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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... within contexts of verbal communication, the emphasis being, particularly, on the deployments ofthedialogic formassituational interaction. Instances of verbal communication actuallyexceed conversational contexts alone, but moststudies ...
... within contexts of verbal communication, the emphasis being, particularly, on the deployments ofthedialogic formassituational interaction. Instances of verbal communication actuallyexceed conversational contexts alone, but moststudies ...
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... within speech transactions, each interactional event providingitsownform of interest while simultaneously functioning as an element inthe totaldesign. Thedesign itself, as noted earlier, can vary,as ithas doneacross thehistoryof drama ...
... within speech transactions, each interactional event providingitsownform of interest while simultaneously functioning as an element inthe totaldesign. Thedesign itself, as noted earlier, can vary,as ithas doneacross thehistoryof drama ...
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... within social life, but with its own specificities, with differences being sought within the playof pressures inthe context of functioning. Different dramaturgies have mobilized different linguistic styles in drama's long history and ...
... within social life, but with its own specificities, with differences being sought within the playof pressures inthe context of functioning. Different dramaturgies have mobilized different linguistic styles in drama's long history and ...
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... within wider unitslikespeech events.Assuch they are forms of social and interpersonal actionaswell, andnotjust a collection of sentences invested with 'meaning' inthe abstract. Thus, not just the meaning of whatissaid, butitsplace and ...
... within wider unitslikespeech events.Assuch they are forms of social and interpersonal actionaswell, andnotjust a collection of sentences invested with 'meaning' inthe abstract. Thus, not just the meaning of whatissaid, butitsplace and ...
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... within their own subjective worlds. Interactions canfashion orfabricate similar differences in situation and conditionthe kind of subjectivities thatcould be inferred from speech behaviour. Speakers, addressees andspeech signify in ...
... within their own subjective worlds. Interactions canfashion orfabricate similar differences in situation and conditionthe kind of subjectivities thatcould be inferred from speech behaviour. Speakers, addressees andspeech signify in ...
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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