Contents 1
Acknowledgement 1
Chapter 1 Introduction 1
1.1 Language and Literature:A Special Relation 2
1.1.1 The Opposition 3
1.1.2 The Rapprochement 5
1.1.3 The Language of Literature and Literary Language 7
1.1.4 Literature as Text and as Discourse 12
1.2 Why Pragmastylistics？ 15
1.2.1 The Concerns of Pragmatics 18
1.2.2 The Tasks of Stylistics 20
1.2.3 The Trouble with Stylistics 22
1.2.4 Pragmastylistics as an Interdisciplinary Approach 32
1.3 Why Drama？ 41
1.3.1 Drama as Art 44
1.3.2 Drama as Theatrical Art 45
1.3.3 Drama as Literary Art 48
1.3.4 Drama as Verbal Art 50
1.4 Why Absurd Drama,or The-Theatre-of-the-Absurd Plays？ 52
Chapter 2 The Interpersonal Rhetoric 58
2.1 Pragmatics:Rhetorical and Interpersonal 58
2.1.1 Rhetoric and the Rhetorics 60
2.1.2 Interpersonality 61
2.2 The Cooperative Principle 64
2.3 The Politeness Principle 76
2.4 Cooperativeness and Politeness 80
2.5 Issues Concerning Interactional Models 83
2.5.1 Relevance and the Cooperative Principle 84
2.5.2 Principles and Maxims 86
2.5.3 Prescriptivity and Descriptivity 88
2.5.4 Universality 90
2.6 Interpersonal Rhetoric in and of Literature 92
Chapter 3 The Pragmastylistics of Drama 101
3.1 The Study of Drama 101
3.1.1 The Play Text:Dramatic or Theatrical？ 102
3.1.2 The Object ofStudy:Text or Performance？ 104
3.2 The Language of Plays 106
3.2.1 Stage Directions as Part of Drama 107
3.2.2 Dialogue as Communication 110
3.2.3 Fictional Dialogue and Natural Conversation 111
3.3 Communication in and of the Play 114
3.4 Characteristics of Communication in the-Theatre-of-the-Absurd Plays 122
3.5 Existing Models of Analysis 129
3.6 Approaches Taken in the Present Study 136
Chapter 4 Interpersonal Relationships in The Lesson 138
4.1 The Writer-Reader Relationship 142
4.2 Character-Character Relationship 149
4.2.1 The Professor Pupil Relationship 151
4 2.2 The Professor-Maid Relationship 158
4.2.3 The Maid-Pupil Relationship 166
4.2.4 Violence and Sexuality 167
4.3 Language and Patterns of Communication 173
Chapter 5 Violation and Observance of Maxims in The Bald Soprano 180
5.1 Violations on the Macro-Level of Communication 184
5.2 Violations on the Micro Level of Communication 196
5.2.1 Nonverbal Feedback 198
5.2.2 Illogical Discourse Control 200
5.2.3 Silence and Delayed Response 204
5.2.4 Phatic Communion and Relevance 206
5.2.5 Nonsense and Communicative Incompetence 208
5.3 Summary 211
Chapter 6 The“Gap”in TheGap 215
6.1 The Set:The Playwright Tells and Shows 218
6.2 Episode One:The Wife and the Friend 219
6.3 Episode Two:The Academician Fails 223
6.4 Episode Three:The Academician and the Outside World 233
6.5 Summary 234
Conclusion 238
Bibliography 245
Index 260
后记 266