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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... debates. Allare,nevertheless, dual or multispeech forms entailing, inone wayor another orforonereason or another, thepresumption ofOtherness towhichOne relatesin patterned alternations of speech. To linguists desirous of investigating the.
... debates. Allare,nevertheless, dual or multispeech forms entailing, inone wayor another orforonereason or another, thepresumption ofOtherness towhichOne relatesin patterned alternations of speech. To linguists desirous of investigating the.
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Dialogue as Interaction in Plays Vimala Herman. patterned alternations of speech. To linguists desirous of investigating the workings of dramatic dialogue, the conflation of conversational speech with dialogue is fortuitous since there ...
Dialogue as Interaction in Plays Vimala Herman. patterned alternations of speech. To linguists desirous of investigating the workings of dramatic dialogue, the conflation of conversational speech with dialogue is fortuitous since there ...
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... plays isinterpreted action,not actioninthe raw. In relationtodialogue,what thissignifiesis thatitis our communicative competence (Hymes 1972) as much asour linguistic competence which is at work in interpreting 'the language.
... plays isinterpreted action,not actioninthe raw. In relationtodialogue,what thissignifiesis thatitis our communicative competence (Hymes 1972) as much asour linguistic competence which is at work in interpreting 'the language.
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... linguistic tokens amongthe dramaticcharacters intoforms of interpersonal conductand social action ascommunicative activity. The factors to be accounted for when speech is regardedas speech behaviour, exceed the limits that grammars set ...
... linguistic tokens amongthe dramaticcharacters intoforms of interpersonal conductand social action ascommunicative activity. The factors to be accounted for when speech is regardedas speech behaviour, exceed the limits that grammars set ...
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... linguistic styles in drama's long history and thehistory of dramatic speech styles is both varied and complex including,as itdoes,poetry, formal prose, colloquial prose, phatic prose, plain and ornate speech, structurally and ...
... linguistic styles in drama's long history and thehistory of dramatic speech styles is both varied and complex including,as itdoes,poetry, formal prose, colloquial prose, phatic prose, plain and ornate speech, structurally and ...
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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