Dialogue as a Constituent Resource for Dramatic Discourse: Language, Person and Culture (original) (raw)
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The Application of Discourse Analysis to Drama: A Cross-cultural Approach
Mediterranean Journal of Humanities, 2013
This paper aims at briefly demonstrating how the major procedures of discourse analysis (i.e. speech acts, presuppositions, and the cooperative principle in conversation and general discourse relations) may be fruitfully applied to drama dialogue. Such a kind of purposive approach, in turn, makes it rather reasonable to distinguish between literary criticism and theatrical analysis, but not so that one is deemed to be superior to the other. "Co-operative Labour Division" is crucial because a production of a play is in effect "a play-an interpretation of it". In terms of this context, literary criticism should also take the text as its object of investigation and develop techniques of textual analysis to cope with the implied aspects embedded within a set of linguistic or sociological conventions. All this does suggest that the most important sets of linguistic conventions for interpretation are those which govern language use. This effect means treating the text as a series of communicative acts, not just as a configuration of elements belonging to various levels of language.
Dialogue Model, Conflict, and Context in Drama Text Works by Arifin C. Noer
Asian Social Science
Dialogue, conflict, and context are paramount in the drama text. The research of these three things can reveal the meaning, aesthetics, and ideology that blend in the drama text. Drama text research has not obtained comprehensive results if it has not revealed all three. The purpose of this research is to find the dialogue model, conflict, and context in drama text by Arifin C. Noer. The approach used in this research is the critical discourse of Teun A. Van Dijk. Data are analyzed in three dimensions, namely text, social cognition, and social context through macro structures, superstructures, and microstructures. The global macro structure is reflected in the synopsis, the superstructure is seen from its builder elements, and the microstructure contains the use of language. The results of the microstructure research found that the dialogue can be configured in several models, i.e. by topic, principles of cooperation, principles of politeness, speech acts, and speech series. The con...
This text aims to reflect on some aspects of the relationship between language and literature, linguistic studies and literary studies. More specifically, it focuses on the means by which this relationship is present in Bakhtin's thought, being directly connected to issues related to dialogue and dialogism, which traverse and single out the works of the Bakhtin Circle. In this train of thought, it is possible to testify that this relationship between language and literature is discussed, explored and problematized not solely in the works explicitly signed by Mikhail Bakhtin, but also in the ones whose authorship is disputed, for they clarify the way the other members of the Circle, especially Valentin Voloshinov and Pavel Medvedev, conceive this relationship and contribute to make it fundamental to the understanding of language and to the development of concepts, notions, and categories that make language study possible. KEYWORDS: Works of the Bakhtin Circle; Linguistic Studies and Literary Studies; Language and Literature; Dialogue; Dialogism
The dialogue of plays and their contexts from the Early Modern period to the Present-day
Gabriella Mazzon and Luisa Fodde (eds.) Historical perspectives on forms of English dialogue. Milan: FrancoAngeli, 2012
This paper focuses on how the language of play-texts has changed in tandem with their contexts. In the first part of the paper, I will consider three aspects of context: (1) the play-text and its relationship with performance; (2) theatrical context, specifically the relationship between the stage and the physical setting of the theatre and the audience; and (3) the discoursal context, including the roles of the participants. The overall purpose of the next section, section 2, is to point out that there have been huge contextual changes, changes which are likely to have shaped the play-text. In the following section, section 3, I will consider three aspects of discourse: (1) turn-taking (speaker change and overlap; the timing of turns; turn signalling); (2) repetitive elements and adjacency pairs; and (3) pragmatic noise (especially the case of AH). The overall purpose of this section is to consider whether there have been changes in the language of the play-text, changes which may have come about as a consequence of the contextual changes. I will not be tracking how all these aspects have changed step-by-step over the years, but instead throughout I will compare present-day plays with early modern plays, in both cases concentrating mainly on comedies. In support of my arguments, I will report some of my earlier work, notably corpus-based work, undertaken with Jane Demmen (especially, Culpeper and Demmen 2011) and Merja Kytӧ (especially, Culpeper and Kytӧ 2010). Although I have been researching the language of plays for 25 years, this paper affords me the first opportunity to put some of the various pieces together, in order to see the larger picture of change.
Character, Characterization and Dialogue
Armenian Folia Anglistika
Text interpretation has always been a most intricate and challenging task due to various elements that work in unison to create the desired aesthetic impression on the reader. Characters, being one of the underlying elements of fiction, make the task even more challenging since they act as “a net of voices”. The author, the narrator and the characters, that most frequently, appear as independent individuals, speak in one voice. Hence, the analysis of dialogue on the semantic and meta-semiotic levels may serve as not only an efficient tool in revealing the dynamics of a certain piece of writing, but also a means of characterization of personages portrayed. To be noted, dialogue is a widely used technique by writers to reveal the true nature of the characters indirectly. In case the reader is able to disclose the nature of the characters, he/she may get an access to the hidden intention of the author.
Swedish Journal of Romanian Studies
This review presents a recently published book authored by Cătălina Iliescu Gheorghiu, an academic actively involved in Romanian studies and a translator of Romanian literature. As the title suggests, it is a study that falls under the scope of Descriptive Translation Studies implying the polysystemic model posited by Lambert and Van Gorp for the comparative analysis of drama. The corpus under scrutiny is made up utterances extracted from the play A treia țeapă (The Third Stake) by Marin Sorescu and the corresponding utterances from two of its translations into English. The analytical part is backed up by a solid theoretical framework with its latter section lending the overall structure of the analysis. The categories subject to investigation are (i) preliminary data, (ii) the macro-level structures, (iii) the micro-level structures and (iv) the systemic context. The methodology experimented with drama translation and the findings deriving from it have proved their validity and a...