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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... relevance tospoken speech within contexts of verbal communication, the emphasis being, particularly, on the deployments ofthedialogic formassituational interaction. Instances of verbal communication actuallyexceed conversational ...
... relevance tospoken speech within contexts of verbal communication, the emphasis being, particularly, on the deployments ofthedialogic formassituational interaction. Instances of verbal communication actuallyexceed conversational ...
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... 'framed' activity, foregrounded for attention, participation, interpretation and appreciation, withall elements in this 'bracketed' world being relevant elements in that situations, assumptions might have to be abandoned or the ...
... 'framed' activity, foregrounded for attention, participation, interpretation and appreciation, withall elements in this 'bracketed' world being relevant elements in that situations, assumptions might have to be abandoned or the ...
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... relevant elements in that world with multifunctions to perform. There is, consequently, ahighlevelof preformation in scripting dramatic action and speech, and preformance in realizing aplay in its context And if thescriptis preformed ...
... relevant elements in that world with multifunctions to perform. There is, consequently, ahighlevelof preformation in scripting dramatic action and speech, and preformance in realizing aplay in its context And if thescriptis preformed ...
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... relevant participants—thatis,inwhat thedramatic figures say anddotoeach otherin specific situations—cumulatively, that we come to understand the kind of beings they are, the kindof events they areinvolved inand the natureof the world ...
... relevant participants—thatis,inwhat thedramatic figures say anddotoeach otherin specific situations—cumulatively, that we come to understand the kind of beings they are, the kindof events they areinvolved inand the natureof the world ...
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... relevant aspects of the interview, and hencethe extra informational load tobe communicated aboutparticipants, for example,is nearer todramatic language insome measurethan facetoface conversation. Giventhat the dramatic context is one ...
... relevant aspects of the interview, and hencethe extra informational load tobe communicated aboutparticipants, for example,is nearer todramatic language insome measurethan facetoface conversation. Giventhat the dramatic context is one ...
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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