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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... conversation. 1 a literary workin conversational form 2a a conversation between 2 or more people or between a person and sthg else (e.g. a computer)banexchange of ideas and opinions3the conversational element of literary or dramatic ...
... conversation. 1 a literary workin conversational form 2a a conversation between 2 or more people or between a person and sthg else (e.g. a computer)banexchange of ideas and opinions3the conversational element of literary or dramatic ...
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... conversation as the exemplary genre of spontaneous, spoken speech. Before we move toaconsideration of the manyframeworks of analysisthat can contributetoour understandingofthe workings ofdialogue as interaction,some preliminary ...
... conversation as the exemplary genre of spontaneous, spoken speech. Before we move toaconsideration of the manyframeworks of analysisthat can contributetoour understandingofthe workings ofdialogue as interaction,some preliminary ...
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... conversation and these focus oncontent or verbal texture as the point ofcontrast. The differences inverbal texture, in particular, have moved critics like Allardyce Nicoll (1968) to utter uncharacteristically extremesentiments. ToNicoll ...
... conversation and these focus oncontent or verbal texture as the point ofcontrast. The differences inverbal texture, in particular, have moved critics like Allardyce Nicoll (1968) to utter uncharacteristically extremesentiments. ToNicoll ...
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... conversation, since conversation operates under social constraints which generally forbid theexpression ofemotion or, rather, 'passion'.Toquote Beckerman: Conversation is primarilysocial, that is,intended to create an atmosphere of ...
... conversation, since conversation operates under social constraints which generally forbid theexpression ofemotion or, rather, 'passion'.Toquote Beckerman: Conversation is primarilysocial, that is,intended to create an atmosphere of ...
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... conversations, men systematically dominate women, as research has shown (Ch. 5), and interpersonaldomination is more ... Conversation', notas socialchitchat alone,but as spontaneous speech exchange, isnotthe monolithof uniformity that it ...
... conversations, men systematically dominate women, as research has shown (Ch. 5), and interpersonaldomination is more ... Conversation', notas socialchitchat alone,but as spontaneous speech exchange, isnotthe monolithof uniformity that it ...
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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