The Use of Reference in Pinter’s the Room
| المصدر: | زانكو - الإنسانيات |
|---|---|
| الناشر: | جامعة صلاح الدين |
| المؤلف الرئيسي: | Majeed, Suhayla Hameed (Author) |
| مؤلفين آخرين: | Dabbagh, Lanja A. (Co-Author) |
| المجلد/العدد: | مج20, ع6 |
| محكمة: | نعم |
| الدولة: |
العراق |
| التاريخ الميلادي: |
2016
|
| الصفحات: | 395 - 401 |
| ISSN: |
2218-0222 |
| رقم MD: | 789555 |
| نوع المحتوى: | بحوث ومقالات |
| اللغة: | الإنجليزية |
| قواعد المعلومات: | HumanIndex |
| مواضيع: | |
| رابط المحتوى: |
الناشر لهذه المادة لم يسمح بإتاحتها. |
| LEADER | 02375nam a22002177a 4500 | ||
|---|---|---|---|
| 001 | 0165154 | ||
| 041 | |a eng | ||
| 044 | |b العراق | ||
| 100 | |a Majeed, Suhayla Hameed |e Author |9 419535 | ||
| 245 | |a The Use of Reference in Pinter’s the Room | ||
| 260 | |b جامعة صلاح الدين |c 2016 | ||
| 300 | |a 395 - 401 | ||
| 336 | |a بحوث ومقالات |b Article | ||
| 520 | |b The story of any play is taken forward by means of the dialogue. The story is narrated to the audiences through the dialogue written by the playwright. The success of a drama depends hugely on the contents of the dialogue and the quality of dialogue delivery by the actors of the play. Dramatic dialogue is a conversation between two or more people in a vibrant way, involving conflict, in change, and movement. Dramatic dialogue is where there is lots happening - but it's realistic, and the characters are reacting passionately but realistically. Harold Pinter the absurd playwright wrote “The Room” in 1957 to be seen played on stage. The written dialogues in the play were transferred to spoken language on stage. The analysis in the present paper is done to the spoken language (conversations and dialogues) of the characters. The paper analyzes the use of reference in The Room by Harold Pinter. The procedure is done through investigating selected passages (conversations and dialogues) from the play and how the actual use of reference is exemplified in them. The aim of the paper is to show that reference in The Room is of two kinds: some are clear but most often they are not identified in the play because they refer to something which is unclear. Reference identification is not clear in the selected play, since the characters speak about some referring items which refer to the psychological condition or even to something in the immediate context. | ||
| 653 | |a المسرحيات |a الحوار المسرحي |a مسرحية الغرفة |a بنتر، هارولد | ||
| 773 | |4 العلوم الإنسانية ، متعددة التخصصات |6 Humanities, Multidisciplinary |c 027 |e ZANCO Journal of Humanity Sciences |f Zānkū li-l-ʿulūm al-insāniyyaẗ |l 006 |m مج20, ع6 |o 0396 |s زانكو - الإنسانيات |v 020 |x 2218-0222 | ||
| 700 | |a Dabbagh, Lanja A. |e Co-Author |9 346871 | ||
| 856 | |u 0396-020-006-027.pdf | ||
| 930 | |d n |p y | ||
| 995 | |a HumanIndex | ||
| 999 | |c 789555 |d 789555 | ||
عناصر مشابهة
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THE ABSENCE OF GENDER IN ALL MALE PLAYS (WITH REFERENCE TO BECKETT’S AND PINTER’S SELECTED WORKS)
بواسطة: Nati, Ikhlas Muhammed منشور: (2006) -
Harold Pinter's Monologue: Form Explains Meaning
بواسطة: Salih, Enass M. منشور: (2015) -
Revisiting Harold Pinter’s The Caretaker: A Semiotic Study Of The Dramatis Personae
بواسطة: بسباس، خالد محمد منشور: (2019) -
Politics in the Plays of Harold Pinter
بواسطة: Abd Ullah, Ikhlas Sabah منشور: (2012) -
Harold Pinter’s Celebration : Alterity and Public Level
بواسطة: Al Maaroof, Ansam Riyadh Abd Allah منشور: (2015)
