Abstract
Our proposal in this paper is basically to analyse dramatic texts according to the structure of those parts whose purpose is mainly dialogic in nature, mainly monologic, or, finally, those parts that emphasise the connection between writer and reader (or producer) from the organisational point of view. At the same time we also intend to study some basic pragmatic points such as reference, the informative nature of discourse, the kinds of illocutionary acts present in the text and the conversational norms broken. With this purpose in mind, we propose the application of a method of analysis of dramatic discourse to the play Jumpers, by Tom Stoppard.
Highlights
Our proposal in this paper is basically to analyse dramatic texts according to the structure of those parts whose purpose is mainly dialogic in nature, mainly monologic, or, those parts that emphasise the connection between writer and reader from the organisational point of view
We intend to evolve towards a method of analysis of drama covering this aspect. With this purpose in mind we cannot ignore other previous points which are essential to the analysis of any ldnd of discourse, and which are basically pragmatic in nature, but in any case the interactive purpose of the text itself is first and foremost and affects the analysis as a whole, and this is why our analysis of the dramatic text is presented in six columns, each corresponding to a different aspect concerning the pragmatic and interactive nature of the dramatic text
In the second large área we can mainly find a great variety of pragmatic points in the analysis of discourse
Summary
In recent years there have been many inherently discursive approaches to the analysis of drama, for instance, by Burton, Elam, Sherzer ("Dialogic Incongruities in the Theater of the Absurd" and "Langage litteraire et langage social"), Widdowson, Noguchi, Gautam, Gautam and Sharma, Golopentia-Eretescu, Simpson, Hermán, Short and Bennison.[1]. All these aspects help us understand many of the points which are included in the third área and at the same time make us see that what had been seen as an initial weakness of other similar models of analysis is not really so but rather that previous essential information was missing This second large área covers the second to the fifth column. We understand that the purpose and function of these three modes of discourse are inherently different, and this difference must be reflected in the kinds, and number, of structures employed for each In this sense we have hardly appreciated a real need to talk about wider categories in the analysis of stage directions, which are, with some exceptions, functional and punctual, and do not require a proper organisation in large and small structures. In the case of both dialogue and monologue a proper structuring for the organisation of information must be an initial need that conditions the form and disposition of the message
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