{"ModuleCode":"TS4213","ModuleTitle":"Stylistics of Drama","Department":"English Language & Literature","ModuleDescription":"This module introduces students to ways in which dramatic discourse may be analysed so that an evidenced interpretation of a dramatic passage may be provided. Students will be introduced to a number of frameworks, especially those used to deal with discourse such as speech-act theory, the co-operative principle, face and politeness, and critical discourse approaches. This module is suitable for honours students in Theatre Studies as well as other interested students.","ModuleCredit":"5","Workload":"0-3-0-3-6.5","Prerequisite":"Cohort 2011 and before: Completed 80 MCs including 28 MCs in TS or 28 MCs in EL, with a minimum CAP of 3.50 or be on the Honours track. Cohort 2012 onwards: Completed 80 MCs including 28 MCs in TS or 28 MCs in EL, with a minimum CAP of 3.20 or be on the Honours track.","ExamDate":"2015-04-29T17:00+0800","ExamDuration":"P2H","ExamVenue":"MPSH2-A","Types":["Module"],"Lecturers":["Peter K W Tan"],"IVLE":[{"Announcements":null,"Forums":[],"Workbins":[],"Webcasts":[],"Gradebooks":[],"Polls":[],"Multimedia":[],"LessonPlan":[],"ID":"10eeeb19-7c97-4a44-9c75-3823bb42115a","CourseLevel":"1","CourseCode":"TS4213","CourseName":"Stylistics of drama","CourseDepartment":"","CourseSemester":"Semester 2","CourseAcadYear":"2014/2015","CourseOpenDate":"/Date(1420473600000+0800)/","CourseOpenDate_js":"2015-01-06T00:00:00","CourseCloseDate":"/Date(1431187140000+0800)/","CourseCloseDate_js":"2015-05-09T23:59:00","CourseMC":"4","isActive":"N","Permission":"S","Creator":{"UserID":null,"Name":"Peter K W Tan","Email":null,"Title":null,"UserGuid":"7f9740e7-f56e-4f1f-a61c-b3ae23dfc5fd","AccountType":null},"hasGradebookItems":false,"hasTimetableItems":true,"hasGroupsItems":false,"hasClassGroupsForSignUp":false,"hasGuestRosterItems":false,"hasClassRosterItems":true,"hasWeblinkItems":true,"hasLecturerItems":true,"hasDescriptionItems":true,"hasReadingItems":true,"hasAnnouncementItems":false,"hasProjectGroupItems":false,"hasProjectGroupsForSignUp":false,"hasConsultationItems":false,"hasConsultationSlotsForSignUp":false,"hasLessonPlanItems":false,"Badge":0,"BadgeAnnouncement":0,"WebLinks":[{"ID":"665babda-c0ea-48ac-b3d7-a0ca3f6cc917","URL":"http://courses.nus.edu.sg/course/elltankw/theatre","Description":"Stylistics of Drama","Order":0,"Rating":0,"SiteType":"Teaching Website"}],"Lecturers":[{"ID":"11706852-9b12-4919-9beb-94ca3f6cc921","User":{"UserID":null,"Name":"Peter K W Tan","Email":null,"Title":null,"UserGuid":"7f9740e7-f56e-4f1f-a61c-b3ae23dfc5fd","AccountType":null},"Role":"Lecturer ","Order":1,"ConsultHrs":"By appointment"}],"Descriptions":[{"ID":"1e5f053b-8835-4692-be49-41f07234cfff","Title":"Learning Outcomes","Description":"This module is concerned with the application of grammatical, discourse and pragmatic models from linguistics and sociolinguistics to the study of dramatic texts. It will examine how these models and frameworks will help students provide a systematic account of the style of dramatic texts and also come to an interpretation of them. Topics covered might include: discourse structure, conversational structure, co-operation, power and politeness. No prior knowledge of linguistics will be assumed for this module.","Order":1},{"ID":"2e5f053b-8835-4692-be49-41f07234cfff","Title":"Prerequisites","Description":" Theatre Studies students must have completed at least 28 modular credits (7 modules) in Theatre Studies, including TS1101E. This module is available to single- and double-major as well as minor students. English Language students must be single-major students who have completed at least 28 modular credits (7 modules) in English Language. The module will not make assumptions about background knowledge.
