Twentieth-Century Drama Dialogue as Ordinary Talk: Speaking Between the LinesRoutledge, 5. 12. 2016 - Počet stran: 152 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 1885
... audience (Lennard and Luckhurst 2002). Conceptualizing drama in this way clearly privileges performance over text. What then of those who wish to foreground the text? Mick Short, a specialist in the stylistics of drama, has made the ...
... audience (Lennard and Luckhurst 2002). Conceptualizing drama in this way clearly privileges performance over text. What then of those who wish to foreground the text? Mick Short, a specialist in the stylistics of drama, has made the ...
Strana 1889
... audiences do not expect ' such specialized language ' ( 1992 : 60 ) from these characters . She suggests that Pinter has ' immaculate control ' of jargon , and ' echoes with precision formulae of specialized speech ' ( Malkin 1992 : 60 ) ...
... audiences do not expect ' such specialized language ' ( 1992 : 60 ) from these characters . She suggests that Pinter has ' immaculate control ' of jargon , and ' echoes with precision formulae of specialized speech ' ( Malkin 1992 : 60 ) ...
Strana 1890
... audiences infer character traits from the dialogue with reference to Stoppard's Professional Foul. Speech acts and exchange structure have also been applied in the study of dramatic language. Short (1989), for example, demonstrates how ...
... audiences infer character traits from the dialogue with reference to Stoppard's Professional Foul. Speech acts and exchange structure have also been applied in the study of dramatic language. Short (1989), for example, demonstrates how ...
Strana 1897
... audiences and critics alike were struck by what Esslin ( 1970 : 193 ) called ' a new band of colours ' in ' the spectrum of English stage dialogue ' . As Kennedy ( 1975 : 169 ) put it , Pinter ' seems to carry no literary ' burden of ...
... audiences and critics alike were struck by what Esslin ( 1970 : 193 ) called ' a new band of colours ' in ' the spectrum of English stage dialogue ' . As Kennedy ( 1975 : 169 ) put it , Pinter ' seems to carry no literary ' burden of ...
Strana 1898
... audience something . This insight , of course , is not in itself new to drama criticism . Styan ( 1960/1976 : 12 ) notes that drama dialogue is ' speech that has had a specific pressure put on it ' ; Esslin ( 1970 : 194 ) points out ...
... audience something . This insight , of course , is not in itself new to drama criticism . Styan ( 1960/1976 : 12 ) notes that drama dialogue is ' speech that has had a specific pressure put on it ' ; Esslin ( 1970 : 194 ) points out ...
Obsah
Approaches to Talk | 1914 |
The The Language | 1944 |
Language and Social Class in Arnold Weskers Roots | 1986 |
Understanding What Is Not Said | |
Alan Ayckbourns Just Between | |
Conclusion | |
Index | |
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Twentieth-century Drama Dialogue as Ordinary Talk: Speaking Between the Lines Susan Mandala Zobrazení fragmentů - 2007 |
Běžně se vyskytující výrazy a sousloví
Alan Ayckbourn Arnold Arnold Wesker audience Beatie Beatie's behaviour Brown and Levinson Bryants Cambridge University Press Caretaker Carter Casebook Challenge Chapter characters chess game cited conversation analysis Coulthard critics Dennis Dennis's dialect discourse analysis discussion Dornan drama dialogue Dukore duologue Elicitations English Esslin example filled pauses flouts Grice Harold Pinter hearer Herman Holt Homecoming illocutionary act illocutionary force implicature initiating interaction interlocutors interpretation issues Joey language Lenny Lenny’s linguistic literature London look Lydia Malkin Mark maxim metaphor move Neil Norfolk Norfolk dialect notes notice observe off-record ordinary talk performance Pinter's dialogue play playwright politeness positive Praise of Love prospect Queen's gambit declined question Quigley Quigley’s Rattigan Rebellato 2001 relevant Request for Action response Ronnie Ronnie's Roots Routledge Rusinko Ruth Ruth's Schegloff Sebastian sequence speaker speech act structure stylistics suggests Taylor Teddy Terence Rattigan Toolan Tsui turn-taking turns typically utterance Wesker Wilcher York