Dramatic Discourse: Dialogue as Interaction in PlaysRoutledge, 20.06.2005 г. - 340 страници 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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... audience (or reader) as credible activity in the dramatic world in whichit functions. Dramatic action, broadly defined,becomes meaningful, therefore, inrelation to the 'authenticating conventions' whichare invoked inaplay,which are ...
... audience (or reader) as credible activity in the dramatic world in whichit functions. Dramatic action, broadly defined,becomes meaningful, therefore, inrelation to the 'authenticating conventions' whichare invoked inaplay,which are ...
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... audience involvement and response. And dramaisa brief form,as Bentley noted (1965:79),forever under the constraint ofpassing time—the time allotted to thewhole performance. Then, there are aesthetic and expressive requirements for which ...
... audience involvement and response. And dramaisa brief form,as Bentley noted (1965:79),forever under the constraint ofpassing time—the time allotted to thewhole performance. Then, there are aesthetic and expressive requirements for which ...
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... audience presence—however the 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 ...
... audience presence—however the 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 ...
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... audience has to be informed about relevant aspects of the interview, and hencethe extra informational load tobe communicated aboutparticipants, for example,is nearer todramatic language insome measurethan facetoface conversation ...
... audience has to be informed about relevant aspects of the interview, and hencethe extra informational load tobe communicated aboutparticipants, for example,is nearer todramatic language insome measurethan facetoface conversation ...
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... 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 interpretation G (genres) 16. genres 2. scene ...
... 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 interpretation G (genres) 16. genres 2. scene ...
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