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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... communicate throughthe mediumof language, as theetymology ofthe word signifies—'dia'—through, 'logos'—word, from'dialegomai'—to converse. The encounter of an 'I' witha'you' in thespeech situation isitselfa formofdrama, as Lyons (1977) ...
... communicate throughthe mediumof language, as theetymology ofthe word signifies—'dia'—through, 'logos'—word, from'dialegomai'—to converse. The encounter of an 'I' witha'you' in thespeech situation isitselfa formofdrama, as Lyons (1977) ...
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... communication, including the written forms,and,more broadly, links to anepistemology that grapples with the interconnections between mind,language, culture andhistory (Voloshinov 1973);and argues for relatedness and for'anecessary ...
... communication, including the written forms,and,more broadly, links to anepistemology that grapples with the interconnections between mind,language, culture andhistory (Voloshinov 1973);and argues for relatedness and for'anecessary ...
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... communication, the emphasis being, particularly, on the deployments ofthedialogic formassituational interaction. Instances of verbal communication actuallyexceed conversational contexts alone, but moststudies have prioritized ...
... communication, the emphasis being, particularly, on the deployments ofthedialogic formassituational interaction. Instances of verbal communication actuallyexceed conversational contexts alone, but moststudies have prioritized ...
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... communication in everydaylife are precisely those which are exploited and manipulated by dramatists intheir constructionsof speechtypes and forms in plays. Thus,'ordinary speech'or,more accurately, the'rules' underlying the orderlyand ...
... communication in everydaylife are precisely those which are exploited and manipulated by dramatists intheir constructionsof speechtypes and forms in plays. Thus,'ordinary speech'or,more accurately, the'rules' underlying the orderlyand ...
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... communication, linguistic tokens used are functionaland sensitivetosuch contextual pressures. As interaction,speech takes ajointly coordinated andmanaged course along a temporalpathsothat understanding, misunderstanding, communication ...
... communication, linguistic tokens used are functionaland sensitivetosuch contextual pressures. As interaction,speech takes ajointly coordinated andmanaged course along a temporalpathsothat understanding, misunderstanding, communication ...
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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