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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... participants who 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 ...
... participants who 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 ...
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... participant role. (Lyons 1977:638) In the'drama' of speech exchange therolesofspeaker and hearer are played by actual participants and the roles are exchanged during the course of dialogue. The speaker switches role to that of listener ...
... participant role. (Lyons 1977:638) In the'drama' of speech exchange therolesofspeaker and hearer are played by actual participants and the roles are exchanged during the course of dialogue. The speaker switches role to that of listener ...
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... participants, considerations of appropriacy of speechbehaviour, setting orspatiotemporal context of speech, degreesofformality or informality,how to codeswitch if necessary, howtocontrol degrees of politeness, and expressivity, whether ...
... participants, considerations of appropriacy of speechbehaviour, setting orspatiotemporal context of speech, degreesofformality or informality,how to codeswitch if necessary, howtocontrol degrees of politeness, and expressivity, whether ...
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... thisis'framed' activity, foregrounded for attention, participation, interpretation and appreciation, withall elements in this 'bracketed' world being relevant elements in that situations, assumptions might have to be abandoned or the ...
... thisis'framed' activity, foregrounded for attention, participation, interpretation and appreciation, withall elements in this 'bracketed' world being relevant elements in that situations, assumptions might have to be abandoned or the ...
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... participants—and to the necessities of presentation. Extra explicitness or expressiveness in speech may becalled fortosatisfy boththe informationaland aesthetic demands of theaudience. Theflow of informationabout offstage and onstage ...
... participants—and to the necessities of presentation. Extra explicitness or expressiveness in speech may becalled fortosatisfy boththe informationaland aesthetic demands of theaudience. Theflow of informationabout offstage and onstage ...
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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