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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... tothe Seataken fromJ.M.Synge, Plays, edited byAnn Saddlemeyer, 1968; by permission of Oxford University Press. Extracts from Table bythe Window ©1955 The Terence RattiganTrust andIn PraiseofLove © 1973TheTerence Rattigan Trust ...
... tothe Seataken fromJ.M.Synge, Plays, edited byAnn Saddlemeyer, 1968; by permission of Oxford University Press. Extracts from Table bythe Window ©1955 The Terence RattiganTrust andIn PraiseofLove © 1973TheTerence Rattigan Trust ...
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... tothe supreme honesty of the creativeartist, who, in his presentations on the stage, inthe book, oncanvas,in marble, in music,or in towers and houses, reserves tohimself the privilege to seestraight what allcultures buildcrooked. (1984 ...
... tothe supreme honesty of the creativeartist, who, in his presentations on the stage, inthe book, oncanvas,in marble, in music,or in towers and houses, reserves tohimself the privilege to seestraight what allcultures buildcrooked. (1984 ...
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... tothe extentthatanalysts like David Birch have argued forthe notionof a separate 'text' for performance(Birch 1991 ... to the tradition itselfareshaped, applied, tested and revised. As faras dramaticspeech is concerned,such pressures ...
... tothe extentthatanalysts like David Birch have argued forthe notionof a separate 'text' for performance(Birch 1991 ... to the tradition itselfareshaped, applied, tested and revised. As faras dramaticspeech is concerned,such pressures ...
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... tothe Pragmatics of language use and explores the 'performative' aspectsof language andtothe processes that underliemeaningand communication asinterpersonal accomplishments, the role of inference,and tothe turbulenceof the space between ...
... tothe Pragmatics of language use and explores the 'performative' aspectsof language andtothe processes that underliemeaningand communication asinterpersonal accomplishments, the role of inference,and tothe turbulenceof the space between ...
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... tothe workings of dramatic speechin plays. As an interdisciplinary work, the book can be approached in different ways. Those conversant withthe theoretical frameworks and familiar with theanalysis of conversation could wellfindthe ...
... tothe workings of dramatic speechin plays. As an interdisciplinary work, the book can be approached in different ways. Those conversant withthe theoretical frameworks and familiar with theanalysis of conversation could wellfindthe ...
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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