I
9know," and along with the repair, she also repairs her use of the dialogue-introducer tensefrom the present to the past:

10

This repair suggests that the narrator has sensed that "I says

'yeah I know'" is not enough to express her words and attitude, thus immediately modifies-84-her imagery of herself. The corrected remark "I said 'ah I know"' communicates her firmer
confidence towards the police officer, which immediately makes him step back, saying" . ..
oh .. ." As a discourse marker of information management tasks (Schiffrin 1987), "oh"displays receipt of an unanticipated answer. The narrator' s remark "ah I know" thus serves as
a turning point of this whole report, since the woman's response that she knows the speed
limit of the street justifies her innocence, and the police officer realizes that his claim about
the narrator's traffic violation is improper. He starts giving an excuse pretending that henever even thought of charging her with a traffic violation. In order to make the best of thisevaluative part, the narrator modifies her own imagery of herself and repairs her utterance.
The narrator indicates, with the linguistic features in her narrative, her evaluation of herself
and of the police officer. While she conveys the police officer's non-authoritative attitude,
she reinforces her own never-intimidated attitude by the repair as well as by her first utterance"what's the problem" which indicates her annoyance. In contrast to her constant uses of thepresent tense to introduce the police officer, she uses the past tense to introduce her own
remarks. Or, to be exact, she repairs herself in order to be consistent in her description of her
attitude as firm and strong. This example confirms the attitudinal correlation between the
dialogue and the dialogue-introducer tense.
From these cases, we assume a more-generalized argument that the narrators tend touse the present tense to introduce the reported speaker's utterance in a weaker position, while
they use the past tense for the speaker's more-assured, firmer attitude in a stronger position.
4.5. Background of the non-temporal use of tense
It is not a surprise that the dialogue-introducer tense expresses the narrators' views ofreported-speaker attitudes. Reporting verbs used in direct reporting discourse (e.g., say, go)
are "neutral" (Johnstone 1987) or "transparent" (Yamanashi 1991) place markers without
variational lexical meanings. This is in contrast to the characterizations of more-lexical,
performative reporting verbs in indirect reporting discourse, such as used in he shouted, I
suspected, she asserted, he confessed, that carry illocutionary or perlocutionary forces (Ibid.)and show reported speakers' attitudes. When narrators use direct reporting styles that favor
less-complex and less-wordy reports (Sakita 1996, 1998), they use tense as a means to
express the speaker attitudes and compensate for the lack of lexicality of the reporting verbs.
If, on the other hand, a narrator fully described the speaker attitudes that accompany the
dialogues instead of using the tense variations, the report would become quite wordy. Let us
refer back to example (9) for instance. The detailed description of the dialogues as in (12)would lose the art of direct reporting style as a performance to demonstrate the exchanges
with depictions:(9)and he goes, "you been drinking?"
and I said, "WELL .. . yeahh .. . I had a few beers this afternoon."- 85-(repeated)

(12) and he said, "you been drinking?" but was not in an authoritatively strong manner. Of
course I was not intimidated and said with enough confidence, "WELL ... yeahh ... I had
a few beers this afternoon."
Direct reporting style, as one of its characteristics, shows how ·something happened,rather than describes what happened (Yule 1993; Sakita 1995, 1998). Direct style frequently
appears in narratives' climactic parts that often feature speakers' emotional states or feelings
as significant points, but it does not explicitly verbalize them. The verb inflections for tense
are thus diverted for the functional uses to express the delicate attitudinal differences ofreported speakers and the ways the speakers spoke out the utterances. This is considered areasonable diversion of the use of the tense forms, since the actual past-time references areclear especially in the climactic parts in the midst of the narratives. Indeed, tense-shift isalmost completely restricted to "complicating action" clauses (Labov 1972) in which thecentral events are related in chronological order (Schiffrin 1981), so there is no temporal
confusion even without temporal markings. Tense, therefore, is a useful and available meansof interweaving into stories the attitudinal factors that are not sufficiently expressed by theverbs .

