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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... isnot, therefore,a question of whether dramaticdialogueis seen tomirror faithfullysome reallife correlate or not ... is not the point of.
... isnot, therefore,a question of whether dramaticdialogueis seen tomirror faithfullysome reallife correlate or not ... is not the point of.
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... isnot onlymeaningful but performative,actional. Speakers use speech for various ends and outcomes canbe expected even when projected or desired outcomes fail. Social norms govern how speech isused and constrain the use of the repertoire ...
... isnot onlymeaningful but performative,actional. Speakers use speech for various ends and outcomes canbe expected even when projected or desired outcomes fail. Social norms govern how speech isused and constrain the use of the repertoire ...
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... of things isnot needed in the immediateenvironmentfor language torefer to them. Moreover, secondorderentities, like events and processes which occur rather than exist, and thirdorder entities like beliefs and judgements,
... of things isnot needed in the immediateenvironmentfor language torefer to them. Moreover, secondorderentities, like events and processes which occur rather than exist, and thirdorder entities like beliefs and judgements,
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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