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E-raamat: Point of View in Plays: A cognitive stylistic approach to viewpoint in drama and other text-types

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(University of Huddersfield)
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Point of View in Plays: A cognitive stylistic approach to viewpoint in drama and other text-typesSuurem pilt
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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.
Acknowledgements IX
Preface XI
CHAPTER 1 Point of view and plays
1.1 Introduction
1(1)
1.2 Aims of the book
2(1)
1.3 Prototypical and non-prototypical dramatic texts
3(2)
1.4 The prototypical discourse structure of drama
5(1)
1.5 Alan Bennett's The Lady in the Van
6(1)
1.6 The discourse structure of The Lady in the Van
7(4)
1.7 Text and performance
11(2)
1.8 Stage plays, screenplays, readers and audiences
13(1)
1.9 Outline of the book
14(3)
CHAPTER 2 Narratives, narration and point of view in prose 17(40)
2.1 Introduction
17(1)
2.2 Defining 'narratives' and 'narration'
18(3)
2.2.1 Formalist distinctions in narrative structure
19(2)
2.3 Narrative connections
21(2)
2.4 Types of narrators
23(8)
2.4.1 Internal and external narration
23(1)
2.4.2 Fowler's taxonomy of narration
24(5)
2.4.3 Simpson's development of Fowler's work
29(2)
2.5 Point of view in prose narration
31(24)
2.5.1 Focalization
31(6)
2.5.2 Point of view on the Uspenskian planes
37(4)
2.5.2.1 Point of view on the spatial and temporal plane
38(1)
2.5.2.2 Point of view on the ideological plane
39(1)
2.5.2.3 Point of view on the phraseological plane
40(1)
2.5.2.4 Point of view on the plane of psychology
41(1)
2.5.3 Fowler's development of Uspensky's taxonomy
41(1)
2.5.4 Chatman's work on point of view
42(5)
2.5.4.1 Slant and filter
43(2)
2.5.4.2 Center and interest-focus
45(1)
2.5.4.3 Perceptual and conceptual point of view
46(1)
2.5.5 Short's checklist of linguistic indicators of viewpoint
47(4)
2.5.5.1 Schema-oriented language
48(1)
2.5.5.2 Value-laden language
49(1)
2.5.5.3 Given versus new information
49(1)
2.5.5.4 Deixis
50(1)
2.5.5.5 Representations of thought and perception
51(1)
2.5.5.6 Psychological sequencing
51(1)
2.5.6 Additional linguistic indicators of viewpoint
51(3)
2.5.6.1 Graphology
52(1)
2.5.6.2 Presupposition
52(1)
2.5.6.3 Grice's Co-operative Principle
53(1)
2.5.7 Summary
54(1)
2.6 Conclusion
55(2)
CHAPTER 3 Perspectives on point of view in drama 57(34)
3.1 Introduction
57(1)
3.2 Mimesis and diegesis
58(2)
3.3 Existing work on point of view in stage drama
60(22)
3.3.1 Narration, dreams and the inner life
62(4)
3.3.2 Richardson's categories of narration
66(10)
3.3.3 Applying Chatman's taxonomy to dramatic texts
76(1)
3.3.4 Stage and screen directions in drama
77(5)
3.4 Point of view in film
82(8)
3.4.1 Narration in light
82(1)
3.4.2 Objective and subjective shots
83(7)
3.5 Conclusion
90(1)
CHAPTER 4 Deictic shifts in dramatic texts 91(32)
4.1 Introduction
91(1)
4.2 Deictic shift theory – a brief overview
92(1)
4.3 The concept of the deictic centre
92(2)
4.4 Traditional categories of deixis
94(5)
4.4.1 Place deixis
94(2)
4.4.2 Temporal deixis
96(1)
4.4.3 Person deixis
96(1)
4.4.4 Social deixis
97(1)
4.4.5 Empathetic deixis
98(1)
4.5 Deictic shift theory and reader involvement
99(11)
4.5.1 Deictic fields, PUSHes and POPs
99(6)
4.5.2 Edgework
105(1)
4.5.3 Deictic fields revisited
106(1)
4.5.4 Deictic decay
107(1)
4.5.5 Problems with PUSHes and POPs
108(2)
4.6 Modifying deictic shift theory
110(7)
4.6.1 Contextual frame theory
112(2)
4.6.2 Binding and priming in deictic shift theory
114(3)
4.7 Deictic fields and point of view in Our Town
117(4)
4.8 Conclusion
121(2)
CHAPTER 5 Possible worlds, possible viewpoints 123(18)
5.1 Introduction
123(1)
5.2 The development of possible worlds theory
124(2)
5.2.1 Limitations of truth conditional semantics
124(2)
5.3 Ryan's typology of possible worlds
126(7)
5.3.1 Alternative possible worlds
127(4)
5.3.2 Fantasy universes
131(2)
5.3.3 The principle of minimal departure
133(1)
5.4 Mapping deictic shifts and possible worlds
133(6)
5.4.1 Recentering
134(1)
5.4.2 Increasing and decreasing the prominence of possible worlds
135(4)
5.5 Conclusion
139(2)
CHAPTER 6 Logic, reality and mind style 141(18)
6.1 Introduction
141(1)
6.2 Defining mind style
141(3)
6.2.1 World view, ideological point of view and mind style
142(2)
6.3 Logic and mind style
144(9)
6.3.1 Deductive and inductive logic
145(1)
6.3.2 Logic, mind style and Miss Shepherd
146(7)
6.4 Mind style and paradigms of reality
153(4)
6.4.1 Miss Shepherd's reality paradigm and its effect on her mind style
154(3)
6.5 Conclusion
157(2)
CHAPTER 7 Point of view in The Lady in the Van 159(28)
7.1 Introduction
159(1)
7.2 Alan Bennett 1 meets Miss Shepherd (Act One, turns 1 to 109)
160(10)
7.3 Miss Shepherd's confession (Act Two, turns 651 to 673)
170(3)
7.4 The mysteries surrounding Miss Shepherd (Act Two, turns 732 to 798)
173(3)
7.5 The truth about Miss Shepherd (Act Two, turns 900 to 976)
176(9)
7.6 Conclusion
185(2)
CHAPTER 8 Conclusion 187(4)
8.1 Summary
187(2)
8.2 Concluding remarks
189(2)
References 191(8)
Index 199
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