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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... the other hand, dramatic speechcannot simply beregarded as an extensionof everyday speech into drama.Thereis interdependencebut not identitybetween them,and although there arefundamental levels of commonality, there arealso crucial ...
... the other hand, dramatic speechcannot simply beregarded as an extensionof everyday speech into drama.Thereis interdependencebut not identitybetween them,and although there arefundamental levels of commonality, there arealso crucial ...
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... theother codes of theatre withvarying degrees of interrelatedness as dramatic convention orexperimentation requires (Veltrusky 1941:94–117). Moreover, dialogue and interaction are among themost immediate and accessible levelsof drama ...
... theother codes of theatre withvarying degrees of interrelatedness as dramatic convention orexperimentation requires (Veltrusky 1941:94–117). Moreover, dialogue and interaction are among themost immediate and accessible levelsof drama ...
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... the other on the diachronic, as distinctive of dramatic speechwhich deviates from 'ordinary' languagebut candeviate, internally, from the tradition of dramatic language orstyleswhich are in force. Instances ofthe formerinclude ...
... the other on the diachronic, as distinctive of dramatic speechwhich deviates from 'ordinary' languagebut candeviate, internally, from the tradition of dramatic language orstyleswhich are in force. Instances ofthe formerinclude ...
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... the other, each other, the context of situation, the context of culture, the enaction of action, andintheir totality theymakeappeals to interpreters for meaning.Where dialogue is operativein drama,speech functioning is complex withits ...
... the other, each other, the context of situation, the context of culture, the enaction of action, andintheir totality theymakeappeals to interpreters for meaning.Where dialogue is operativein drama,speech functioning is complex withits ...
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... The other roles, which include thoseof ghostee, ghostor, spokesperson, relayer, deviser, sponsor, would varyalongone or otherofthese dimensions.The spokesperson, for instance, could not be assigned personal motivesfor the speech that is ...
... The other roles, which include thoseof ghostee, ghostor, spokesperson, relayer, deviser, sponsor, would varyalongone or otherofthese dimensions.The spokesperson, for instance, could not be assigned personal motivesfor the speech that is ...
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