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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... plays isinterpreted action,not actioninthe raw. In relationtodialogue,what thissignifiesis thatitis our communicative competence (Hymes 1972) as much asour linguistic competence which is at work in interpreting 'the language.
... plays isinterpreted action,not actioninthe raw. In relationtodialogue,what thissignifiesis thatitis our communicative competence (Hymes 1972) as much asour linguistic competence which is at work in interpreting 'the language.
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Dialogue as Interaction in Plays Vimala Herman. linguistic competence which is at work in interpreting 'the language of drama'. The overall conventions and 'rules' for meaningful and appropriate speech behaviour in interaction are evoked ...
Dialogue as Interaction in Plays Vimala Herman. linguistic competence which is at work in interpreting 'the language of drama'. The overall conventions and 'rules' for meaningful and appropriate speech behaviour in interaction are evoked ...
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... interpretation, since ambiguity, bafflementor incomprehension are legitimate responses to behaviour both inside and outside drama. To quoteTurner again: if all principlesandnorms were consistentand ifallpersons obeyed them,then ...
... interpretation, since ambiguity, bafflementor incomprehension are legitimate responses to behaviour both inside and outside drama. To quoteTurner again: if all principlesandnorms were consistentand ifallpersons obeyed them,then ...
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... interpretation, but alsoof communication, or miscommunication or noncommunication, and dramas ofaction or inaction or stasis, asenacted in the temporal dimension,with repercussions in situ.Theyarecultural, sometimescrosscultural, and ...
... interpretation, but alsoof communication, or miscommunication or noncommunication, and dramas ofaction or inaction or stasis, asenacted in the temporal dimension,with repercussions in situ.Theyarecultural, sometimescrosscultural, and ...
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... 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 interpretation G (genres) 16. genres 2. scene ...
... 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 interpretation G (genres) 16. genres 2. scene ...
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