Point of View in Plays: A Cognitive Stylistic Approach to Viewpoint in Drama and Other Text-types (Linguistic Approaches to Literature)

Point of View in Plays......Page 2
Editorial page......Page 3
Title page......Page 4
LCC data......Page 5
Table of contents......Page 6
Acknowledgements......Page 10
Preface......Page 12
1.1. Introduction......Page 14
1.2. Aims of the book......Page 15
1.3. Prototypical and non-prototypical dramatic texts......Page 16
1.4. The prototypical discourse structure of drama......Page 18
1.5. Alan Bennett's The Lady in the Van......Page 19
1.6. The discourse structure of The Lady in the Van......Page 20
1.7. Text and performance......Page 24
1.8. Stage plays, screenplays, readers and audiences......Page 26
1.9. Outline of the book......Page 27
2.1. Introduction......Page 30
2.2. Defining 'narratives' and 'narration'......Page 31
2.2.1. Formalist distinctions in narrative structure......Page 32
2.3. Narrative connections......Page 34
2.4.1. Internal and external narration......Page 36
2.4.2. Fowler's taxonomy of narration......Page 37
2.4.3. Simpson's development of Fowler's work......Page 42
2.5.1. Focalization......Page 44
2.5.2. Point of view on the Uspenskian planes......Page 50
2.5.3. Fowler's development of Uspensky's taxonomy......Page 54
2.5.4. Chatman's work on point of view......Page 55
2.5.5. Short's checklist of linguistic indicators of viewpoint......Page 60
2.5.6. Additional linguistic indicators of viewpoint......Page 64
2.5.7. Summary......Page 67
2.6. Conclusion......Page 68
3.1. Introduction......Page 70
3.2. Mimesis and diegesis......Page 71
3.3. Existing work on point of view in stage drama......Page 73
3.3.1. Narration, dreams and the inner life......Page 75
3.3.2. Richardson's categories of narration......Page 79
3.3.3. Applying Chatman's taxonomy to dramatic texts......Page 89
3.3.4. Stage and screen directions in drama......Page 90
3.4.1. Narration in light......Page 95
3.4.2. Objective and subjective shots......Page 96
3.5. Conclusion......Page 103
4.1. Introduction......Page 104
4.3. The concept of the deictic centre......Page 105
4.4.1. Place deixis......Page 107
4.4.3. Person deixis......Page 109
4.4.4. Social deixis......Page 110
4.4.5. Empathetic deixis......Page 111
4.5.1. Deictic fields, PUSHes and POPs......Page 112
4.5.2. Edgework......Page 118
4.5.3. Deictic fields revisited......Page 119
4.5.4. Deictic decay......Page 120
4.5.5. Problems with PUSHes and POPs......Page 121
4.6. Modifying deictic shift theory......Page 124
4.6.1. Contextual frame theory......Page 125
4.6.2. Binding and priming in deictic shift theory......Page 127
4.7. Deictic fields and point of view in Our Town......Page 130
4.8. Conclusion......Page 134
5.1. Introduction......Page 136
5.2.1. Limitations of truth conditional semantics......Page 137
5.3. Ryan's typology of possible worlds......Page 139
5.3.1. Alternative possible worlds......Page 140
5.3.2. Fantasy universes......Page 144
5.4. Mapping deictic shifts and possible worlds......Page 146
5.4.1. Recentering......Page 147
5.4.2. Increasing and decreasing the prominence of possible worlds......Page 148
5.5. Conclusion......Page 152
6.2. Defining mind style......Page 154
6.2.1. World view, ideological point of view and mind style......Page 155
6.3. Logic and mind style......Page 157
6.3.1. Deductive and inductive logic......Page 158
6.3.2. Logic, mind style and Miss Shepherd......Page 159
6.4. Mind style and paradigms of reality......Page 166
6.4.1. Miss Shepherd's reality paradigm and its effect on her mind style......Page 167
6.5. Conclusion......Page 170
7.1. Introduction......Page 172
7.2. Alan Bennett 1 meets Miss Shepherd (Act One, turns 1 to 109)......Page 173
7.3. Miss Shepherd's confession (Act Two, turns 651 to 673)......Page 183
7.4. The mysteries surrounding Miss Shepherd (Act Two, turns 732 to 798)......Page 186
7.5. The truth about Miss Shepherd (Act Two, turns 900 to 976)......Page 189
7.6. Conclusion......Page 198
8.1. Summary......Page 200
8.2. Concluding remarks......Page 202
References......Page 204
Index......Page 212