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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... linguistic environmentwithin whichalinguistic featureis locatedhas also been termedthe context ofthat feature, but where utterances are concerned,itisusual to refer to the cotext instead. The wider context of cultureand the normsfor ...
... linguistic environmentwithin whichalinguistic featureis locatedhas also been termedthe context ofthat feature, but where utterances are concerned,itisusual to refer to the cotext instead. The wider context of cultureand the normsfor ...
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... linguistic texture ofthe utterances, whether poetic or'naturalistic' or phatic, forinstance, or whether speechis fluent ordisfluent, and soon, but theseare only alimited set of the variables to betaken into account when dialogueis ...
... linguistic texture ofthe utterances, whether poetic or'naturalistic' or phatic, forinstance, or whether speechis fluent ordisfluent, and soon, but theseare only alimited set of the variables to betaken into account when dialogueis ...
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... linguistic 'performance'—and which aredelimited accordingly. Thestudydrawson contemporaryworkinthe fieldsof 'discourse' inacomprehensive fashion,andattempts to provide the relevant concepts, vocabulary,modes of argumentation, and tools ...
... linguistic 'performance'—and which aredelimited accordingly. Thestudydrawson contemporaryworkinthe fieldsof 'discourse' inacomprehensive fashion,andattempts to provide the relevant concepts, vocabulary,modes of argumentation, and tools ...
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... should not expect to find sentences, predicates or adverbs intexts.We only find linguistic signsthat can beclassified in termsofsuch analytic frameworks. We do expect, however, to use the notion of speech event to (Duranti ...
... should not expect to find sentences, predicates or adverbs intexts.We only find linguistic signsthat can beclassified in termsofsuch analytic frameworks. We do expect, however, to use the notion of speech event to (Duranti ...
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... linguistic and verbal ties that link utterances to the context and anchor the participants within the spatiotemporal coordinates of speechevents.Thisprospect is franchised by the deictic field of language, which is highly contextcentred ...
... linguistic and verbal ties that link utterances to the context and anchor the participants within the spatiotemporal coordinates of speechevents.Thisprospect is franchised by the deictic field of language, which is highly contextcentred ...
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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