LEADER 06661nam 2200661Ia 450 001 9910815513203321 005 20240513082955.0 010 $a1-282-15545-8 010 $a9786612155451 010 $a90-272-9333-3 024 3 $z9789027233356 035 $a(CKB)1000000000535076 035 $a(OCoLC)613382557 035 $a(CaPaEBR)ebrary10137862 035 $a(SSID)ssj0000223136 035 $a(PQKBManifestationID)11190920 035 $a(PQKBTitleCode)TC0000223136 035 $a(PQKBWorkID)10176133 035 $a(PQKB)10262698 035 $a(MiAaPQ)EBC622985 035 $a(Au-PeEL)EBL622985 035 $a(CaPaEBR)ebr10137862 035 $a(CaONFJC)MIL215545 035 $a(EXLCZ)991000000000535076 100 $a20060717d2006 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aPoint of view in plays $ea cognitive stylistic approach to viewpoint in drama and other text-types /$fDan McIntyre 205 $a1st ed. 210 $aAmsterdam ;$aPhiladelphia $cJ. Benjamins$dc2006 215 $a1 online resource (216 p.) 225 1 $aLinguistic approaches to literature,$x1569-3112 ;$vv. 3 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a90-272-3335-7 320 $aIncludes bibliographical references (p. [191]-198) and index. 327 $aPoint of View in Plays -- Editorial page -- Title page -- LCC data -- Table of contents -- Acknowledgements -- Preface -- Point of view and plays -- 1.1. Introduction -- 1.2. Aims of the book -- 1.3. Prototypical and non-prototypical dramatic texts -- 1.4. The prototypical discourse structure of drama -- 1.5. Alan Bennett's The Lady in the Van -- 1.6. The discourse structure of The Lady in the Van -- 1.7. Text and performance -- 1.8. Stage plays, screenplays, readers and audiences -- 1.9. Outline of the book -- Narratives, narration and point of view in prose -- 2.1. Introduction -- 2.2. Defining 'narratives' and 'narration' -- 2.2.1. Formalist distinctions in narrative structure -- 2.3. Narrative connections -- 2.4. Types of narrators -- 2.4.1. Internal and external narration -- 2.4.2. Fowler's taxonomy of narration -- 2.4.3. Simpson's development of Fowler's work -- 2.5. Point of view in prose narration -- 2.5.1. Focalization -- 2.5.2. Point of view on the Uspenskian planes -- 2.5.3. Fowler's development of Uspensky's taxonomy -- 2.5.4. Chatman's work on point of view -- 2.5.5. Short's checklist of linguistic indicators of viewpoint -- 2.5.6. Additional linguistic indicators of viewpoint -- 2.5.7. Summary -- 2.6. Conclusion -- Perspectives on point of view in drama -- 3.1. Introduction -- 3.2. Mimesis and diegesis -- 3.3. Existing work on point of view in stage drama -- 3.3.1. Narration, dreams and the inner life -- 3.3.2. Richardson's categories of narration -- 3.3.3. Applying Chatman's taxonomy to dramatic texts -- 3.3.4. Stage and screen directions in drama -- 3.4. Point of view in film -- 3.4.1. Narration in light -- 3.4.2. Objective and subjective shots -- 3.5. Conclusion -- Deictic shifts in dramatic texts -- 4.1. Introduction -- 4.2. Deictic shift theory - a brief overview -- 4.3. The concept of the deictic centre. 327 $a4.4. Traditional categories of deixis -- 4.4.1. Place deixis -- 4.4.2. Temporal deixis -- 4.4.3. Person deixis -- 4.4.4. Social deixis -- 4.4.5. Empathetic deixis -- 4.5. Deictic shift theory and reader involvement -- 4.5.1. Deictic fields, PUSHes and POPs -- 4.5.2. Edgework -- 4.5.3. Deictic fields revisited -- 4.5.4. Deictic decay -- 4.5.5. Problems with PUSHes and POPs -- 4.6. Modifying deictic shift theory -- 4.6.1. Contextual frame theory -- 4.6.2. Binding and priming in deictic shift theory -- 4.7. Deictic fields and point of view in Our Town -- 4.8. Conclusion -- Possible worlds, possible viewpoints -- 5.1. Introduction -- 5.2. The development of possible worlds theory -- 5.2.1. Limitations of truth conditional semantics -- 5.3. Ryan's typology of possible worlds -- 5.3.1. Alternative possible worlds -- 5.3.2. Fantasy universes -- 5.3.3. The principle of minimal departure -- 5.4. Mapping deictic shifts and possible worlds -- 5.4.1. Recentering -- 5.4.2. Increasing and decreasing the prominence of possible worlds -- 5.5. Conclusion -- Logic, reality and mind style -- 6.1. Introduction -- 6.2. Defining mind style -- 6.2.1. World view, ideological point of view and mind style -- 6.3. Logic and mind style -- 6.3.1. Deductive and inductive logic -- 6.3.2. Logic, mind style and Miss Shepherd -- 6.4. Mind style and paradigms of reality -- 6.4.1. Miss Shepherd's reality paradigm and its effect on her mind style -- 6.5. Conclusion -- Point of view in The Lady in the Van -- 7.1. Introduction -- 7.2. Alan Bennett 1 meets Miss Shepherd (Act One, turns 1 to 109) -- 7.3. Miss Shepherd's confession (Act Two, turns 651 to 673) -- 7.4. The mysteries surrounding Miss Shepherd (Act Two, turns 732 to 798) -- 7.5. The truth about Miss Shepherd (Act Two, turns 900 to 976) -- 7.6. Conclusion -- Conclusion -- 8.1. Summary -- 8.2. Concluding remarks -- References. 327 $aIndex. 330 $aThis is the first book-length study of how point of view is manifested linguistically in dramatic texts. It examines such issues as how readers process the shifts in viewpoint that can occur within such texts. Using insights from cognitive linguistics, the book aims to explain how the analysis of point of view in drama can be undertaken, and how this is fruitful for understanding textual and discoursal effects in this genre. Following on from a consideration of existing frameworks for the analysis of point of view, a cognitive approach to deixis is suggested as being particularly profitable for explaining the viewpoint effects that can arise in dramatic texts. To expand on the large number of examples discussed throughout the book, the penultimate chapter consists of an extended analysis of a single play. This book is relevant to scholars in a range of areas, including linguistics, literary studies and cognitive science. 410 0$aLinguistic approaches to literature ;$vv. 3. 606 $aDrama$xTechnique 606 $aProse literature$xTechnique 606 $aPoint of view (Literature) 615 0$aDrama$xTechnique. 615 0$aProse literature$xTechnique. 615 0$aPoint of view (Literature) 676 $a808.2 700 $aMcIntyre$b Dan$f1975-$0476923 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910815513203321 996 $aPoint of view in plays$94112737 997 $aUNINA