From Page To Stage: A Pragmastylistic Perspective On Stage Directions Of Drama

Two problems exist within the field of stylistics of drama (see Chapter 2). The first problem lies in its methodology: the existing analytical models tend to blur the difference between pragmatics and discourse analysis by regarding both as tool kits. The second problem lies in the object of study: most stylisticians either neglect or exclude stage directions from their studies as if stage directions are not worth studying or simply not there.To solve the two problems, I have made three attempts in this dissertation. Firstly, I have tried to show theoretically and illustrate with examples that pragmatics should be considered as a perspective on the dramatic text, while linguistics (the context-independent theories, or linguistics proper) should preferably be treated as a tool kit (see Chapter 3). Secondly, I have proved, through theoretical discussions and by experiments, that stage directions are an indispensable component of drama (especially modern drama) and an important object of stylistic analysis (see Chapter 4). Finally, I have formulated an integrated theory of pragmastylistics of drama and suggested a procedure for analysis of stage directions (see Chapter 5). The theory of pragmastylistics of drama views pragmatics as a perspective on the dramatic text, employs linguistics as the source of analytical tools, examines the dramatic text (both dialogue and stage directions) as the object of study, advocates the visualization of the dramatic discourse for the full appreciation of the play text, and treats the inference drawing as the central task for the purpose of identifying the linguistic features that contribute to the aesthetic values of the dramatic text. The procedure for analysis of stage directions is centered on the stage direction unit, the smallest unit for analysis. It is composed of five steps, namely, deciding on the unit, classifying each unit, analyzing its meanings (both the literal meaning, or symbols, and the inferences), identifying its aesthetic properties, and finally conducting a statistic analysis and discussion. The demonstration analysis on three sample excerpts from Ibsen's A Doll's House confirms that characterization can be revealed through a pragmastylistic analysis of stage directions and that the theory of pragmastylistics of drama and the procedure for the analysis of stage directions presented in this dissertation are valid for description and interpretation of stylistic features of drama, particularly in its use of stage directions (see Chapter 6).