The module will be conducted seminar style. This means that the sessions might contain:
\r\n\n\t\t\t\tWeek No. | \n\t\t\t\n\t\t\t\tTopics | \n\t\t\t\n\t\t\t\tDate | \n\t\t
\n\t\t\t\t 1. | \n\t\t\t\n\t\t\t\tIntroduction – what is stylistics? | \n\t\t\t\n\t\t\t\t18-i-2013 | \n\t\t
\n\t\t\t\t2. | \n\t\t\t\n\t\t\t\tTheatre v. drama; language, paralanguage, action and mise-en-scène; the discourse situation in drama | \n\t\t\t\n\t\t\t\t25-i-2013 | \n\t\t
\n\t\t\t\t3. | \n\t\t\t\n\t\t\t\tSpeech-act theory and its use in drama criticism, part 1 | \n\t\t\t\n\t\t\t\t1-i-2013 | \n\t\t
\n\t\t\t\t4. | \n\t\t\t\n\t\t\t\tSpeech-act theory and its use in drama criticism, part 2 | \n\t\t\t\n\t\t\t\t8-ii-2013 | \n\t\t
\n\t\t\t\t5. | \n\t\t\t\n\t\t\t\tCo-operation between interlocutors, part 1 | \n\t\t\t\n\t\t\t\t15-ii-2013 | \n\t\t
\n\t\t\t\t6. | \n\t\t\t\n\t\t\t\tCo-operation between interlocutors, part 2 | \n\t\t\t\n\t\t\t\t22-ii-2013 | \n\t\t
\n\t\t\t\t | \n\t\t\t\n\t\t\t\t(Mid-term break: 23 February to 3 March 13) | \n\t\t\t\n\t\t\t\t | \n\t\t
\n\t\t\t\t7. | \n\t\t\t\n\t\t\t\t(Test 1) Politeness and face, part 1 | \n\t\t\t\n\t\t\t\t8-iii-2013 | \n\t\t
\n\t\t\t\t8. | \n\t\t\t\n\t\t\t\tPoliteness and face, part 2 | \n\t\t\t\n\t\t\t\t15-iii-2013 | \n\t\t
\n\t\t\t\t9. | \n\t\t\t\n\t\t\t\tThe structure of talk, part 1 | \n\t\t\t\n\t\t\t\t22-iii-2013 | \n\t\t
\n\t\t\t\t10. | \n\t\t\t\n\t\t\t\tThe structure of talk, part 2; text worlds | \n\t\t\t\n\t\t\t\t29-iii-2013 (No seminar: Good Friday) | \n\t\t
\n\t\t\t\t11. | \n\t\t\t\n\t\t\t\t(Test 2) Foregrounding and deautomatisation | \n\t\t\t\n\t\t\t\t5-iii-2013 | \n\t\t
\n\t\t\t\t12. | \n\t\t\t\n\t\t\t\tReader-response and critical approaches | \n\t\t\t\n\t\t\t\t12-iv-2013 | \n\t\t
\n\t\t\t\t13. | \n\t\t\t\n\t\t\t\tSingaporean English and drama; the examination format \n\t\t\t\t(Essay due) | \n\t\t\t\n\t\t\t\t19-iv-2013 | \n\t\t
\n\t\t\t\t14. | \n\t\t\t\n\t\t\t\tREVISION WEEK | \n\t\t\t\n\t\t\t\t | \n\t\t
\n\t\t\t\t15. | \n\t\t\t\n\t\t\t\t(EXAM Week 1) TS 4213 EXAM (venue: to be announced) | \n\t\t\t\n\t\t\t\t8-v-2013 (1.00–3.00 pm) | \n\t\t
\n\t\t\t\t16. | \n\t\t\t\n\t\t\t\t(EXAM Week 2) | \n\t\t\t\n\t\t\t\t | \n\t\t
\n\t
\n\t
CA: 60 marks (Test 1: 15 marks; Test 2: 15 marks; essay: 20 marks; presentation and participation: 10 marks).
\r\nFinal Exam: 40 marks
","Order":8}],"ReadingFormatted":[],"ReadingUnformatted":[{"ID":"00000000-0000-0000-0000-000000000000","AdditionalInfo":"\r\n\tPrescribed
\r\n\tYou can consult Katie Wales, A Dictionary of Stylistics (London: Longman, 1989) for an encyclopaedic entries for some of the key terms used in the module. You can also consult M A K Halliday and Christian Matthiessen, An Introduction to Functional Grammar, 3rd edn. (
\r\n\t
\r\n\tIn the following, I give fuller citations the first time; these will be abbreviated in subsequent mentions.
\r\n\t
\r\n\tSession 1
\r\n\tRonald Carter and Paul Simpson (eds), Language, Discourse and Literature (London: Routledge, 1989), ‘Introduction’ – this provides a good summary of the history of the development of stylistics.
\r\n\tGeoffrey N. Leech, A Linguistic Guide to English Poetry (London: Longman, 1969), ‘Introduction’ – this is a ‘classic’ and useful for a discussion of the ‘lang.-lit.’ problem.
\r\n\t—— and Michael N. Short, Style in Fiction (London: Longman, 1981), Chapter 1 (pp. 10–41) – this provides a useful definitional handle of style as ‘choice’; although it discusses prose, the points are generalisable to dramatic texts.
\r\n\tMick Short (ed.),
\r\n\tPaul Simpson, Language, Ideology and Point of View (London: Routledge, 1993), Chapter 1 – although the focus is on ‘point of view’, there is a quick and clear introduction to stylistics and critical linguistics
\r\n\tPeter Tan, A Stylistics of Drama (Singapore: SUP, 1993), pp. 1–13.
