Point of view in plays: a cognitive stylistic approach to viewpoint in drama and other text-types
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Buch |
| Sprache: | Englisch |
| Veröffentlicht: |
Amsterdam [u.a.]
Benjamins
2006
|
| Schriftenreihe: | Linguistic approaches to literature
3 |
| Schlagwörter: | |
| Links: | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015425442&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=015425442&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| Beschreibung: | Teilw. zugl.: Diss. |
| Umfang: | VIII, 203 S. graph. Darst. |
| ISBN: | 9027233357 9789027233356 |
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Datensatz im Suchindex
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|---|---|
| adam_text | Table
of
contents
Acknowledgements
їх
Preface
xi
CHAPTER
1
Point of view and plays
ι
ід
Introduction
ι
1.2
Aims of the book
ι
1.3
Prototypical and non-prototypical dramatic texts
3
1.4
The prototypical discourse structure of drama
5
1.5
Alan Bennett s The Lady in the Van
6
1.6
The discourse structure of The Lady in the Van
7
1.7
Text and performance
11
1.8
Stage plays, screenplays, readers and audiences
13
1.9
Outline of the book
14
CHAPTER
2
Narratives, narration and point of view in prose
17
2.1
Introduction
17
2.2
Defining narratives and narration
18
2.2.1
Formalist distinctions in narrative structure
19
2.3
Narrative connections
21
2.4
Types of narrators
23
2.4.1
Internal and external narration
23
2.4.2
Fowler s taxonomy of narration
24
2.4.3
Simpson s development of Fowler s work
29
2.5
Point of view in prose narration
31
2.5.1
Focalization
31
2.5.2
Point of view on the Uspenskian planes
37
2.5.2.1
Point of view on the spatial and temporal plane
38
2.5.2.2
Point of view on the ideological plane
39
2.5.2.3
Point of view on the phraseological plane
40
2.5.2.4
Point of view on the plane of psychology
41
2.5.3
Fowler s development of Uspensky s taxonomy
41
vi
Point of View in Plays
2.5.4
Chatman s work on point of view
42
2.5.4.1
Slant and filter
43
2.5.4.2
Center and interest-focus
45
2.5.4.3
Perceptual and conceptual point of view
46
2.5.5
Short s checklist of linguistic indicators of viewpoint
47
2.5.5.1
Schema-oriented language
48
2.5.5.2
Value-laden language
49
2.5.5.3
Given versus new information
49
2.5.5.4
Deixis
50
2.5.5.5
Representations of thought and perception
51
2.5.5.6
Psychological sequencing
51
2.5.6
Additional linguistic indicators of viewpoint
51
2.5.6.1
Graphology
52
2.5.6.2
Presupposition
52
2.5.6.3
Grice s Co-operative Principle
53
2.5.7
Summary
54
2.6
Conclusion
55
CHAPTER
3
Perspectives on point of view in drama
57
3.1
Introduction
57
3.2
Mimesis and diegesis
58
3.3
Existing work on point of view in stage drama
60
3.3.1
Narration, dreams and the inner life
62
3.3.2
Richardson s categories of narration
66
3.3.3
Applying Chatman s taxonomy to dramatic texts
76
3.3.4
Stage and screen directions in drama
77
3.4
Point of view in film
82
3.4.1
Narration in light
82
3.4.2
Objective and subjective shots
83
3.5
Conclusion
90
CHAPTER
4
Deictic shifts in dramatic texts
91
4.1
Introduction
91
4.2
Deictic shift theory
-
a brief overview
92
4.3
The concept of the deictic centre
92
4.4
Traditional categories of deixis
94
4.4.1
Place deixis
94
4.4.2
Temporal deixis
96
4.4.3
Person deixis
96
Table
of
contents vu
4.4.4
Social
debris
97
4.4.5
Empathetic deixis
98
4.5
Deictic shift theory and reader involvement
99
4.5.1
Deictic fields, PUSHes and POPs
99
4.5.2
Edgework
105
4.5.3
Deictic fields revisited
106
4.5.4
Deictic decay
107
4.5.5
Problems with PUSHes and POPs
108
4.6
Modifying deictic shift theory
111
4.6.1
Contextual frame theory
112
4.6.2
Binding and priming in deictic shift theory
114
4.7
Deictic fields and point of view in Our Town
117
4.8
Conclusion
121
CHAPTER
5
Possible worlds, possible viewpoints
123
5.1
Introduction
123
5.2
The development of possible worlds theory
124
5.2.1
Limitations of truth conditional semantics
124
5.3
Ryan s typology of possible worlds
126
5.3.1
Alternative possible worlds
127
5.3.2
Fantasy universes
131
5.3.3
The principle of minimal departure
