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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... norm. Dialoguesin courtrooms differ from those in classrooms; social chitchat differsfrom parliamentary debates. Allare,nevertheless, dual or multispeech forms entailing, inone wayor another orforonereason or another, thepresumption ...
... norm. Dialoguesin courtrooms differ from those in classrooms; social chitchat differsfrom parliamentary debates. Allare,nevertheless, dual or multispeech forms entailing, inone wayor another orforonereason or another, thepresumption ...
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... norm insociety,at leastin some contexts,forvarious reasons, given socialstratification on groundsofsex,race, age,status, etc. than suchcomfortable pronouncements would have us believe. The problem lies deeper than this ...
... norm insociety,at leastin some contexts,forvarious reasons, given socialstratification on groundsofsex,race, age,status, etc. than suchcomfortable pronouncements would have us believe. The problem lies deeper than this ...
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... norms and conventionsof use which underlie spontaneous communication in everydaylife are precisely those which are exploited and manipulated by dramatists intheir constructionsof speechtypes and forms in plays. Thus,'ordinary speech'or ...
... norms and conventionsof use which underlie spontaneous communication in everydaylife are precisely those which are exploited and manipulated by dramatists intheir constructionsof speechtypes and forms in plays. Thus,'ordinary speech'or ...
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... norms given conflicting interestsandsubcultures among groups insociety.A working notion ofconvention must allow forgapsand conflicts in interpretation, since ambiguity, bafflementor incomprehension are legitimate responses to behaviour ...
... norms given conflicting interestsandsubcultures among groups insociety.A working notion ofconvention must allow forgapsand conflicts in interpretation, since ambiguity, bafflementor incomprehension are legitimate responses to behaviour ...
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... norm from whichdramaticspeech is supposedtodeviate can be as difficultasit hasproved tobe in similar debatesregarding poetic language (Herman 1983:99–122). Notions of deviance are often grammatically motivated, but there islittleinthe ...
... norm from whichdramaticspeech is supposedtodeviate can be as difficultasit hasproved tobe in similar debatesregarding poetic language (Herman 1983:99–122). Notions of deviance are often grammatically motivated, but there islittleinthe ...
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