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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... of the 'I' buttothesphere ofthe'we',as Gadamernoted (1986a:65). It requires,in standardcases, the agencyand involvement ofat least two participants who communicate throughthe mediumof language, as theetymology ofthe word signifies—'dia ...
... of the 'I' buttothesphere ofthe'we',as Gadamernoted (1986a:65). It requires,in standardcases, the agencyand involvement ofat least two participants who communicate throughthe mediumof language, as theetymology ofthe word signifies—'dia ...
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... ofthe effortofthe listener arethe staples of the dialogic form. It includes a listener, who usually changesdiscourse roletothat of speaker,which Beckerman has overlooked,asif dramaticdialogue were monologue. Theefforts of bothspeakers ...
... ofthe effortofthe listener arethe staples of the dialogic form. It includes a listener, who usually changesdiscourse roletothat of speaker,which Beckerman has overlooked,asif dramaticdialogue were monologue. Theefforts of bothspeakers ...
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... ofthe dominant culture. AsVictor Turner has stated: ...any society that hopestobe imperishable mustcarveout for itself a piece of space andaperiodof time in which it can look honestly at itself. This honesty is not that of the scientist ...
... ofthe dominant culture. AsVictor Turner has stated: ...any society that hopestobe imperishable mustcarveout for itself a piece of space andaperiodof time in which it can look honestly at itself. This honesty is not that of the scientist ...
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... ofthe play. Itis the evocation of these which underlies the promise of intelligibility of the hithertounencountered fictional world being created through the unfolding of itsinteractions andactions. The governance ofconvention and ...
... ofthe play. Itis the evocation of these which underlies the promise of intelligibility of the hithertounencountered fictional world being created through the unfolding of itsinteractions andactions. The governance ofconvention and ...
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... ofthe metaphor has providedits own forms ofillumination.Much of the modern analysisofsocial life usesthestage asitsrootmetaphor—social actor, socialperformance and thelike.Sowhat is supposed to be deviating from whatisa problem ...
... ofthe metaphor has providedits own forms ofillumination.Much of the modern analysisofsocial life usesthestage asitsrootmetaphor—social actor, socialperformance and thelike.Sowhat is supposed to be deviating from whatisa problem ...
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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