Chapter 9Dramatic stylistics.docx
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Chapter 9Dramatic stylistics.docx
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Chapter9Dramaticstylistics
Chapter9DramaticStylistics
Reviewoflastchapter
1.Narratingpointsofview
2.Devicesforrepresentingtimeandplaceinfiction
3.Presentationofspeechandthoughtinfiction
4.Foregroundinginfiction
5.Pragmastylisticanalysisoffiction
Contentsofthischapter
1.Introduction
2.Approachestodramaticstylistics
3.Approachestodramaanalysis
4.Differencesbetweenspeechandwriting
5.Analyzingdramaticlanguage
6.Casestudy
7.Suggestedareasforfurtherstudy
8.Summary
1.Introduction
Dramaticstylisticsdealswiththerelationbetweendramatictextsandlinguistictheories.Inotherwords,dramaticstylisticsaimsattheapplicationofmethodsoflinguisticanalysistotheliterarygenreofdrama.Thestylisticapplicationstodramaarebasedonlinguistictheoriessuchaspragmatics,discourseanalysis,andcognitivelinguistics.
Stylisticshastendedtohavelesstosayaboutdramathanaboutthetwogenresofliteraturewithwhichithasbeenprincipallyconcerned,poetryandfiction.Thereareseveralreasonswhythishasbeenthecase.Onereasonisthataplayexistsintwoways—onthepage,andonthestage;thispresentssomethingofadilemmafortheliterarycritic,sincethetwomanifestationsarequitedifferentandneeddifferentanalyticapproaches.Whenstylisticshasfocusedondrama,ithasalmostinvariablybeenconcernedwiththetext,ratherthantheperformance.Thetextisstaticandunchanging.The(live)performanceofaplay,ontheotherhand,istransient.Whenwetakeallthefollowingelementsintoaccount—thevariationswhichmayoccurbetweendifferentperformancesofthesameplay,andthevariationsintheconditionsunderwhichamemberoftheaudiencecanexperienceaperformance—itbecomesclearwhymostanalystsprefertodevotetheirlabourtowrittencopiesoftheplay.(ThornborrowandWareign,2002:
116)However,suchastateofresearchsuggeststhatdramaticstylisticsisapromisingareafullofspaceforfurtherresearch.
2.Approachestodramaticstylistics
2.1FengZongxin’sapproach:
pragmastylisticanalysisofdramatictexts
Basedonadetailedintroductiontothedisciplineofpragmastylistics,FengZongxin(2002)discussesthepragmastylisticsofdrama,focusingontheinvestigationintotheapplicationoftheinterpersonalrelationshipsandtheviolationandobservanceofconversationalmaximstothestylisticanalysisofdrama,especiallyofdramatictexts.
Modelsforpragmatics-orienteddramaticanalysis
Therehavebeenvariousapproachesforanalyzingdramaticdiscourse.Mostofthemarebasedonmodelsofconversationanalysisatthelevelofdiscourse.Earliermodelsfocusedontheanalysisofspokendiscourse,basedonthediscoverythatspokendiscourseishighlyorganizedandamenabletoanalysisusingtraditionallinguisticconceptssuchassequentialandhierarchicalorganization,systemandstructure,andsoon.Morerecentmodelsarepragmatics-orientedandaremorereliableforanalyzingthecontextualsituationsofdramatictextsinwhichcommunicationiscarriedout.However,liketraditionalstudiesofdrama,suchstudiesfocusonlyondialogue,leavingoutstagedirectionsastheirpredecessorsdidindramaticanalysisandtheircounterpartsdointheatricalcriticism.
BasedonthestudiesofPratt(1977),Tannen(1986),Carter(1989),Short(1989),andBirch(1993),whohaveappliedtheoriesofpragmaticstothestudyofdramatictexts,apragmastylisticapproachtodramaaimsatdealingwithwhatismorethantheactualdialogueofthecharactersintheplay,e.g.,implicature,unsaidintentions,exerciseofpower,strugglefortalkcontrol,changeofsocialintentions,etc.andwiththerelationshipsbetweentheplaywrightandthevariousreadersonthemacrolevelofcommunication.
Amajoradvantageofpragmastylisticanalysisliesinitsheuristicpoweronbothlevels.WhilethecharactersobservetheCooperativePrincipleandimplicatetheirintentions,andtoachievetheirends,theaudienceexploittheCooperativePrincipleandmaximstoinferthespeakers’motivesanduncovertheirconversationalgoals.WhiletheplaywrightobservestheCooperativePrincipletoimplicatetheirintentionsandachievetheirendsinproducingtheplaytexts,thereadersexploitthesameCooperativePrincipleandmaximstoinferthewriter’smotivesanduncoverhisgoalsintheprocessofliteraryinterpretation.
Twocasestudies
Onthebaseoftheabovediscussion,theinterpersonalrelationshipsintheplayTheLessonisdealtwithfromthethreeaspectsofwriter-readerrelationship,character-characterrelationship,andlanguageandpatternsofcommunication.AndtheviolationandobservanceofconversationalmaximsinTheBaldSopranoisaddressedfromthetwoaspectsofviolationsonthemacro-levelofcommunicationaswellasviolationsonthemicro-levelofcommunicationincludingnonverbalfeedback,illogicaldiscoursecontrol,silenceanddelayedresponse,phaticcommunionandrelevance,andnonsenseandcommunicativeincompetence.
