Cover

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Title Page, Copyright

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Contents

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Preface

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pp. vii-viii

This study is a direct response to novelist and critic David Lodge’s complaint that dialogue novelists “have been somewhat undervalued by academic criticism because their foregrounding of dialogue made them . . .

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Acknowledgments

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pp. ix-ix

This book has been a long time in the writing, and I would like to thank my family, friends, and colleagues for waiting patiently for its completion. My friends at the Poetics and Linguistics Association in particular . . .

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Introduction

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pp. 1-11

While considerable critical attention has been paid to the representation of speech and thought in narrative, the emphasis of late has swung much more in favor of thought than speech. The thorny issue of how to define . . .

Part I. Theory

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pp. 13-13

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1. Debates about Realism

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pp. 15-35

This chapter will explore one of the more contentious issues raised by fictional dialogue: the extent to which the efficacy of novelistic representations can or should be measured against naturally occurring speech. As . . .

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2. The “Idea of Dialogue”

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pp. 36-53

The previous chapter argued that the study of fictional dialogue has been overly preoccupied with charting the varieties of speech presentation available to novelists and with debating the “realism” of particular . . .

Part II. Narrative Cornerstones

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3. Speech, Character, and Intention

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pp. 57-73

The speech of fictional characters is often perceived as offering the reader direct, unmediated access to that individual’s emotions, desires, habits, and predilections. If a novel does not offer us direct access to a . . .

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4. Dialogue in Action

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pp. 74-94

As we saw in the previous chapter, dialogue can play a crucial role in immersing us in the social worlds of the characters in a novel. Dialogue also plays a vital role in advancing the plot, both in terms of informing us . . .

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5. Framing

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pp. 95-110

In naturally occurring speech, participants may use prosodic and paralinguistic features such as changes in pitch, intonation, rhythm, and gestures to indicate where they are moving from one level of discourse to . . .

Part III. Genre and Medium

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6. Dialogue and Genre

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pp. 113-128

As we have seen, an important contribution to the study of fictional dialogue has been offered by approaches that explicitly evaluate representations of speech with reference to linguistic models of conversation . . .

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7. The Alibi of Interaction: Dialogue andNew Technologies

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pp. 129-151

Writing in 1930, Evelyn Waugh remarked upon the “infinitely expanding means of communication” available to his contemporaries, but he expressed concern that this might also entail “an infinitely receding . . .

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8. Stuck in a Loop? Dialogue inHypertext Fiction

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pp. 152-169

Hypertext fiction has provoked much debate since the appearance of the first examples in the late 1980s. Much of this debate has been focused on questions regarding the status of these fictions and their implications for . . .

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Conclusion

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pp. 170-174

One of my prime motivations for writing this book was to provoke a discussion of fictional dialogue that goes beyond describing the extent to which it is or is not realistic or that simply views the dialogue as a . . .

Appendix

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pp. 175-181

Notes

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pp. 183-186

Bibliography

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pp. 187-199

Index

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pp. 212-212

Series Info

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pp. 213-213