مطالب

Despite the critical relationships among pragmatic action, context, and linguistic vs. non-linguistic resources for producing various adjacency pairs in foreign or second language (L2) exchanges, their interplay has not been adequately investigated. Therefore, the present study examined these relations in the production of request-refusal adjacency pairs. The needed data were collected from 108 upper-intermediate to advanced EFL learners. Three hundred conversations were audio-recorded from learners’ role-plays that involved making request-refusal adjacency pairs. MAXQDA software was used for data transcription, codification, and analysis. Data analysis revealed that request-refusal adjacency pairs were co-constructed in discursive contexts through multiple turns using both linguistic and nonlinguistic turn construction units (TCUs). Learners significantly used more linguistic rather than nonlinguistic TCUs and more sentential and clausal TCUs than phrasal and lexical TCUs. Moreover, the use of pauses and continuers was significantly more than laughter, facial expression, and body language. These findings have some pedagogical implications for teachers to raise learners’ awareness of context, action, and linguistic and nonlinguistic TCUs in the production of speech act adjacency pairs.

The cavalry battle scene depicted on the Himyarite bronze plaque, being possibly a part of horse harness, reveals some relation with Iranian iconography of Parthian and Sasanian times. The relation is not direct and there are numerous differences with the Iranian fighting scenes. The composition does not directly refer to any of the Parthian or Sasanian battle reliefs or toreutics and seems to follow earlier, Hellenistic traditions, enriched by the Iranian and local detail. The direct confrontation, without immediate determination of the victorious and defeated sides, was avoided in Iranian iconography which aimed in glorification of royal heroism, being always victorious and only victorious cosmic power. The differences between the equipment of the depicted personages, clashing in cavalry combat, allow to identify the scene as a local version of classical amazonomachia with some Iranian iconographic elements added. Generally, the long lances were in Parthian and Sasanian times perceived as Iranian element of warfare and included to Iranian iconography of royal power, even if the tactical idea of employment of long lances, most likely, reached Iran with the Macedonians. It is possible that the female warriors in capalin/morion types of helmets of post Hellenistic origin clash with the warriors wearing scale armour covering entire body. The possibly-female warriors are shown in garments or nude and they seem to refer to iconographies of Athena-type goddesses in oriental environments. The latter motif of naked Amazon in combat is not popular in main-stream classical art but is occasionally attested. Scale overalls may refer to Roman imagery of heavy cavalry of Sarmatian origin. The piece, together with another rock relief, prove knowledge of Iranian-type heavy cavalry among Himyarites who attempted to follow or imitate the prestige of both great empires of the time.