Author
Peter van Stapele
Bio: Peter van Stapele is an academic researcher. The author has contributed to research in topics: Deixis & Discourse analysis. The author has an hindex of 1, co-authored 1 publications receiving 3 citations.
Topics: Deixis, Discourse analysis
Papers
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01 Jan 1990
3 citations
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01 Jan 1999
TL;DR: A pragmatic methodology derived from the integration of the theories and analytical systems of information flow in the tradition of the functionalist approach to speech and writing with the relevant theoretical and empirical findings from TS and other related branches of linguistics is provided.
Abstract: This thesis proposes a new approach to film dialogue translation (PDT) with special reference to the translation process and product quality of English-toChinese dubbing. In response to the persistent translation failures that led to widespread criticism of dubbed films and TV plays in China for their artificial 'translation talk', this study provides a pragmatic methodology derived from the integration of the theories and analytical systems of information flow in the tradition of the functionalist approach to speech and writing with the relevant theoretical and empirical findings from TS and other related branches of linguistics. It has developed and validated a translation model (FITNIA TS) which makes the intonation unit (IU) the central unit of film dialogue
19 citations
01 Mar 2018
TL;DR: Sciarrino, C; Abbate Badin, D; Bancheri, D, Martini, S; O'Connor, A; D'Erme, E; Luppi, F; Cotta Ramusino, E, Randaccio, M; Ni Chuilleanain, N; Clifton, H;
Abstract: Sciarrino, C; Abbate Badin, D; Bancheri, D; Martini, S; O'Connor, A; D'Erme, E; Luppi, F; Cotta Ramusino, E; Randaccio, M; Ni Chuilleanain, E; Clifton, H;
14 citations
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01 Jan 2004
TL;DR: In this paper, the authors analyse the common characteristic of the "Theatre of the Absurd", which can be seen in the presentation of concrete 'poetic images' of the search for orientation, from a linguistic point of view by showing that the playwrights radically undermine the determinability of their characters' origo, defined by K. Buhler as the centre of "subjective linguistic orientation", and that therefore deictics lose their role of establishing direct relations between the speaker's origo and the dramatic context and thus their crucial function of defining the latter for the
Abstract: Diese Arbeit versucht, das gemeinsame Charakteristikum des "Theaters des Absurden", das in der Prasentation konkreter 'poetischer Bilder' der Suche nach Orientierung gesehen werden kann, linguistisch zu analysieren, indem sie zeigt, dass die Autoren die Determinierbarkeit der Figuren-Origo, welche K. Buhler als Zentrum der "subjektiven sprachlichen Orientierung" definiert, radikal unterminieren, und dass dadurch die Deiktika ihre Rolle der Etablierung direkter Relationen zwischen Origo des Sprechers und dramatischem Kontext sowie gleichzeitig ihre zentrale Funktion der Definition des Letzteren fur den Zuschauer verlieren. Stattdessen sind sie von einer 'Umkehr' ihrer Rolle gekennzeichnet, indem sie zeigen, dass jede Relation zwischen Figuren und Kontext abbricht, da die Ausdrucke, die aufgrund ihrer durch Kontextelemente zu 'fullenden' semantischen 'Leerstelle' strukturell kontextabhangig sind, lediglich darauf verweisen konnen, dass Letztere zwangslaufig offen bleibt. Somit wird die Deixis zum zentralen Mittel der Konkretisierung der figurenseitigen Orientierungslosigkeit sowie der Konfrontation des Zuschauers mit dieser, indem sie ihn auserstande setzt, die dramatische Welt mental zu 'konstruieren'; d.h. das von Sperber und Wilsons 'Relevanzprinzip' abgeleitete 'Konstruktionsprinzip', nach dem jede deiktische Auserung als 'Konstruktionsanleitung' des dramatischen Kontexts interpretierbar ist, greift nicht. Die Korpusanalyse verfolgt zunachst die diachrone Evolution einer kontratypischen Verwendungsweise der Deixis im Theater der Avantgarde und des Existenzialismus (G. Apollinaire, R. Vitrac, J.-P. Sartre) und untersucht sodann die Modi der kontratypischen Verwendungsweise der Deixis in Stucken von S. Beckett, E. Ionesco, J. Genet und A. Adamov. In jedem Abschnitt werden deiktisch signifikante Passagen analysiert und mit E. Rostands "Cyrano de Bergerac" kontrastiert, um die Abweichung von der dramatischen Norm hervorzuheben.
This work aims at analyzing the common characteristic of the "Theatre of the Absurd", which can be seen in the presentation of concrete 'poetic images' of the search for orientation, from a linguistic point of view by showing that the playwrights radically undermine the determinability of their characters' origo, defined by K. Buhler as the centre of "subjective linguistic orientation", and that therefore deictics lose their role of establishing direct relations between the speaker's origo and the dramatic context and thus their crucial function of defining the latter for the spectator. Instead they undergo a 'reversal' of their role demonstrating that any relation between characters and context is broken off because the expressions, which, due to their semantic 'open slot' to be 'filled' with contextual elements, are structurally context-dependent, can only point to the fact that the 'slot' necessarily remains open. Hence Deixis becomes the fundamental means of making concrete the disorientation of the characters and of directly confronting the spectator with it by making him unable to mentally 'construct' the dramatic world; i.e. the 'Construction Principle', derived from Sperber and Wilson's 'Principle of Relevance', according to which each deictic utterance can be interpreted as an 'instruction for construction' of the dramatic context, doesn't apply. The corpus analysis first traces the diachronic evolution of a contratypical use of deixis in Avantgardist and Existentialist drama (G. Apollinaire, R. Vitrac, J.-P. Sartre) and then examines the modes of contratypical use of deixis in plays by S. Beckett, E. Ionesco, J. Genet and A. Adamov. In each section deictically significant passages are analyzed and contrasted with E. Rostand's "Cyrano de Bergerac" to underline the deviation from the dramatic norm.
1 citations