Dramatic Discourse: Dialogue as Interaction in PlaysRoutledge, 20.06.2005 - 340 Seiten 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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... performance genres like film,carnival, ceremonialritual, etc.are embedded insocial culture butaspartofwhathas beentermed'expressive culture' (MacAloon 1984:4), whose hallmark itis toprovide formsof activity through which subjectively ...
... performance genres like film,carnival, ceremonialritual, etc.are embedded insocial culture butaspartofwhathas beentermed'expressive culture' (MacAloon 1984:4), whose hallmark itis toprovide formsof activity through which subjectively ...
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... performance andthe culturally endorsed reflexivity thatdistinguishes it Turner callsa 'liminal' (sometimes 'liminoid' for technologically advanced societies) andmetasocial space, in which, groups strive to see their own reality in new ...
... performance andthe culturally endorsed reflexivity thatdistinguishes it Turner callsa 'liminal' (sometimes 'liminoid' for technologically advanced societies) andmetasocial space, in which, groups strive to see their own reality in new ...
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... fashioninevery instance of communication or conduct eitherinside or outside drama.For a start, rulesmaybebroken withinthe contingencies ofspecific situations, assumptions might have to be abandoned or the performance.
... fashioninevery instance of communication or conduct eitherinside or outside drama.For a start, rulesmaybebroken withinthe contingencies ofspecific situations, assumptions might have to be abandoned or the performance.
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... performance of our social obligations could be skilfully or clumsily executed. Social life, moreover,is not a monolith of uniformity and could involve competing conventions and norms given conflicting interestsandsubcultures among ...
... performance of our social obligations could be skilfully or clumsily executed. Social life, moreover,is not a monolith of uniformity and could involve competing conventions and norms given conflicting interestsandsubcultures among ...
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... performances, other texts, other contexts of performance, other theatrical conventions—and its own contemporary constraints for aesthetic, experimental or social purposes. Its indebtednesstoother domains ofactivity has also been ...
... performances, other texts, other contexts of performance, other theatrical conventions—and its own contemporary constraints for aesthetic, experimental or social purposes. Its indebtednesstoother domains ofactivity has also been ...
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