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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... behaviour in interaction are evoked totransform theserial issue of linguistic tokens amongthe dramaticcharacters intoforms of interpersonal conductand social action ascommunicative activity. The factors to be accounted for when speech ...
... behaviour in interaction are evoked totransform theserial issue of linguistic tokens amongthe dramaticcharacters intoforms of interpersonal conductand social action ascommunicative activity. The factors to be accounted for when speech ...
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... behaviour,action and speech in ordinary contexts of livingaremade operativeinthe creation, assessment and understanding of behaviour in the fictional world ofthe play. Itis the evocation of these which underlies the promise of ...
... behaviour,action and speech in ordinary contexts of livingaremade operativeinthe creation, assessment and understanding of behaviour in the fictional world ofthe play. Itis the evocation of these which underlies the promise of ...
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... behaviour both inside and outside drama. To quoteTurner again: if all principlesandnorms were consistentand ifallpersons obeyed them,then cultureand society wouldbe unselfconscious and innocent, untroubled by doubt. But few indeed are ...
... behaviour both inside and outside drama. To quoteTurner again: if all principlesandnorms were consistentand ifallpersons obeyed them,then cultureand society wouldbe unselfconscious and innocent, untroubled by doubt. But few indeed are ...
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... behaviours,andprotocols of speech and action asappropriate to them, theissueofdeviance seems tobe redundant. Given thenotion of acline,the binary isnotrequired or is unhelpful in providing us with clearcut, unambiguous categories, in.
... behaviours,andprotocols of speech and action asappropriate to them, theissueofdeviance seems tobe redundant. Given thenotion of acline,the binary isnotrequired or is unhelpful in providing us with clearcut, unambiguous categories, in.
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... behaviour required by society, or a particular subculture,exerttheir influenceon linguistic behaviourin particular settings, orwith specific social others. Language use is, moreover, functional in contexts. Utterances are employed.
... behaviour required by society, or a particular subculture,exerttheir influenceon linguistic behaviourin particular settings, orwith specific social others. Language use is, moreover, functional in contexts. Utterances are employed.
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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