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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Dialogue as Interaction in Plays Vimala Herman. participating in the drama. The third person is negatively defined with respect to the first person and second person: it does not correlate withany positive participant role. (Lyons 1977:638) ...
Dialogue as Interaction in Plays Vimala Herman. participating in the drama. The third person is negatively defined with respect to the first person and second person: it does not correlate withany positive participant role. (Lyons 1977:638) ...
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Dialogue as Interaction in Plays Vimala Herman. 'persons' in the speech situation itself as Lyons (1977) has made clear. And as for the injunction that 'no one is to dominate completely', this is often honoured inthe breach. In mixedsex ...
Dialogue as Interaction in Plays Vimala Herman. 'persons' in the speech situation itself as Lyons (1977) has made clear. And as for the injunction that 'no one is to dominate completely', this is often honoured inthe breach. In mixedsex ...
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Dialogue as Interaction in Plays Vimala Herman. real life product. The mirror is not the point of reference between the two forms. Rather, it is a question of mechanics, in the exploitation by dramatists of underlying speech conventions ...
Dialogue as Interaction in Plays Vimala Herman. real life product. The mirror is not the point of reference between the two forms. Rather, it is a question of mechanics, in the exploitation by dramatists of underlying speech conventions ...
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... or behaviourinuniform fashioninevery instance of communication or conduct eitherinside or outside drama.For a start, rulesmaybebroken withinthe contingencies ofspecific situations, assumptions might have to be abandoned or the performance.
... or behaviourinuniform fashioninevery instance of communication or conduct eitherinside or outside drama.For a start, rulesmaybebroken withinthe contingencies ofspecific situations, assumptions might have to be abandoned or the performance.
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Dialogue as Interaction in Plays Vimala Herman. made available or withheld as necessary, with the explicitness, inexplicitness or irony that result being products of the dramatic context itself. Overall, rhythms mustbe created and ...
Dialogue as Interaction in Plays Vimala Herman. made available or withheld as necessary, with the explicitness, inexplicitness or irony that result being products of the dramatic context itself. Overall, rhythms mustbe created and ...
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