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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... thatthe relation between conversationaland dramatic speechmust bepredicated upon reflections of surfaces and textures of the oneinthe other. Amirrororglassis thus inserted between the two domains withoutrespecttothe transformations ...
... thatthe relation between conversationaland dramatic speechmust bepredicated upon reflections of surfaces and textures of the oneinthe other. Amirrororglassis thus inserted between the two domains withoutrespecttothe transformations ...
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... that the facetoface interactionsthat inform the dialogic sceneare always responsible to the audience presence—however the role of the audience is assessed, as overhearers or participants—and to the necessities of presentation. Extra ...
... that the facetoface interactionsthat inform the dialogic sceneare always responsible to the audience presence—however the role of the audience is assessed, as overhearers or participants—and to the necessities of presentation. Extra ...
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... that the perspective taken isonewherethegenrepresupposes spokeninteraction among participantsinspeechevents. The dramatic text, as written text, addressesacontextofperformance which requires a change in mode of discourse—the ...
... that the perspective taken isonewherethegenrepresupposes spokeninteraction among participantsinspeechevents. The dramatic text, as written text, addressesacontextofperformance which requires a change in mode of discourse—the ...
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... that. The notionof'context'has been used invarious ways,butit includesextralinguistic coordinates liketheimmediate spatio temporal settingof speech, the roles and status of the participants, etc. Context canalso refer to the cognitive ...
... that. The notionof'context'has been used invarious ways,butit includesextralinguistic coordinates liketheimmediate spatio temporal settingof speech, the roles and status of the participants, etc. Context canalso refer to the cognitive ...
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... that the parallels will bedrawnby those interestedin that field. Giventhat different andcompeting claims areoften madeonthe dramatext—as literary or performancetext, for instance—one study cannothopeto encompassall concerns equally ...
... that the parallels will bedrawnby those interestedin that field. Giventhat different andcompeting claims areoften madeonthe dramatext—as literary or performancetext, for instance—one study cannothopeto encompassall concerns equally ...
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