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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... are inevitably my own. Permission tousematerial which appeared previously under the title 'Dramatic dialogue and the ... are used by permission of Faber&Faber Ltd and Grove/Atlantic, Inc:No Man's Land, Old Times, The Homecoming, Silence ...
... are inevitably my own. Permission tousematerial which appeared previously under the title 'Dramatic dialogue and the ... are used by permission of Faber&Faber Ltd and Grove/Atlantic, Inc:No Man's Land, Old Times, The Homecoming, Silence ...
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... are aroused: we splutterwith rage or are stunnedwithgrief. Playwrights whousea realistic mode are hampered bythe mismatch betweenthe forceof feltemotion and the threadbare possibilitiesfor expression of themaffordedby everyday speech ...
... are aroused: we splutterwith rage or are stunnedwithgrief. Playwrights whousea realistic mode are hampered bythe mismatch betweenthe forceof feltemotion and the threadbare possibilitiesfor expression of themaffordedby everyday speech ...
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... are used in context as utterances. Utterances maybe liabletofalse starts,slips ofthe tongue, beelliptical, incomplete, etc.sothatit couldbe unclear as to which sentence analogue is being used. Utterancesdo notstand alone. They are ...
... are used in context as utterances. Utterances maybe liabletofalse starts,slips ofthe tongue, beelliptical, incomplete, etc.sothatit couldbe unclear as to which sentence analogue is being used. Utterancesdo notstand alone. They are ...
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... are exhibited across different types of drama—Renaissance, Naturalist, Expressionist, Absurd, etc.—from theperspective of discourse would still remain the exploitation of options; the forms ofinteraction they produce are alsowithinthe ...
... are exhibited across different types of drama—Renaissance, Naturalist, Expressionist, Absurd, etc.—from theperspective of discourse would still remain the exploitation of options; the forms ofinteraction they produce are alsowithinthe ...
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... are detailed. Chapter 2 investigates Ethnomethodological approaches toturn taking, orthemechanisms thatcontrolthe alternationof speech among participants in the speechevent itself andthe management of the interactional 'floor'. Chapter ...
... are detailed. Chapter 2 investigates Ethnomethodological approaches toturn taking, orthemechanisms thatcontrolthe alternationof speech among participants in the speechevent itself andthe management of the interactional 'floor'. Chapter ...
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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