
Point of View in Plays
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Content
- Point of View in Plays
- Editorial page
- Title page
- LCC data
- Table of contents
- Acknowledgements
- Preface
- Point of view and plays
- 1.1. Introduction
- 1.2. Aims of the book
- 1.3. Prototypical and non-prototypical dramatic texts
- 1.4. The prototypical discourse structure of drama
- 1.5. Alan Bennett's The Lady in the Van
- 1.6. The discourse structure of The Lady in the Van
- 1.7. Text and performance
- 1.8. Stage plays, screenplays, readers and audiences
- 1.9. Outline of the book
- Narratives, narration and point of view in prose
- 2.1. Introduction
- 2.2. Defining 'narratives' and 'narration'
- 2.2.1. Formalist distinctions in narrative structure
- 2.3. Narrative connections
- 2.4. Types of narrators
- 2.4.1. Internal and external narration
- 2.4.2. Fowler's taxonomy of narration
- 2.4.3. Simpson's development of Fowler's work
- 2.5. Point of view in prose narration
- 2.5.1. Focalization
- 2.5.2. Point of view on the Uspenskian planes
- 2.5.3. Fowler's development of Uspensky's taxonomy
- 2.5.4. Chatman's work on point of view
- 2.5.5. Short's checklist of linguistic indicators of viewpoint
- 2.5.6. Additional linguistic indicators of viewpoint
- 2.5.7. Summary
- 2.6. Conclusion
- Perspectives on point of view in drama
- 3.1. Introduction
- 3.2. Mimesis and diegesis
- 3.3. Existing work on point of view in stage drama
- 3.3.1. Narration, dreams and the inner life
- 3.3.2. Richardson's categories of narration
- 3.3.3. Applying Chatman's taxonomy to dramatic texts
- 3.3.4. Stage and screen directions in drama
- 3.4. Point of view in film
- 3.4.1. Narration in light
- 3.4.2. Objective and subjective shots
- 3.5. Conclusion
- Deictic shifts in dramatic texts
- 4.1. Introduction
- 4.2. Deictic shift theory - a brief overview
- 4.3. The concept of the deictic centre
- 4.4. Traditional categories of deixis
- 4.4.1. Place deixis
- 4.4.2. Temporal deixis
- 4.4.3. Person deixis
- 4.4.4. Social deixis
- 4.4.5. Empathetic deixis
- 4.5. Deictic shift theory and reader involvement
- 4.5.1. Deictic fields, PUSHes and POPs
- 4.5.2. Edgework
- 4.5.3. Deictic fields revisited
- 4.5.4. Deictic decay
- 4.5.5. Problems with PUSHes and POPs
- 4.6. Modifying deictic shift theory
- 4.6.1. Contextual frame theory
- 4.6.2. Binding and priming in deictic shift theory
- 4.7. Deictic fields and point of view in Our Town
- 4.8. Conclusion
- Possible worlds, possible viewpoints
- 5.1. Introduction
- 5.2. The development of possible worlds theory
- 5.2.1. Limitations of truth conditional semantics
- 5.3. Ryan's typology of possible worlds
- 5.3.1. Alternative possible worlds
- 5.3.2. Fantasy universes
- 5.3.3. The principle of minimal departure
- 5.4. Mapping deictic shifts and possible worlds
- 5.4.1. Recentering
- 5.4.2. Increasing and decreasing the prominence of possible worlds
- 5.5. Conclusion
- Logic, reality and mind style
- 6.1. Introduction
- 6.2. Defining mind style
- 6.2.1. World view, ideological point of view and mind style
- 6.3. Logic and mind style
- 6.3.1. Deductive and inductive logic
- 6.3.2. Logic, mind style and Miss Shepherd
- 6.4. Mind style and paradigms of reality
- 6.4.1. Miss Shepherd's reality paradigm and its effect on her mind style
- 6.5. Conclusion
- Point of view in The Lady in the Van
- 7.1. Introduction
- 7.2. Alan Bennett 1 meets Miss Shepherd (Act One, turns 1 to 109)
- 7.3. Miss Shepherd's confession (Act Two, turns 651 to 673)
- 7.4. The mysteries surrounding Miss Shepherd (Act Two, turns 732 to 798)
- 7.5. The truth about Miss Shepherd (Act Two, turns 900 to 976)
- 7.6. Conclusion
- Conclusion
- 8.1. Summary
- 8.2. Concluding remarks
- References
- Index
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