Self-repetition

Self`-rep`e`ti´tion


n.1.Repetition of one's self or of one's acts; the saying or doing what one has already said or done.
References in periodicals archive ?
She first distinguishes between self-repetition and allo-repetition (repetition of others).
The utterances can be repeated completely, partially or by expanding them and the interlocutors can repeat their own production (self-repetition) or the other's production (other repetition).
In our study, the participants always used self-repetition as an answer to a confirmation check or to a clarification request made by their partner, as in Example 11.
In all cases self-repetition was used to provide an answer to a clarification request or confirmation check and, on the other hand, other repetition was used to show their acceptance or not of a question formulated by their partner in order to guess the mystery object.
The questions have t.o do, respectively, with any particular pieces of music that changed the composers' creative lives; their responsiveness to sounds of the everyday environment.; and their views on personal style versus self-repetition. They are excellent questions.
Finally, indirect coping devices such as self-repetition, code-switching: L1 structure words, and other-repetition were also observed to be used by the participants.
Auden's exuberance, wit, seemingly natural dramatic and lyric gifts, "inventive powers, both in language and form," and ability "to avoid either self-repetition or self-parody," continued to impress Bogan.
It seems that the effects of self-repetition depend on its ability to allude to exchanges between two speakers.
This comes at the point where Condivi praises Michelangelo's extraordinary visual memory and avoidance of self-repetition. The marginal comment adds: "Dissemi e vero, e se tu voi fare bene, varia sempre e fa piu tosto male." This satisfyingly epigrammatic remark, with its play on "far bene" and "far male" (Procacci rightly interprets it as "better to make a mistake than to repeat oneself")(50) could be taken to sum up the aesthetic of variety and novelty that was so central to Cinquecento Mannerism.
Among the topics are the effect of task and topic on opportunity of use in learner corpora, investigating the effect of the study-abroad variable on learner output: a pseudo-longitudinal study of spoken German learner English, self-repetitions in learners' spoken language: a corpus-based study, and beyond frequencies: investigating the semantic and stylistic features of phrasal verbs in a three-year longitudinal study corpus by Chinese university students.
The data being an oral discourse and speakers having limited competency in the foreign language, the data reflects abundant indicators (ie., hesitations, self-repetitions, self-corrections) showing their difficulties in communicating and their efforts to put their thoughts into words.
This example illustrates well how students' spontaneous discourse progresses: in fact, the speaker uses many self-repetitions followed by extensions of the sentences (<< it is not enough::: hum it is not enough for the::: for the:: for the ticket hum::) to finally find the word ("for the plane ticket").