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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... (meaning 'mask') was used to translate the Greek wordfor 'dramatic character'or '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 ...
... (meaning 'mask') was used to translate the Greek wordfor 'dramatic character'or '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 ...
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... meaning, since what we encounterin 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 ...
... meaning, since what we encounterin 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 ...
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... drama, therefore, have a complex relationto theworld of existinghuman affairs onwhich they draw for their possibilities of meaning, remaining both like activity through which subjectively experienced values, principles ...
... drama, therefore, have a complex relationto theworld of existinghuman affairs onwhich they draw for their possibilities of meaning, remaining both like activity through which subjectively experienced values, principles ...
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Dialogue as Interaction in Plays Vimala Herman. they draw for their possibilities of meaning, remaining both like and yet unlike those worlds in which they are embedded and to which they speak. Dramatic worlds,like fictional worldsin ...
Dialogue as Interaction in Plays Vimala Herman. they draw for their possibilities of meaning, remaining both like and yet unlike those worlds in which they are embedded and to which they speak. Dramatic worlds,like fictional worldsin ...
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... meaning' inthe abstract. Thus, not just the meaning of whatissaid, butitsplace and function within the wider unitsofwhichit isa part, andthe possible reasons for its use byusers,in context, arealso significant when theplay of utterances ...
... meaning' inthe abstract. Thus, not just the meaning of whatissaid, butitsplace and function within the wider unitsofwhichit isa part, andthe possible reasons for its use byusers,in context, arealso significant when theplay of utterances ...
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