Table Of Content<DOCINFOAUTHOR""TITLE"PointofViewinPlays:Acognitivestylisticapproachtoviewpointindramaandothertext-types"SUBJECT"LinguisticApproachestoLiterature,Volume3"KEYWORDS""SIZEHEIGHT"240"WIDTH"160"VOFFSET"4">
PointofViewinPlays
Linguistic Approaches to Literature
LinguisticApproachestoLiterature(LAL)providesaninternationalforumfor
researchers who believe that the application of linguistic methods leads to a
deeperandmorefar-reachingunderstandingofmanyaspectsofliterature.The
emphasis will be on pragmatic approaches intersecting with areas such as
discourse analysis, sociolinguistics, ethnolinguistics, rhetoric, philosophy,
cognitivelinguistics,psycholinguisticsandstylistics.
Editors
WillievanPeer PeterVerdonk
UniversityofMunich UniversityofAmsterdam
AdvisoryEditorialBoard
TimothyR.Austin PaisleyLivingston
LoyolaUniversityChicago UniversityofCopenhagen
DouglasBiber ColinMartindale
NorthernArizonaUniversity UniversityofMaine
LubomirDolezel SaraMills
UniversityofToronto SheffieldHallamUniversity
DonaldC.Freeman MickShort
UniversityofSouthernCalifornia LancasterUniversity
HaraldFricke MichaelToolan
UniversityofFribourg UniversityofBirmingham
RaymondW.GibbsJr. ReuvenTsur
UniversityofCalifornia,SantaCruz TelAvivUniversity
RachelGiora JeanJacquesWeber
TelAvivUniversity UniversityCentreLuxemburg
Volume3
PointofViewinPlays:
Acognitivestylisticapproachtoviewpointindramaandothertext-types
byDanMcIntyre
Point of View in Plays
A cognitive stylistic approach to viewpoint
in drama and other text-types
Dan McIntyre
UniversityofHuddersfield
JohnBenjaminsPublishingCompany
Amsterdam(cid:1)/(cid:1)Philadelphia
TM Thepaperusedinthispublicationmeetstheminimumrequirements
8
ofAmericanNationalStandardforInformationSciences–Permanence
ofPaperforPrintedLibraryMaterials,ansiz39.48-1984.
LibraryofCongressCataloging-in-PublicationData
McIntyre,Dan,1975–
Pointofviewinplays:acognitivestylisticapproachtoviewpointindrama
andothertext-types/ DanMcIntyre.
p. cm.(LinguisticApproachestoLiterature,issn1569–3112;v.3)
Includesbibliographicalreferencesandindex.
1.Drama--Technique. 2.Proseliterature--Technique. 3.Pointof
view(Literature). I.Title.
PN1695.M35 2006
808.2--dc22 2006049871
isbn9027233357(Hb;alk.paper)
©2006–JohnBenjaminsB.V.
Nopartofthisbookmaybereproducedinanyform,byprint,photoprint,microfilm,or
anyothermeans,withoutwrittenpermissionfromthepublisher.
JohnBenjaminsPublishingCo.·P.O.Box36224·1020meAmsterdam·TheNetherlands
JohnBenjaminsNorthAmerica·P.O.Box27519·Philadelphiapa19118-0519·usa
Table of contents
Acknowledgements ix
Preface xi
chapter1
Pointofviewandplays 1
1.1 Introduction 1
1.2 Aimsofthebook 2
1.3 Prototypicalandnon-prototypicaldramatictexts 3
1.4 Theprototypicaldiscoursestructureofdrama 5
1.5 AlanBennett’sTheLadyintheVan 6
1.6 ThediscoursestructureofTheLadyintheVan 7
1.7 Textandperformance 11
1.8 Stageplays,screenplays,readersandaudiences 13
1.9 Outlineofthebook 14
chapter2
Narratives,narrationandpointofviewinprose 17
2.1 Introduction 17
2.2 Defining‘narratives’and‘narration’ 18
2.2.1 Formalistdistinctionsinnarrativestructure 19
2.3 Narrativeconnections 21
2.4 Typesofnarrators 23
2.4.1 Internalandexternalnarration 23
2.4.2 Fowler’staxonomyofnarration 24
2.4.3 Simpson’sdevelopmentofFowler’swork 29
2.5 Pointofviewinprosenarration 31
2.5.1 Focalization 31
2.5.2 PointofviewontheUspenskianplanes 37
2.5.2.1 Pointofviewonthespatialandtemporalplane 38
2.5.2.2 Pointofviewontheideologicalplane 39
