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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... role'and theuse ofthis term bygrammarians derives from theirmetaphorical conception of a language event as a drama in which the principal role is played by the first person, the role subsidiary to his, by the second person,and ...
... role'and theuse ofthis term bygrammarians derives from theirmetaphorical conception of a language event as a drama in which the principal role is played by the first person, the role subsidiary to his, by the second person,and ...
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... role. (Lyons 1977:638) In the'drama' of speech exchange therolesofspeaker and hearer are played by actual participants and the roles are exchanged during the course of dialogue. The speaker switches role to that of listener while the ...
... role. (Lyons 1977:638) In the'drama' of speech exchange therolesofspeaker and hearer are played by actual participants and the roles are exchanged during the course of dialogue. The speaker switches role to that of listener while the ...
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... role of the audience is assessed, as overhearers or participants—and to the necessities of presentation. Extra explicitness or expressiveness in speech may becalled fortosatisfy boththe informationaland aesthetic demands of theaudience ...
... role of the audience is assessed, as overhearers or participants—and to the necessities of presentation. Extra explicitness or expressiveness in speech may becalled fortosatisfy boththe informationaland aesthetic demands of theaudience ...
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... roles and status of the 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 ...
... roles and status of the 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 ...
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... role.Sets of reciprocal utterances arecuedin various ways as speechevent units. Speechis employed for various purposes between participants—to pass thetime,to socialize,to communicate thoughts or opinions oremotions, toexpress ...
... role.Sets of reciprocal utterances arecuedin various ways as speechevent units. Speechis employed for various purposes between participants—to pass thetime,to socialize,to communicate thoughts or opinions oremotions, toexpress ...
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