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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Dialogue as Interaction in Plays Vimala Herman. subdisciplines. The emphasis in each case, as in the book overall, is on issues of language as discourse, as interaction, from contemporary discourse—analytic perspectives, as these have ...
Dialogue as Interaction in Plays Vimala Herman. subdisciplines. The emphasis in each case, as in the book overall, is on issues of language as discourse, as interaction, from contemporary discourse—analytic perspectives, as these have ...
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Dialogue as Interaction in Plays Vimala Herman. regarding 'norms' as Victor Turner (1984) noted, and that problems may arise in cases where interaction is between participants who mayspeak the same language, butwhose cultural codesfor ...
Dialogue as Interaction in Plays Vimala Herman. regarding 'norms' as Victor Turner (1984) noted, and that problems may arise in cases where interaction is between participants who mayspeak the same language, butwhose cultural codesfor ...
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Dialogue as Interaction in Plays Vimala Herman. are distinguished from speech situation, which is used in a more technical and restricted sense by Hymes than would appear at first sight. It referstosituations in which speech playsa ...
Dialogue as Interaction in Plays Vimala Herman. are distinguished from speech situation, which is used in a more technical and restricted sense by Hymes than would appear at first sight. It referstosituations in which speech playsa ...
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Dialogue as Interaction in Plays Vimala Herman. influence speech activity. Certain kinds of speech activity are expected in bounded spaces and culturally endorsed places—in church, incourt, inthe drawingroom, theshop or the street. Scene ...
Dialogue as Interaction in Plays Vimala Herman. influence speech activity. Certain kinds of speech activity are expected in bounded spaces and culturally endorsed places—in church, incourt, inthe drawingroom, theshop or the street. Scene ...
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Dialogue as Interaction in Plays Vimala Herman. speech event itself—as in chains of command, delegated speakers and the like. The recipient roles are similarly complex. The interlocutor asthe canonical hearer isthe one addressed and is ...
Dialogue as Interaction in Plays Vimala Herman. speech event itself—as in chains of command, delegated speakers and the like. The recipient roles are similarly complex. The interlocutor asthe canonical hearer isthe one addressed and is ...
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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