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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... contexts of verbal communication, the emphasis being, particularly, on the deployments ofthedialogic formassituational interaction. Instances of verbal communication actuallyexceed conversational contexts alone, but moststudies have ...
... contexts of verbal communication, the emphasis being, particularly, on the deployments ofthedialogic formassituational interaction. Instances of verbal communication actuallyexceed conversational contexts alone, but moststudies have ...
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... contexts,forvarious reasons, 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 ...
... contexts,forvarious reasons, 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 ...
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... context are multiple. As communication, language needs to be sensitiveto a host ofcontextual pressures—the roleandstatus of participants, considerations of appropriacy of speechbehaviour, setting orspatiotemporal context of speech ...
... context are multiple. As communication, language needs to be sensitiveto a host ofcontextual pressures—the roleandstatus of participants, considerations of appropriacy of speechbehaviour, setting orspatiotemporal context of speech ...
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... context to the 'liminal' or expressive sphere and the activation ofdramatic constraints(on text and performance) which this entails bringsitsown setofnecessities andtransformations. For a start, there isthe questionof dramatic ...
... context to the 'liminal' or expressive sphere and the activation ofdramatic constraints(on text and performance) which this entails bringsitsown setofnecessities andtransformations. For a start, there isthe questionof dramatic ...
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... context And if thescriptis preformed, the performance is even moreso, tothe extentthatanalysts like David Birch have ... contexts of performance, other theatrical conventions—and its own contemporary constraints for aesthetic ...
... context And if thescriptis preformed, the performance is even moreso, tothe extentthatanalysts like David Birch have ... contexts of performance, other theatrical conventions—and its own contemporary constraints for aesthetic ...
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