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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... scene, creates the trajectory,the development in its specificity, of the situation and relationship itselfas it unfolds in time. The management of the interactional dynamics of speech isthus amajor aspect of dialogic art in drama. The ...
... scene, creates the trajectory,the development in its specificity, of the situation and relationship itselfas it unfolds in time. The management of the interactional dynamics of speech isthus amajor aspect of dialogic art in drama. The ...
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... scene P (participants) 3. speaker or reader 4. addressor 5. hearer or receiver 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 ...
... scene P (participants) 3. speaker or reader 4. addressor 5. hearer or receiver 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 ...
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... scene was seen asa drama basically between the first person (speaker) and the second person (addressee). The thirdperson referredtoallelse. Jakobson(1960) included sixfunctions—the referential,the conative,the expressive, the poetic ...
... scene was seen asa drama basically between the first person (speaker) and the second person (addressee). The thirdperson referredtoallelse. Jakobson(1960) included sixfunctions—the referential,the conative,the expressive, the poetic ...
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... Scene refersto the psychological orientation and accounts forthe identificationor acceptanceofa conventional or traditional definitionofa certainoccasion as itself.Italsocovers shifts in psychological direction when interactionschange ...
... Scene refersto the psychological orientation and accounts forthe identificationor acceptanceofa conventional or traditional definitionofa certainoccasion as itself.Italsocovers shifts in psychological direction when interactionschange ...
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