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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... relation to another'sspeechandnotmerelythe verbalexpression ofone character or actor's 'part'. Dialogue belongs not to the sphere of the 'I' buttothesphere ofthe'we',as Gadamernoted (1986a:65). It requires,in standardcases, the ...
... relation to another'sspeechandnotmerelythe verbalexpression ofone character or actor's 'part'. Dialogue belongs not to the sphere of the 'I' buttothesphere ofthe'we',as Gadamernoted (1986a:65). It requires,in standardcases, the ...
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... relation between conversational speech and dramatic speech. The weightof opinion, especially in literary studies,would seem to beagainstany such affiliation,standard dictionaries notwithstanding. C O NVER S A T IONA ND D R AM A T IC D ...
... relation between conversational speech and dramatic speech. The weightof opinion, especially in literary studies,would seem to beagainstany such affiliation,standard dictionaries notwithstanding. C O NVER S A T IONA ND D R AM A T IC D ...
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... relation between conversationaland dramatic speechmust bepredicated upon reflections of surfaces and textures of the oneinthe other. Amirrororglassis thus inserted between the two domains withoutrespecttothe transformations thatare ...
... relation between conversationaland dramatic speechmust bepredicated upon reflections of surfaces and textures of the oneinthe other. Amirrororglassis thus inserted between the two domains withoutrespecttothe transformations thatare ...
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... relation to particular grammars, and not in absoluteterms. Utterances bring backinto the reckoning the contextual factors which are abstracted awayby grammatical sentences. Utterancesare relevantto areas of 'languageinuse', sentences to ...
... relation to particular grammars, and not in absoluteterms. Utterances bring backinto the reckoning the contextual factors which are abstracted awayby grammatical sentences. Utterancesare relevantto areas of 'languageinuse', sentences to ...
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... relation to performance;to specific dramaturgies, or authors or periods; orin engagementwithvarious literarycritical theories;or in more traditional fashion to'the language of drama';butthese directions, worthwhile as they are, are not ...
... relation to performance;to specific dramaturgies, or authors or periods; orin engagementwithvarious literarycritical theories;or in more traditional fashion to'the language of drama';butthese directions, worthwhile as they are, are not ...
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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