.·
f

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5. Conclusion
Narratives are by no means accurate representations of the real world, but arereconstructions of past events based on the narrators' interpretations in particularperspectives. They are reconstituted in the narratives' social and personal contexts ofoccurrence, that have dynamic relationships with the narratives' functions and purposes.
Accordingly, the narrative description of the reported-speaker attitudes depends on the
narrators' subjective views of the situations and their interpretations of the humanrelationships. The reported-speaker attitudes that manifest as dialogic features are the ones
that are put into the speech at the time of the narration, and they may not be the actual
attitudes accompanying the original utterances of the reported speakers. In other words, thelinguistic manifestations of reported-speaker attitudes depend on the narrators' conscious or
unconscious decisions, which they make in real time over the course of the narration, in order
to communicate most effectively to the audiences what they think the points of the stories are.
Since one of the most essential functions of narratives is the narrators' establishing or
enhancing intimacy with their audiences (Stahl 1989), the narrators aim to align with theiraudiences through gaining support for their views. This is particularly true of their reports of
their conflicting exchanges with others, in which speakers' subtle attitudinal shifts oremotional negotiations often serve as points of the stories. Therefore this paper mainly has
dealt with the cases in which the dialogue-introducer tense reflected subtle balances of power,
feelings including anger and fear, and contrasting reactions between the narrators themselves
and other reported speakers. Dialogue-introducer tense forms in such narratives well reflect
the narrators' evaluations of the speakers' delicate attitudinal shifts, which also manifest in- 86-

discourse as dialogue-internal features like discourse markers. By way of conclusion, I
should emphasize that although the contextual variation and situational "particularity" oflanguage (Becker 1988) puzzles us when we encounter not-readily explicable linguisticfeatures, language remains our best means of communicating our mental images.
Notes

*

1
2

3
4

5
6

7
8

I would like to express my gratitude to Masa-aki Yamanashi fo r his invaluable comments on an
earlier version of this study. The final product reflects my own views.
Speaker attitudes include the mental position the reported speakers possess when they made theutterances in quote, and the feeling or emotion they held at the time of the speech.
The present text analysis is based on a survey of con-elations between tense forms and dialogue
features. In another work (ms.), I listed up numerous dialogue features that are related to eachdialogue in discourse data base, and surveyed what tense form is used for each feature. This
paper presents an analysis of some typical cases from the survey.
'Greater than' and 'lesser than' signs enclose speeded-up talk as in: >he said<.
See Sakita (1998) for detailed discussions of the dialogue-introducer tense-contrast for the
searching and requesting attitudes versus responsive and decisive attitudes.
This transcription is segmented into intonation units. Two dots indicate a brief break in timing,
three dots a full-fledged pause.
Example (7) accepts the traditional interpretation of the historical present tense since the narrator
expresses the heightened emotional content of her interlocutor's utterance ("You don't knowPeterson? . .. "). Still, I would say that his heightened emotion results from his gaining the upperband in a conflict by emphasizing the narrator's lack of knowledge. On the other hand, example(3) did not have the reading of added emotion, having nothing to do with the climax of a story. In
this study, I have raised the uses of the present tense in examples (3) and (7) as cases of narrators'
describing speakers who attempt to escape from conflict of any sort.
In spoken English, the present-tense dialogue-introducer for the first person often takes the formof I says or says I instead of I say. See Sakita (1998) for discussions of its frequency andbackground.
The following involves the same pattern of attitudinal shift in one speaker's repeated negations:(i) But he didn't believe me I was ma=rried. I kept t- --He's= talking about how we should
carry on a conversation later, and I'm going, "no, no," I said, "I don't -- You know I really
don't think my husband would appreciate that." .. I said, "you know, it's a little difficult
having three in the same bedroom." [Transcription simplified; listener's reactions omitted](UCSB CSAE: CUZ)
The narrator prefaces the initial part of the negation with a present-tense dialogue-introducer("I 'm going, 'no, no,"'), and switches to the past tense to report the rest of her negation. The
speaker' s insistence is observed in her repair "I said, 'I don't-- You know I really don't think ..

"'In (i), we notice the use of be going as another way to introduce dialogues. Although I do not deal
with the verb-switching in this paper, it is another significant issue in exploring narratives.
9 'Repair' is a speech activity during which speakers locate and replace a prior information unit
(Schiffrin 1987).
10 This might be considered a repetition in the actual utterance instead of the repair at the time of thereport, but it is far more natural to consider it as a repair, as Johnstone (1987) treated it as such.

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