By J. Culpeper
Exploring the Language of Drama introduces scholars to the stylistic research of drama. Written in an interesting and obtainable type, the participants use recommendations of language research, fairly from discourse research, cognitive linguistics and pragmatics, to discover the language of plays.The members show the validity of analysing the textual content of a play, rather than concentrating on functionality. Divided into 4 extensive, but interconnecting teams, the chapters:* open up a number of the uncomplicated mechanisms of dialog and express how they're utilized in dramatic discussion* examine how discourse research and pragmatic theories can be utilized to assist us comprehend characterization in discussion* reflect on the various cognitive styles underlying dramatic discourse* concentrate on the inspiration of speech as action.there is additionally a bankruptcy on tips on how to examine an extract from a play and write up an task.
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Example text
A common by-product of an incongruity between strategy and context is a breakdown in discourse at the structural level. In her well-known study of courtroom discourse, Harris (1984) notes that magistrates wield institutional power to the extent that only they have the authority to ask questions. In such a situation, where social roles are so clearly defined, the following encounter therefore clearly violates expectations about the relationship of language to context: 6 MAGISTRATE: I’m putting it to you again—are you going to make an offer—uh—uh to discharge this debt?
Erstwhile hearers, as speakers, may develop their own line of thought, in depth, in speech tandem with others without a sense of conflict occurring. Turn-holders have to negotiate their goals in speech and may often speak in unison with others, either sharing common goals and functions with different utterances, or even with the same utterance. Different floor conventions generate different turn-taking strategies and the interactive structures that they authorize as ‘normal’. Singly developed floors with the ‘one-speaker-speaks-at-a-time’ rule in force, awards a pivotal role to the sotto voce speaker, with ‘collaboration’ interpreted as respect of speaker’s rights; others are cast as non-speaking ‘hearers’ who change discourse role to speakers with the same turn rights.
Nevertheless, there exists among discourse analysts a broad measure of agreement about what constitutes well-formed, canonical discourse and this means that, by imputation, there exists a method for explaining relatively ill-formed, noncanonical discourse. Common to many studies in discourse analysis are a number of basic assumptions about the communicative properties of language in general and about the nature of spoken interaction in particular. Perhaps the most significant of these, following Schiffrin’s observations (1987:3), is that all interaction occurs in a context.