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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... possible worlds, counterfactual,'as if' worlds (Elam 1980:Ch.4),but whoselogic is accessible sincetaken to besimilarto theworld inwhich itis represented. The creation ofsuch worlds draws on given, existing resources—of language, action ...
... possible worlds, counterfactual,'as if' worlds (Elam 1980:Ch.4),but whoselogic is accessible sincetaken to besimilarto theworld inwhich itis represented. The creation ofsuch worlds draws on given, existing resources—of language, action ...
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... possible. Dialogue should, therefore, beseen more in the natureofa 'device' (Honzl 1940:118–26), ratherthan asa 'reflector' in drama, with a worldcreating, not aworldmirroring function. It is a complex device given thatit is ...
... possible. Dialogue should, therefore, beseen more in the natureofa 'device' (Honzl 1940:118–26), ratherthan asa 'reflector' in drama, with a worldcreating, not aworldmirroring function. It is a complex device given thatit is ...
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... possible reasons for its use byusers,in context, arealso significant when theplay of utterances is regarded as formsof action, and contextualized and particularized action at that. The notionof'context'has been used invarious ways,butit ...
... possible reasons for its use byusers,in context, arealso significant when theplay of utterances is regarded as formsof action, and contextualized and particularized action at that. The notionof'context'has been used invarious ways,butit ...
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... possible. Speech events occur within contexts, an immediate context of situation, within the wider context of culture. The cultural load on the context of situation inwhich speechisused canbe considerable,even if unconscious, since it ...
... possible. Speech events occur within contexts, an immediate context of situation, within the wider context of culture. The cultural load on the context of situation inwhich speechisused canbe considerable,even if unconscious, since it ...
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... possible, since this refers to the tone or manner in which speech is conducted; whether seriouslyor mockingly orironically,for instance.The Key can override contentand Key cuescanbe prosodic, ornonvocal as well—as when speech ...
... possible, since this refers to the tone or manner in which speech is conducted; whether seriouslyor mockingly orironically,for instance.The Key can override contentand Key cuescanbe prosodic, ornonvocal as well—as when speech ...
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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