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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... speaker switches role to that of listener while the erstwhile listener becomes the speaker without anynecessary change inplaceor setting, only of 'person'. The switch from attendant nonspeechtospeech, the change ofrole from listener to ...
... speaker switches role to that of listener while the erstwhile listener becomes the speaker without anynecessary change inplaceor setting, only of 'person'. The switch from attendant nonspeechtospeech, the change ofrole from listener to ...
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... speaker andotherbecome actionalanddynamic matters as they materialize intheir specificities, and contingencies, in time. On the other hand, dramatic speechcannot simply beregarded as an extensionof everyday speech into drama.Thereis ...
... speaker andotherbecome actionalanddynamic matters as they materialize intheir specificities, and contingencies, in time. On the other hand, dramatic speechcannot simply beregarded as an extensionof everyday speech into drama.Thereis ...
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... speaker with speech makes available. The alternating issueof speech, asmanaged by the participants themselves inan episode or scene, creates the trajectory,the development in its specificity, of the situation and relationship itselfas ...
... speaker with speech makes available. The alternating issueof speech, asmanaged by the participants themselves inan episode or scene, creates the trajectory,the development in its specificity, of the situation and relationship itselfas ...
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... speakers to others in spatiotemporal situations, for specific ends,and others respond as speakers inthe change of discourse role.Sets of reciprocal utterances arecuedin various ways as speechevent units. Speechis employed for various ...
... speakers to others in spatiotemporal situations, for specific ends,and others respond as speakers inthe change of discourse role.Sets of reciprocal utterances arecuedin various ways as speechevent units. Speechis employed for various ...
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... speaker or reader 4. addressor 5. hearer or receiver or audience 6. addressee E (ends) 7. purposesoutcomes 8. purposesgoals A (act sequence) 9. message form 10. message content K (key) 11. key I (Duranti 1985:209) 15. norms of ...
... speaker or reader 4. addressor 5. hearer or receiver or audience 6. addressee E (ends) 7. purposesoutcomes 8. purposesgoals A (act sequence) 9. message form 10. message content K (key) 11. key I (Duranti 1985:209) 15. norms of ...
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