133
5.4
Mapping deictic shifts and possible worlds
133
5.4.1
Recentering
134
5.4.2
Increasing and decreasing the prominence
of possible worlds
135
5.5
Conclusion
139
CHAPTER
6
Logic, reality and mind style
141
6.1
Introduction
141
6.2
Defining mind style
141
6.2.1
World view, ideological point of view and mind style
142
6.3
Logic and mind style
144
6.3.1
Deductive and inductive logic
145
6.3.2
Logic, mind style and Miss Shepherd
146
6.4
Mind style and paradigms of reality
153
6.4.1
Miss Shepherd s reality paradigm and its effect
on her mind style
154
6.5
Conclusion
157
viii
Point of View in Plays
CHAPTER
7
Point of view in The Lady in the Van
159
7.1
Introduction
159
7.2
Alan Bennett
1
meets Miss Shepherd (Act One, turns
1
to
109) 160
7.3
Miss Shepherd s confession (Act Two, turns
651
to
673) 170
7.4
The mysteries surrounding Miss Shepherd (Act Two, turns
732
to
798) 173
7.5
The truth about Miss Shepherd (Act Two, turns
900
to
976) 176
7.6
Conclusion
185
chapter
8
Conclusion
187
8.1
Summary
187
8.2
Concluding remarks
189
References
191
Index
199
This is the first book-length study of how point of view is
manifested linguistically in dramatic texts. It examines such
issues as how readers process the shifts in viewpoint that
can occur within such texts. Using insights from cognitive
linguistics, the book aims to explain how the analysis of point
of view in drama can be undertaken, and how this is fruitful
for understanding textual and discoursal efFects in this genre.
Following on from a consideration of existing frameworks for
the analysis of point of view, a cognitive approach to deixis is
suggested as being particularly profitable for explaining the
viewpoint effects that can arise in dramatic texts. To expand on
the large number of examples discussed throughout the book,
the penultimate chapter consists of an extended analysis of a
single play. This book is relevant to scholars in a range of areas,
including linguistics, literary studies and cognitive science.
|
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| indexdate | 2024-12-20T12:50:14Z |
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| series | Linguistic approaches to literature |
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| spellingShingle | McIntyre, Dan 1975- Point of view in plays a cognitive stylistic approach to viewpoint in drama and other text-types Linguistic approaches to literature Toneelstukken gtt Vertelsituatie gtt Drama Drama Technique Prose literature Technique Point of view (Literature) Erzählforschung (DE-588)4152968-6 gnd Prosa (DE-588)4047497-5 gnd Dramentechnik (DE-588)4150550-5 gnd |
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| title | Point of view in plays a cognitive stylistic approach to viewpoint in drama and other text-types |
| title_auth | Point of view in plays a cognitive stylistic approach to viewpoint in drama and other text-types |
| title_exact_search | Point of view in plays a cognitive stylistic approach to viewpoint in drama and other text-types |
| title_full | Point of view in plays a cognitive stylistic approach to viewpoint in drama and other text-types Dan McIntyre |
| title_fullStr | Point of view in plays a cognitive stylistic approach to viewpoint in drama and other text-types Dan McIntyre |
| title_full_unstemmed | Point of view in plays a cognitive stylistic approach to viewpoint in drama and other text-types Dan McIntyre |
| title_short | Point of view in plays |
| title_sort | point of view in plays a cognitive stylistic approach to viewpoint in drama and other text types |
| title_sub | a cognitive stylistic approach to viewpoint in drama and other text-types |
| topic | Toneelstukken gtt Vertelsituatie gtt Drama Drama Technique Prose literature Technique Point of view (Literature) Erzählforschung (DE-588)4152968-6 gnd Prosa (DE-588)4047497-5 gnd Dramentechnik (DE-588)4150550-5 gnd |
| topic_facet | Toneelstukken Vertelsituatie Drama Drama Technique Prose literature Technique Point of view (Literature) Erzählforschung Prosa Dramentechnik Hochschulschrift |
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