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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... person' in language reflects. The grammatical categoryof 'person' dependsuponthe notionof participantroles and upon theirgrammaticalization in particular languages.Theorigin of the traditionalterms'first person''second person' and ...
... person' in language reflects. The grammatical categoryof 'person' dependsuponthe notionof participantroles and upon theirgrammaticalization in particular languages.Theorigin of the traditionalterms'first person''second person' and ...
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Dialogue as Interaction in Plays Vimala Herman. participating in the drama. The third person is negatively defined with respect to the first person and second person: it does not correlate withany positive participant role. (Lyons 1977 ...
Dialogue as Interaction in Plays Vimala Herman. participating in the drama. The third person is negatively defined with respect to the first person and second person: it does not correlate withany positive participant role. (Lyons 1977 ...
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... person and sthg else (e.g. a computer)banexchange of ideas and opinions3the conversational element of literary or dramatic composition 4 discussion or negotiation between 2nations, factions, groups, etc. with conflicting interests ...
... person and sthg else (e.g. a computer)banexchange of ideas and opinions3the conversational element of literary or dramatic composition 4 discussion or negotiation between 2nations, factions, groups, etc. with conflicting interests ...
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... changesdiscourse roletothat of speaker,which Beckerman has overlooked,asif dramaticdialogue were monologue. Theefforts of bothspeakers and listenersare involved inthedrama of 'persons' in the speech situation itself as Lyons (1977) has.
... changesdiscourse roletothat of speaker,which Beckerman has overlooked,asif dramaticdialogue were monologue. Theefforts of bothspeakers and listenersare involved inthedrama of 'persons' in the speech situation itself as Lyons (1977) has.
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Dialogue as Interaction in Plays Vimala Herman. 'persons' in the speech situation itself as Lyons (1977) has made clear. And as for the injunction that 'no one is to dominate completely', this is often honoured inthe breach. In mixedsex ...
Dialogue as Interaction in Plays Vimala Herman. 'persons' in the speech situation itself as Lyons (1977) has made clear. And as for the injunction that 'no one is to dominate completely', this is often honoured inthe breach. In mixedsex ...
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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