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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... speak. Dramatic worlds,like fictional worldsin general, are not transparent to our everydayworlds, or reflectionsof them, but opaque to some degree, sincethey present alternatives, possibilities, worlds inthe 'subjunctive' ratherthan ...
... speak. Dramatic worlds,like fictional worldsin general, are not transparent to our everydayworlds, or reflectionsof them, but opaque to some degree, sincethey present alternatives, possibilities, worlds inthe 'subjunctive' ratherthan ...
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... accounted for is best summarized byDellHymes' (1972)mnemonic of SPEAKING. The following isa slightly revised version. S (situation) 1. setting (instrumentalities) 12. channel 13. forms of speech N (norms) 14. C h a p t e r 1 ...
... accounted for is best summarized byDellHymes' (1972)mnemonic of SPEAKING. The following isa slightly revised version. S (situation) 1. setting (instrumentalities) 12. channel 13. forms of speech N (norms) 14. C h a p t e r 1 ...
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... speaking are different (for example, where the languageusedis thefirst language forone speaker andasecond languagefortheother), or that speaking rules maybe ... speaking, controlof speaking norms is as important as command over the rules of.
... speaking are different (for example, where the languageusedis thefirst language forone speaker andasecond languagefortheother), or that speaking rules maybe ... speaking, controlof speaking norms is as important as command over the rules of.
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... SPEAKING model, the first twoare concerned withthe spatiotemporal settingin which speech occurs amongthe particular participants whoare involved in the speech event, since speechdoes notreside inagrammar or on apage alone, butis ...
... SPEAKING model, the first twoare concerned withthe spatiotemporal settingin which speech occurs amongthe particular participants whoare involved in the speech event, since speechdoes notreside inagrammar or on apage alone, butis ...
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... speaking, onecannot speak oflinguistic terms or items as deictic,butrather ofdeictic usages ofterms since the terms themselves have nondeictic uses. Social deictics can include honorifics andaddressforms, whiletextual/ discourse deixis ...
... speaking, onecannot speak oflinguistic terms or items as deictic,butrather ofdeictic usages ofterms since the terms themselves have nondeictic uses. Social deictics can include honorifics andaddressforms, whiletextual/ discourse deixis ...
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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