Dramatic Discourse: Dialogue as Interaction in PlaysWhilst poetry and fiction have been subjected to extensive linguistic analysis, drama has long remained a neglected field for detailed study. Vimala Herman argues that drama should be of particular interest to linguists because of its form, dialogue and subsequent translation into performance. The subsequent interaction that occurs on stage is a rich and fruitful source of analysis and can be studied by using discourse methods that linguists employ for real-life interaction. Shakespeare, Pinter, Osborne, Beckett, Chekhov, and Shaw are just some of the dramatists whose material is drawn upon. Each chapter contains a theoretical section in which major concepts of each framework are explained before the relevance of the framework to dramatic discourse is analyzed and explored using textual examples. This book will be of interest to undergraduates and postgraduates studying in the areas of literary linguistics and stylistics, or anyone specialising in the relationship between the text and performance. |
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... andthe fabricated activities,including speechin drama,Burns contends, needtobe 'authenticated' by an audience (or reader) as credible activity in the dramatic world in whichit functions. Dramatic action, broadly defined,becomes ...
... andthe fabricated activities,including speechin drama,Burns contends, needtobe 'authenticated' by an audience (or reader) as credible activity in the dramatic world in whichit functions. Dramatic action, broadly defined,becomes ...
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... andthe culturally endorsed reflexivity thatdistinguishes it Turner callsa 'liminal' (sometimes 'liminoid' for technologically advanced societies) andmetasocial space, in which, groups strive to see their own reality in new ways and to ...
... andthe culturally endorsed reflexivity thatdistinguishes it Turner callsa 'liminal' (sometimes 'liminoid' for technologically advanced societies) andmetasocial space, in which, groups strive to see their own reality in new ways and to ...
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... andthe sevens andsoon cannotbeso neatly organizedand compartmentalized within thebinary. Bitsspill over, overlap and overhang. Categorizations ofthebinarykindare, therefore, risks, not certainties. More broadly,the relationship between ...
... andthe sevens andsoon cannotbeso neatly organizedand compartmentalized within thebinary. Bitsspill over, overlap and overhang. Categorizations ofthebinarykindare, therefore, risks, not certainties. More broadly,the relationship between ...
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... andthe possible reasons for its use byusers,in context, arealso significant when theplay of utterances is regarded as formsof action, and contextualized and particularized action at that. The notionof'context'has been used invarious ...
... andthe possible reasons for its use byusers,in context, arealso significant when theplay of utterances is regarded as formsof action, and contextualized and particularized action at that. The notionof'context'has been used invarious ...
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... andthe management of the interactional 'floor'. Chapter 3 focuseson the structural organization of alternating speech, its sequencing procedures, since speech has aprojectiveand aretroactivedimensionto it; it calls forth counterspeech ...
... andthe management of the interactional 'floor'. Chapter 3 focuseson the structural organization of alternating speech, its sequencing procedures, since speech has aprojectiveand aretroactivedimensionto it; it calls forth counterspeech ...
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Common terms and phrases
action andthe arealso areused assumptions attempts audience Bartley behaviour beliefs bythe Cambridge canbe characters communication constructed context conventional conversation Cooperative Coriolanus cultural deictic deixis Desdemona dialogue discourse Discourse Analysis dominance dramatic enacted extract female feminist fictional forms function gender given Hamlet Harry Harry’s hasto hearer Hymes Iago identity illocutionary illocutionary force implicatures inferences instance institutional interaction interpersonal interpretation inthe intheir inwhich isnot Laertes language Lear Lear’s linguistic locutionary act London male Maurya meaning mode mutual norms notion ofthe onthe Ophelia options Othello participants patriarchal patterns pauses performance perlocutionary act person Perspectives phatic play political Polonius possible pragmatic questions relations relevant response role Sarah scene selfselects sequence sexuality Shakespeare’s silence situation social speaker speaking speech acts speech event strategies structure talk tense thatthe theaudience theory theother tobe topic tothe turn turntaking University Press utterance verbal withinthe women