148 Difference
T. 98/Ms. B.: That she has to give up her job in order to get the money.
T. 99/Prof.: She has to give up her job in order to get the money.T. 100/Ms. B.: Yes.
T. 101/Prof.: Yes, that’s right.T. 104/Ms. B.: Right, that’s what the court says.
T. 105/Prof.: That’s what the court says, there’s no question about that. All
right.T. 110/Prof.: But, what is this that we can’t say?
T. 111/Ms. B.: That the return promise was sought for by the granddaughter.
T. 112/Prof.: We can’t say that the return promise, “Yes, I’ll give up my job,”
was sought for in exchange for the gift.T. 117/Ms. B.: What was promised.
T. 118/Prof.: What was promised.T. 121/Ms. B.: The two thousand dollars.
T. 122/Prof.: The two thousand dollars.T. 127/Ms. B.: [... ] and that’s on the grounds of equitable estoppel-
T. 128/Prof.: Equitable estoppel, uh huh [... ]T. 133/Ms. B.: [... ] from not fulfilling the promise.
T. 134/Prof.: Estopped from not fulfilling the promise.T. 148/Ms. B.: No, he didn’t even know the situation.
T. 149/Prof.: Right, didn’t know the situation, so [... ]T. 152/Ms. B.: Apparent (intention).
T. 153/Prof.: Or apparent intention. What do you make of that?T. 154/Ms. B.: Well, then you could- you could argue that the employer had an
apparent intention.
T. 155/Prof.: Well, now, why could you argue that?The use of parallel repetition in these question-answer sequences builds a sense of
semantic cohesion across the two speakers’ utterances, contributing to a sense of
narrative continuity.^15 It also contributes to a poetic coordination of the partici-
pants’ speech rhythms just at the point of transition, again promoting a sense of
continuity. Scholars studying this kind of patterning have also pointed to its util-
ity in aiding audience comprehension, surely as much an asset with large classes as
with juries.^16 (The modified Socratic classrooms ranged from 98 to 115 students.)