Twentieth-century Drama Dialogue as Ordinary Talk: Speaking Between the LinesAshgate, 2007 - Počet stran: 138 In this book, Susan Mandala offers a series of in-depth investigations into how the dialogue of four modern plays 'works' with respect to the pragmatic and discoursal norms postulated for ordinary conversation. After an account of the often-heated debates between linguists and critics concerning the analysis of drama dialogue as talk, four plays are considered: Harold Pinter's The Homecoming, Arnold Wesker's Roots, Terence Rattigan's In Praise of Love, and Alan Ayckbourn's Just Between Ourselves. For readers unfamiliar with linguistic approaches to talk, a chapter outlining the major frameworks used in the analysis of the plays is also included. By considering both linguistic and literary perspectives, this book extends the boundaries of traditional criticism and shows how the linguistic study of conversation can contribute to our understanding of dramatic dialogue. |
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Strana 14
... indicate that a character is inarticulate or lacking in imagination . For example , Petey in The Birthday Party has been described as ' tongue - tied almost to the point of imbecility ' ( Esslin 1968 : 272 ) , and Gus in The Dumb Waiter ...
... indicate that a character is inarticulate or lacking in imagination . For example , Petey in The Birthday Party has been described as ' tongue - tied almost to the point of imbecility ' ( Esslin 1968 : 272 ) , and Gus in The Dumb Waiter ...
Strana 97
... indicates that he does not yet know what he has decided . While Mark reports a next move , we are not told exactly ... indicate , he had been about to make a move , but ' stops with his hand on the piece , staring at Sebastian ' ( 26 ) ...
... indicates that he does not yet know what he has decided . While Mark reports a next move , we are not told exactly ... indicate , he had been about to make a move , but ' stops with his hand on the piece , staring at Sebastian ' ( 26 ) ...
Strana 105
... indicated below , is not only bald - on - record , but aggravated ( with at all and great flabby things ) Vera : I ... indicating annoyance or tension . In addition , Pam and Neil show no signs of awkwardness or embarrassment . Perhaps ...
... indicated below , is not only bald - on - record , but aggravated ( with at all and great flabby things ) Vera : I ... indicating annoyance or tension . In addition , Pam and Neil show no signs of awkwardness or embarrassment . Perhaps ...
Obsah
Drama Dialogue and Talk | 1 |
Approaches to Talk | 31 |
The Language of Conversation | 37 |
Autorská práva | |
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accept action actually allows analysis answer apparent attempt audience Beatie becomes Brown and Levinson Bryants called Cambridge Challenge Chapter characters cited clear clearly communication concern considered conversation critics demonstrated Dennis dialect dialogue direct discourse discussion drama English Esslin evidence example exchange expected express flouts framework further given Grice hearer Homecoming indicate initiating interaction interest interpretation issues kind language Lenny Lenny's lines linguistic literature London look Love Lydia Mark maxim mean move nature Neil notes notice observe occur offer opening ordinary participants performance Pinter's play politeness positive present Press prospect question Quigley Rattigan reason reference relationship reply represented request response reveals Roots Ruth Sebastian Short simply speaker speaking speech structure stylistics suggests talk Taylor tell things Tsui turns typically understanding utterance Wesker writing York