2.2YangXueyan’sapproach
YangXueyan(1991)dealswiththeroleofdiscourseanalysisindramaticanalysisbyapplyingthetheoriesoffourschoolsofdiscourseanalysistotheanalysisofapassageofdialoguetakenfromH.Pinter’sTheLoverfromthefollowingaspects:
speechacttheoryanddramaticanalysis,principlesofrhetoricalanddramaticanalysis,theoriesofthestructureofconversationanddramaticanalysis,andtheoriesofrankingscalesanddramaticanalysis.
AveryimportantapproachtodramaticstylisticsisofferedbyThornborrowandWareign(2002:
115-144)fundamentallyfromtheperspectiveofdiscourseanalysis.Theholdthatthetextofaplayisalegitimateandinterestingobjectofstudy,andwithapointShort(1996)makes,thatdiscourseanalysisisawayofanalyzingthetextwhichcantakeaccountofitsdramaticproperties.Theapproachwillbeintroducedindetailbelow.
3.Approachestodramaanalysis
3.1Dramaaspoetry
Stylisticanalysisofdramatictextshastendedtofollowoneofthreeapproaches.Thefirstoftheseistotreatanextractofthetextasapoem.Sincesoundandmetreareasrelevantinmanydramatictextsastheyareinpoetry,everythingtodowithmetre,soundpatterning,syntaxandfigurativelanguagealreadydiscussedinthepreviouschaptersmightbeappropriateareastoanalyze.
3.2Dramaasfiction
Secondly,theplaycanbeanalyzedforcharacterandplot,treatingitmoreorlesslikefiction.Thetwocomponentsofplotandcharacterclearlyareassignificantindramatictextsasinfiction,soagain,thisisanobviouslyrelevantwaytoproceed;someoftheapproachesdescribedinthechapteronfictionalstylisticscanbeusedtodothis.
Dramahoweverdiffersfundamentallyfromfictioninthatitusuallylacksanarrativevoice,andthisabsencecanmakeanoveldifficulttodramatizesuccessfully.
Thereareways,indrama,ofattemptingtodealwiththefunctionofthenarrativevoice.Achorus,aswasusedinGreekTragedy,hasalsobeenusedinplaysbyT.S.Eliot(MurderintheCathedralandTheCocktailParty,forexample),andcangiveanotherperspectiveontheactionsofthecharactersorplotdevelopment.DylanThomasusedanarrativevoicereadingovertheplayinUnderMilkwood,andDennisPotter,inthetelevisionplayTheSingingDetective,usesavoice-overtechnique.
Informationabouttheplotandthecharactersissometimesgiventhroughexplicitinterjectionsbytheplaywrightinthetextoftheplay,asstagedirections.GeorgeBernardShaw,forexample,givesverypreciseinstructionsabouttheappearanceofhischaractersandtheset.ExplicitnotessuchtheopeningstagedirectionstoArmsandtheMancanbeinterpretedbythedirector,actors,costumeandsetdesignersintoaudiblesignalsthroughthevoiceofaccentandotherfeaturesofthespeechofthecharacters,andintovisualsignalssuchasclothing,postureandmovements,whichcangivetheaudienceinformationaboutcharacternotdissimilartothatwhichanarrativevoicemightdeliver.
3.3Dramaasconversation
Onecrucialaspectinwhichdramadiffersfrompoetryandfictionisinitsemphasisonverbalinteraction,andthewayrelationshipsbetweenpeopleareconstructedandnegotiatedthroughwhattheysay.Thisiswherelinguisticsreallycomesintoitsown.
Linguistics,andtechniquesofdiscourseanalysisinparticular,canhelpusanalyzetheexchangesbetweencharacters.
4.Differencesbetweenspeechandwriting
Itmayappearaself-evidenttruththatspeechinplaysisquiteunlikenaturallyoccurringconversation.However,evenapparentlynaturalisticcontemporarydramasusuallyuselanguageinawaywhichisquiteunlikethelanguageofordinary,privateconversations.
4.1Pausesandpausefillers
Shortpausesareverycommonwhenpeoplespeak;weoftenpausewhileweorganizeourthoughts.Therearealsosomepausefillers:
thenoiseswemakewhenwehavenotfinishedwhatwewanttosay,butarehesitating.Soundswemakeinthosecircumstancesincludeumm,uh,mmmander.Pausesandummsandersdooccurindramatoo,ofcourse,butusuallyincontrolledways.Ontheradio,recordingsofpeoplewhoummandertoomuchwhentheyareinterviewedareofteneditedbeforetheygoontheair,sotheysoundsmoother,briefer,faster-movingandmoreconfident.
4.2Unclearspeech
Naturalconversationsoftenhaveunclearpartstothem,especiallywhentheyarerecorded–becausespeakersturnawayfromthemicrophone,becausetheylaughorcoughoreatwhiletheyaretalking,becausetheywhisperormuttertothemselvesortosomeoneveryclosetothem,becausetheypronouncewordsorphrasesinawayunfamiliartothehearer/transcriber,orbecausethey
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