Dramatic Discourse: Dialogue as Interaction in PlaysRoutledge, 2005 M06 20 - 340 páginas Whilst 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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... given to me by the British Academy in the form ofa research grant from the Small Personal Research GrantsFund.TheUniversity of Nottinghamsupported me withagrant fromthe Humanities Rolling Project Small Grant Fund.Thehelp given byboth ...
... given to me by the British Academy in the form ofa research grant from the Small Personal Research GrantsFund.TheUniversity of Nottinghamsupported me withagrant fromthe Humanities Rolling Project Small Grant Fund.Thehelp given byboth ...
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... given socialstratification on groundsofsex,race, age,status, etc. than suchcomfortable pronouncements would have us believe. The problem lies deeper than this, sincetheassumption appears to be thatthe relation between conversationaland ...
... given socialstratification on groundsofsex,race, age,status, etc. than suchcomfortable pronouncements would have us believe. The problem lies deeper than this, sincetheassumption appears to be thatthe relation between conversationaland ...
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... given, existing resources—of language, action, gesture, etc. and theconventions of use underlying these—but exploits them in ordertodesign episodes,interactiveevents and situations inplays into patterns of feeling andexperience ofa ...
... given, existing resources—of language, action, gesture, etc. and theconventions of use underlying these—but exploits them in ordertodesign episodes,interactiveevents and situations inplays into patterns of feeling andexperience ofa ...
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... given conflicting interestsandsubcultures among groups insociety.A working notion ofconvention must allow forgapsand conflicts in interpretation, since ambiguity, bafflementor incomprehension are legitimate responses to behaviour both ...
... given conflicting interestsandsubcultures among groups insociety.A working notion ofconvention must allow forgapsand conflicts in interpretation, since ambiguity, bafflementor incomprehension are legitimate responses to behaviour both ...
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... given thatit is 'overdetermined'(Dodd 1981)in many ways when it iscalledupon to function in the dramatic context. Speech in drama isresponsive to many of these simultaneously—to aesthetic, expressive, informational and interactional ...
... given thatit is 'overdetermined'(Dodd 1981)in many ways when it iscalledupon to function in the dramatic context. Speech in drama isresponsive to many of these simultaneously—to aesthetic, expressive, informational and interactional ...
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