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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... participants themselves. It is as spoken speech, too, that thelinguistic code which isemployed indialogue is integrated withthe other codesof theatre—paralinguistic, kinesic,gestural, etc.sinceboth verbal and nonverbal codes ...
... participants themselves. It is as spoken speech, too, that thelinguistic code which isemployed indialogue is integrated withthe other codesof theatre—paralinguistic, kinesic,gestural, etc.sinceboth verbal and nonverbal codes ...
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... participants, etc. Context canalso refer to the cognitive context, the set of beliefs, assumptions, presuppositions, frames, which participants activate or draw onto interpretinteractions. The linguistic environmentwithin ...
... participants, etc. Context canalso refer to the cognitive context, the set of beliefs, assumptions, presuppositions, frames, which participants activate or draw onto interpretinteractions. The linguistic environmentwithin ...
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... participants—to pass thetime,to socialize,to communicate thoughts or opinions oremotions, toexpress profundities or superficialities, to share thoughts, feelings, emotions,to withholdthem,tooffer todo thingsfor others, toget others ...
... participants—to pass thetime,to socialize,to communicate thoughts or opinions oremotions, toexpress profundities or superficialities, to share thoughts, feelings, emotions,to withholdthem,tooffer todo thingsfor others, toget others ...
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... Participants canbe mutually supportive,or mutually alienating, or separately ensconced within their own subjective worlds. Interactions canfashion orfabricate similar differences in situation and conditionthe kind of subjectivities ...
... Participants canbe mutually supportive,or mutually alienating, or separately ensconced within their own subjective worlds. Interactions canfashion orfabricate similar differences in situation and conditionthe kind of subjectivities ...
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... participants in the speechevent itself andthe management of the interactional 'floor'. Chapter 3 focuseson the structural organization of alternating speech, its sequencing procedures, since speech has aprojectiveand ...
... participants in the speechevent itself andthe management of the interactional 'floor'. Chapter 3 focuseson the structural organization of alternating speech, its sequencing procedures, since speech has aprojectiveand ...
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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