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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... Performance studies are concernedless with dialogue, whichisseenasliterary, thanwith the constraints ofthepractices of theatrewhich, again, arenotthe central pointofconcern here. Drama ismorethan dialogue, but, where dialogue is ...
... Performance studies are concernedless with dialogue, whichisseenasliterary, thanwith the constraints ofthepractices of theatrewhich, again, arenotthe central pointofconcern here. Drama ismorethan dialogue, but, where dialogue is ...
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... performance'—and which aredelimited accordingly. Thestudydrawson contemporaryworkinthe fieldsof 'discourse' inacomprehensive fashion,andattempts to provide the relevant concepts, vocabulary,modes of argumentation, and tools ofanalysis ...
... performance'—and which aredelimited accordingly. Thestudydrawson contemporaryworkinthe fieldsof 'discourse' inacomprehensive fashion,andattempts to provide the relevant concepts, vocabulary,modes of argumentation, and tools ofanalysis ...
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... 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 undertaken ...
... 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 undertaken ...
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... performance may alternate betweenelaboration or sparseness, oraccording tostatus—some cultures giveequal weight tovalour in war andeloquence in speech in assessing their chiefs. The Bella Coolans privilege fluent, witty talk ...
... performance may alternate betweenelaboration or sparseness, oraccording tostatus—some cultures giveequal weight tovalour in war andeloquence in speech in assessing their chiefs. The Bella Coolans privilege fluent, witty talk ...
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... performance space as theygo abouttheir own business. They rarelycut across it, although the precinct is 'theirs' as shoppers. Institutional or formal settings are far more restrictive in the kind of activity permitted. Physical setting ...
... performance space as theygo abouttheir own business. They rarelycut across it, although the precinct is 'theirs' as shoppers. Institutional or formal settings are far more restrictive in the kind of activity permitted. Physical setting ...
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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