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Pragmatics of Fiction: Literature, Stage and Screen Discourse [Minkštas viršelis]

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Drawing on a wide range of fictional texts from Shakespeare and Austen to Game of Thrones and the lyrics of ‘We Shall Overcome’, this textbook shows how pragmatic analyses can uncover the performative elements that create and shape characters for an audience.

By exploring fictional language, the book investigates different forms of interpersonal communication, such as politeness and impoliteness, as well as the nature of poetic language and the language of emotion. With exercises, discussion topics, suggestions for small-scale research projects and further reading, it shows just how fascinating a challenge fictional language can pose to pragmatics, and illustrates the richness of fictional language as a source of data for pragmatic research.



Drawing on a wide range of fictional texts from Shakespeare and Austen to Game of Thrones and the lyrics of ‘We Shall Overcome’, this textbook shows how pragmatic analyses can uncover the performative elements that create and shape characters for an audience.

List of figures and tables
ix
To readers xi
Acknowledgements xiii
Transcription conventions xv
Part I The pragmatics of fiction as communication
1 Fiction and pragmatics
3(12)
1.1 Introduction
3(1)
1.2 The scope of fiction
4(2)
1.3 The scope of pragmatics
6(2)
1.4 The levels of communication in fiction
8(2)
1.5 Fictional data for pragmatic research
10(1)
1.6 The aims of this textbook
11(2)
Key concepts
13(1)
Exercises
13(1)
Further reading
13(2)
2 Fiction and non-fiction
15(21)
2.1 Introduction
15(2)
2.2 Fictional utterances as `non-serious' speech acts
17(2)
2.3 Literary models of fiction
19(3)
2.4 A pragmatic model of fiction
22(5)
2.5 Fictitious worlds and their extensions
27(6)
2.6 Conclusions
33(1)
Key concepts
34(1)
Exercises
34(1)
Further reading
35(1)
3 Literature as communication
36(25)
3.1 Introduction
36(1)
3.2 Communicating literature
37(4)
3.3 Participation structure: the recipients
41(8)
3.4 Participation structure: the creators
49(2)
3.5 The complexities of performed fiction
51(4)
3.6 The audience talking back
55(1)
3.7 Conclusions
56(1)
Key concepts
56(1)
Exercises
57(1)
Further reading
58(3)
Part II The pragmatics of story worlds
4 Genres of fiction
61(16)
4.1 Introduction
61(1)
4.2 Structures of expectation in face-to-face communication
61(3)
4.3 Structures of expectation in written communication
64(1)
4.4 Structures of expectation in fiction
65(6)
4.5 Frames within frames: intradiegetic and extradiegetic
71(2)
4.6 Conclusions
73(1)
Key concepts
74(1)
Exercises
74(1)
Further reading
75(2)
5 The narrative core
77(21)
5.1 Introduction
77(1)
5.2 Stories as fundamental meaning making units in discourse
78(6)
5.3 Stories in fiction: from starting point to intertextuality
84(4)
5.4 Stories in fiction: story world and narratorial voice
88(7)
5.5 Conclusions
95(1)
Key concepts
96(1)
Exercises
96(1)
Further reading
97(1)
6 Character creation
98(27)
6.1 Introduction
98(1)
6.2 Multimodal cues in character creation
99(4)
6.3 Contrasts: regional, social and ethnic variation in past and present
103(9)
6.4 Multilingualism in fictional character creation
112(4)
6.5 Alienation effects: past and future
116(2)
6.6 Translation challenges for character positioning
118(1)
6.7 Conclusions
118(1)
Key concepts
119(1)
Exercises
119(2)
Further reading
121(4)
Part III Themes in the pragmatics of fiction
7 The performance of fiction
125(25)
7.1 Introduction
125(2)
7.2 The role of dialogue in fiction
127(8)
7.3 Planning, production and interaction
135(4)
7.4 Features of orality
139(7)
7.5 Conclusions
146(1)
Key concepts
147(1)
Exercises
148(1)
Further reading
149(1)
8 Relational work and (im/politeness) ideologies
150(23)
8.1 Introduction
150(3)
8.2 Relational work and (character) identity construction
153(5)
8.3 Relational work in fiction
158(4)
8.4 Fiction as locus for discursive im/politeness ideologies
162(4)
8.5 Censuring and manufacturing
166(4)
8.6 Conclusions
170(1)
Key concepts
171(1)
Exercises
171(1)
Further reading
172(1)
9 The language of emotion
173(23)
9.1 Introduction
173(2)
9.2 The nature of emotions
175(2)
9.3 Two modes of presenting emotions in fiction
177(3)
9.4 Emotion cues in fiction
180(9)
9.5 The paradox of fiction: real and fake emotions
189(3)
9.6 Conclusions
192(2)
Key concepts
194(1)
Exercises
194(1)
Further reading
195(1)
10 Poetic language
196(28)
10.1 Introduction
196(1)
10.2 Poetic effects
197(10)
10.3 Metaphors
207(7)
10.4 Irony
214(6)
10.5 Conclusions
220(1)
Key concepts
221(1)
Exercises
221(1)
Further reading
222(2)
11 Fiction, pragmatics and future research
224(15)
11.1 Introduction
224(2)
11.2 Fact, fiction and the fictional contract
226(4)
11.3 Distinctive pragmatic features of fiction
230(5)
11.4 Outlook and future research
235(2)
Exercises
237(1)
Further reading
238(1)
Glossary 239(18)
Bibliography 257(1)
Literary sources 257(1)
Movies and television series 258(1)
Dictionaries and corpora 259(1)
Websites 259(1)
References 259(12)
Index 271