Dramatic Discourse: Dialogue as Interaction in PlaysRoutledge, 2005/06/20 - 340 ページ Whilst 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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... can be as difficultasit hasproved tobe in similar debatesregarding poetic language (Herman 1983:99–122). Notions of deviance are often grammatically motivated, but there islittleinthe grammatical structures of dramatic speech which ...
... can be as difficultasit hasproved tobe in similar debatesregarding poetic language (Herman 1983:99–122). Notions of deviance are often grammatically motivated, but there islittleinthe grammatical structures of dramatic speech which ...
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... canbe found inFry and Eliot, too, whose stylizations are departures from the argumentative or witty prose ofaShaw, Galsworthy or Coward. Pfister, however, hasgreater difficulty withdramatists who usethekind of conversationalstyles that ...
... canbe found inFry and Eliot, too, whose stylizations are departures from the argumentative or witty prose ofaShaw, Galsworthy or Coward. Pfister, however, hasgreater difficulty withdramatists who usethekind of conversationalstyles that ...
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... can be twoway,as Elizabeth Burns (1972:8–11,33–4, 98–121) has argued. If the stageis aworld in itsown right,all the world is equally astageit would seem,andthe'doubling' ofthe metaphor has providedits own forms ofillumination.Much of ...
... can be twoway,as Elizabeth Burns (1972:8–11,33–4, 98–121) has argued. If the stageis aworld in itsown right,all the world is equally astageit would seem,andthe'doubling' ofthe metaphor has providedits own forms ofillumination.Much of ...
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... canbe introduced,the simple distinction made abovewillserve forour purposes although it must be noted that there is not always a one toone relation between themwhen sentences are used in context as utterances. Utterances maybe ...
... canbe introduced,the simple distinction made abovewillserve forour purposes although it must be noted that there is not always a one toone relation between themwhen sentences are used in context as utterances. Utterances maybe ...
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... can be wieldedco operativelyor coercively, or somewhere in between, for various purposesin interaction. Speech, likelanguage,is notonly descriptive; it isactional,and canbe usedto interveneinto existing states ofaffairsand to create ...
... can be wieldedco operativelyor coercively, or somewhere in between, for various purposesin interaction. Speech, likelanguage,is notonly descriptive; it isactional,and canbe usedto interveneinto existing states ofaffairsand to create ...
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多く使われている語句
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