2.5.2.3 Pointofviewonthephraseologicalplane 40
2.5.2.4 Pointofviewontheplaneofpsychology 41
2.5.3 Fowler’sdevelopmentofUspensky’staxonomy 41
PointofViewinPlays
2.5.4 Chatman’sworkonpointofview 42
2.5.4.1 Slantandfilter 43
2.5.4.2 Centerandinterest-focus 45
2.5.4.3 Perceptualandconceptualpointofview 46
2.5.5 Short’schecklistoflinguisticindicatorsofviewpoint 47
2.5.5.1 Schema-orientedlanguage 48
2.5.5.2 Value-ladenlanguage 49
2.5.5.3 Givenversusnewinformation 49
2.5.5.4 Deixis 50
2.5.5.5 Representationsofthoughtandperception 51
2.5.5.6 Psychologicalsequencing 51
2.5.6 Additionallinguisticindicatorsofviewpoint 51
2.5.6.1 Graphology 52
2.5.6.2 Presupposition 52
2.5.6.3 Grice’sCo-operativePrinciple 53
2.5.7 Summary 54
2.6 Conclusion 55
chapter3
Perspectivesonpointofviewindrama 57
3.1 Introduction 57
3.2 Mimesisanddiegesis 58
3.3 Existingworkonpointofviewinstagedrama 60
3.3.1 Narration,dreamsandtheinnerlife 62
3.3.2 Richardson’scategoriesofnarration 66
3.3.3 ApplyingChatman’staxonomytodramatictexts 76
3.3.4 Stageandscreendirectionsindrama 77
3.4 Pointofviewinfilm 82
3.4.1 Narrationinlight 82
3.4.2 Objectiveandsubjectiveshots 83
3.5 Conclusion 90
chapter4
Deicticshiftsindramatictexts 91
4.1 Introduction 91
4.2 Deicticshifttheory–abriefoverview 92
4.3 Theconceptofthedeicticcentre 92
4.4 Traditionalcategoriesofdeixis 94
4.4.1 Placedeixis 94
4.4.2 Temporaldeixis 96
4.4.3 Persondeixis 96
Tableofcontents
4.4.4 Socialdeixis 97
4.4.5 Empatheticdeixis 98
4.5 Deicticshifttheoryandreaderinvolvement 99
4.5.1 Deicticfields,PUSHesandPOPs 99
4.5.2 Edgework 105
4.5.3 Deicticfieldsrevisited 106
4.5.4 Deicticdecay 107
4.5.5 ProblemswithPUSHesandPOPs 108
4.6 Modifyingdeicticshifttheory 111
4.6.1 Contextualframetheory 112
4.6.2 Bindingandprimingindeicticshifttheory 114
4.7 DeicticfieldsandpointofviewinOurTown 117
4.8 Conclusion 121
chapter5
Possibleworlds,possibleviewpoints 123
5.1 Introduction 123
5.2 Thedevelopmentofpossibleworldstheory 124
5.2.1 Limitationsoftruthconditionalsemantics 124
5.3 Ryan’stypologyofpossibleworlds 126
5.3.1 Alternativepossibleworlds 127
5.3.2 Fantasyuniverses 131
5.3.3 Theprincipleofminimaldeparture 133
5.4 Mappingdeicticshiftsandpossibleworlds 133
5.4.1 Recentering 134
5.4.2 Increasinganddecreasingtheprominence
ofpossibleworlds 135
5.5 Conclusion 139
chapter6
Logic,realityandmindstyle 141
6.1 Introduction 141
6.2 Definingmindstyle 141
6.2.1 Worldview,ideologicalpointofviewandmindstyle 142
6.3 Logicandmindstyle 144
6.3.1 Deductiveandinductivelogic 145
6.3.2 Logic,mindstyleandMissShepherd 146
6.4 Mindstyleandparadigmsofreality 153
6.4.1 MissShepherd’srealityparadigmanditseffect
onhermindstyle 154
6.5 Conclusion 157
PointofViewinPlays
chapter7
PointofviewinTheLadyintheVan 159
7.1 Introduction 159
7.2 AlanBennett1meetsMissShepherd(ActOne,turns1to109) 160
7.3 MissShepherd’sconfession(ActTwo,turns651to673) 170
7.4 ThemysteriessurroundingMissShepherd(ActTwo,turns732
to798) 173
7.5 ThetruthaboutMissShepherd(ActTwo,turns900to976) 176
7.6 Conclusion 185
chapter8
Conclusion 187
8.1 Summary 187
8.2 Concludingremarks 189
References 191
Index 199
Acknowledgements
InChaptersix:materialdrawnfromDanMcIntyre(2005)‘Logic,realityandmind
styleinAlanBennett’sTheLadyintheVan’,JournalofLiterarySemantics34(1):21–
40,bypermissionofthepublishers,MoutondeGruyter.AllquotationsfromThe
LadyintheVanbyAlanBennett(2000)arebypermissionofthepublishers,Faber
andFaber.