\r\n\t
\r\n\tSession 2
\r\n\tKeir
\r\n\tMick Short, ‘Discourse Analysis and the Analysis of Drama’, in Carter and Simpson, Language, Discourse and Literature, pp. 138–68 – you may ignore the discussion on speech acts and the co-operative principle for the moment.
\r\n\t––, ‘From dramatic text to dramatic performance’, in Jonathan Culpeper, et al., Exploring the Language of Drama (London: Routledge, 1998), Ch. 2
\r\n\tPeter Tan, A Stylistics of Drama, Chapter 2 – again, be prepared to skim through the chapter.
\r\n\tWillie van Peer, ‘How to do things with texts: Towards a pragmatic foundation for the teaching of texts’, in Mick Short (ed.), Reading, Analysing and Teaching Literature, Chapter 11 – see especially pp. 272–80.
\r\n\t
\r\n\tSessions 3 and 4
\r\n\tKeir Elam, The Semiotics of Theatre and Drama, pp. 156–170
\r\n\tVimala Herman, Dramatic Discourse (London: Routledge, 1995), Ch. 4 – a long chapter, parts are relevant
\r\n\tValerie Lowe, ‘ “Unhappy” confessions in The Crucible’, in Culpeper et al., Exploring the Language of Drama, Ch. 10
\r\n\tWalter Nash, ‘Changing the Guard at Elsinore’, in Carter and Simpson, Language, Discourse and Literature, pp. 23–41 – focus on how he labels the speech acts being performed at each turn.
\r\n\tStephen Levinson, Pragmatics (Cambridge: Cambridge Univ. Press, 1983), Chapter 5 – don’t be daunted by this chapter, which is theoretical in nature; skim through it and get as much as you can.
\r\n\tJenny Thomas, Meaning in Interaction (London: Longman, 1995), Chapter 2
\r\n\t
\r\n\tSessions 5 and 6
\r\n\tMarilyn M Cooper, ‘Implicature, convention and The Taming of the Shrew’, in Culpeper et al., Exploring the Language of Drama, Ch. 5
\r\n\tKeir Elam, The Semiotics of Theatre and Drama, pp. 170–78 – a quick treatment.
\r\n\tStephen Levinson, Pragmatics, Chapter 3 – another long and detailed chapter (70 pages!); skim through it, and ignore the bits that get very technical.
\r\n\tVimala Herman, Dramatic Discourse – Ch. 4, here and there.
\r\n\tPeter Tan, A Stylistics of Drama, pp. 56–61.
\r\n\tJenny Thomas, Meaning in Interaction (London: Longman, 1995), Chapter 3
\r\n\t
\r\n\tSessions 7
\r\n\tJonathan Culpeper, ‘(Im)politeness in dramatic dialogue’, in Culpeper et al., Exploring the Language of Drama, Ch. 7
\r\n\tGeoffrey N. Leech, Principles of Pragmatics (London: Longman, 1983), Chapters 5, 6.
\r\n\tPeter Tan, A Stylistics of Drama, pp. 61–78.
\r\n\tJenny Thomas, Meaning in Interaction (London: Longman, 1995), Chapter 6.
\r\n\t
\r\n\tSessions 8
\r\n\tPenelope Brown and Stephen Levinson, Politeness: Some Universals in Language Usage (Cambridge: Cambridge Univ. Press, 1987), Chapter 3.
\r\n\tPaul Simpson, ‘Politeness Phenomena in Ionesco’s The Lesson’, in Carter and Simpson, Language, Discourse and Literature, Chapter 9 (pp. 170–93).
\r\n\t
\r\n\tSessions 9 and 10
\r\n\tAnna-Brita Stenström, An Introduction to Spoken Interaction (London: Longman, 1994), Chapter 2 – concentrate on exchanges and moves.
\r\n\tDeirdre Burton, Dialogue and Discourse: A sociolinguistic approach to modern drama dialogue and naturally occurring conversation (London: Routledge, 1980), Chapter 7 – a lot of rather tedious detail; for our purposes, concentrate only on her discussion of the exchange structure, particularly on supporting and challenging moves; ignore the level of act.
\r\n\tWalter Nash, ‘Changing the Guard at
\r\n\tMichael Toolan, ‘Analysing Conversation in Fiction: an Example from Joyce’s Portrait’, in Carter and Simpson, Language, Discourse and Literature, Chapter 10 (pp. 194–211) – although Toolan deals with fiction, his approach treats the passage like a dramatic passage, and therefore relevant to our purposes
\r\n\t
\r\n\tSession 11
\r\n\tGeoffrey Leech, A Linguistic Guide to English Poetry, Chapter 4.
\r\n\tRaman Selden and Peter Widdowson, A Reader’s Guide to Contemporary Literary Theory, 3rd edn. (Brighton: Harvester, 1993), Chapter 2.
\r\n\t
\r\n\tSession 12
\r\n\tDavid Birch, The Language of Drama (London: Macmillan, 1991), Chapter 1
\r\n\tRaman Selden and Peter Widdowson, A Reader’s Guide, Chapter 3 – skim through to get a ‘feel’ of the concerns in literary theory.