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In older research literature, the prose epics emerging from the court of Elisabeth of Lorraine and Nassau-Saarbrücken have repeatedly been accused of lacking structure and literariness. By contrast, this article shows that narrative principles of seriality generate the complex structure of the voluminous ›Loher und Maller‹: literary strategies of repetition and variation organize the text on different levels. Recurring narrative structures, thematic constellations and motivations as well as lexical stereotypes are part of this comprehensive principle of seriality. Not triviality and insufficiency, but structural and narrative complexity and lexical accumulation of significance characterize ›Loher und Maller‹.
The paper investigates cases in which the recipients' affiliation with the speaker's affect in telling a complaint story is not (or not only) expressed through assessments or shorter comments or response cries but (also) through tellings of a complaint story of their own. After first complaint stories, next speakers may continue with similar or contrasting second or subsequent stories, in order to accomplish affiliation with the prior speaker's story and affective stance. Similar stories are contextualized as such with similar footings or similar embodiments; contrasting stories are contextualized as such with other footings and/or other embodiments. Nevertheless, not all subsequent stories are receipted as affiliative: the study of a deviant case shows how a subsequent story can be produced and treated as disaffiliative.
Analyzing pre-climax positions of everyday affect-laden telling activities, this paper shows that particular facial expressions, such as raised eyebrows with an open mouth or jaw-dropping, are the devices which are preferably deployed by story recipients as a minimal uptake to display affiliation, especially in the case of "scary" stories.
During the course of conversational storytelling, it is structurally necessary that recipients warrant the tellers speakership. At the same time, a particular affective display-not only in response to what has been said but also to what comes at the climax-appears to become relevant. Immediately prior to the climax, when the teller employs elaborate multimodal cues, the recipient's display of an "anticipatory affect" is made relevant. A particular type of affect signals the anticipation of what kind of climax is approaching. The present paper explores how story recipients accomplish this two-fold task, namely to display alignment with the speaker's role allocation and listenership on the one hand and affiliation on the other. The study argues that a minimal uptake is called for, requiring only a minimal slot in the flow of storytelling and facial expressions that are most likely to fit this slot.