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This book showcases new and innovative developments and approaches
in pragmatics, spotlighting perspectives from an international
range of emerging scholars undertaking cutting-edge research
pushing the field in new directions. The volume begins by taking
stock of the most up-to-date developments in pragmatics research,
as embodied by the work of a newer generation of pragmaticists.
Chapters are organized around key areas of development within
pragmatics, including intercultural and cross-cultural pragmatics,
cognitive pragmatics, and new perspectives on referencing,
implicating, and inferring, shedding further light on the ways in
which pragmatics increasingly interfaces with other linguistic
disciplines and on innovative methodologies. The book also places
the focus on pragmatics approaches in languages other than than
English, further expanding the borders of research. This book will
be of particular interest to scholars in pragmatics interested in
staying on top of the latest developments and future directions for
the field.
Over the last two decades, the study of discourse in film and
television has become one of the most promising research avenues in
stylistics and pragmatics due to the dazzling variety of source
material and the huge pragmatic range within it. Meanwhile, with
the advent of streaming and the box set, film and television
themselves are becoming separated by an increasingly blurred line.
This volume closes a long-standing gap in stylistics research,
bringing together a book-level pragmastylistic showcase. It
presents current developments from the field from two complementary
perspectives, looking stylistically at the discourse in film and
the discourse of and around film. This latter phrase comes to mean
the approaches which try to account for the pragmatic effects
induced by cinematography. This might be the camera work or the
lighting, or the mise en scene or montage. The volume takes a
multimodal approach, looking at word, movement and gesture, in
keeping with modern stylistics. The volume shows how pragmatic
themes and methods are adapted and applied to films, including
speech acts, (im)politeness, implicature and context. In this way,
it provides systematic insights into how meanings are displayed,
enhanced, suppressed and negotiated in both film and televisual
arts.
This book showcases new and innovative developments and approaches
in pragmatics, spotlighting perspectives from an international
range of emerging scholars undertaking cutting-edge research
pushing the field in new directions. The volume begins by taking
stock of the most up-to-date developments in pragmatics research,
as embodied by the work of a newer generation of pragmaticists.
Chapters are organized around key areas of development within
pragmatics, including intercultural and cross-cultural pragmatics,
cognitive pragmatics, and new perspectives on referencing,
implicating, and inferring, shedding further light on the ways in
which pragmatics increasingly interfaces with other linguistic
disciplines and on innovative methodologies. The book also places
the focus on pragmatics approaches in languages other than than
English, further expanding the borders of research. This book will
be of particular interest to scholars in pragmatics interested in
staying on top of the latest developments and future directions for
the field.
In examining the phenomenon of quoting from multiple angles, The
Pragmatics of Quoting Now and Then offers a fresh view on the
forms, functions and usage of quoting as a meta-communicative act
in various forms of old (printed) and new (electronically mediated)
communication, setting it apart from (seemingly) related acts like
repeating or referring. Recent interest in the formal (copy-paste
quoting) and ethical (quoting as plagiarizing) aspects of quoting
has been gaining considerable momentum in linguistics (and other
disciplines), predominantly fuelled by enormous technological
progress and the impact on both the procedure of quoting itself and
its appraisal in public discourse. Embracing a broad,
interdisciplinary perspective, the authors pay special tribute to
the inherent complementarity of both synchronic and diachronic
perspectives. With contributions pinpointing the formal and
functional evolution of quoting and tracing trends in linguistic
variation, this volume brings together interpersonal pragmatics,
sociolinguistics, historical, cognitive and text linguistics as
well as cultural studies. In this way, the present title provides a
more comprehensive and integral understanding of the nature of
quoting.
Over the last two decades, the study of discourse in film and
television has become one of the most promising research avenues in
stylistics and pragmatics due to the dazzling variety of source
material and the huge pragmatic range within it. Meanwhile, with
the advent of streaming and the box set, film and television
themselves are becoming separated by an increasingly blurred line.
This volume closes a long-standing gap in stylistics research,
bringing together a book-level pragmastylistic showcase. It
presents current developments from the field from two complementary
perspectives, looking stylistically at the discourse in film and
the discourse of and around film. This latter phrase comes to mean
the approaches which try to account for the pragmatic effects
induced by cinematography. This might be the camera work or the
lighting, or the mise en scene or montage. The volume takes a
multimodal approach, looking at word, movement and gesture, in
keeping with modern stylistics. The volume shows how pragmatic
themes and methods are adapted and applied to films, including
speech acts, (im)politeness, implicature and context. In this way,
it provides systematic insights into how meanings are displayed,
enhanced, suppressed and negotiated in both film and televisual
arts.
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