ࡱ>  Rbjbj 5jj 1lR R R R R R R f EEE8ED$Ff 2pGGGGJ L L Looooooo$q toR LL L L LoRR R GJoRRR LR GR JoR LoRRkYV`@R R EaG$G @f B<EP` Ealp02p`xtRtEaRf f R R R R What will we learn in this topic? In session A of this topic we are going to look at the knowledge we share about objects, people, situations and so on, and how this shared knowledge is used by writers, readers and theatre audiences in the creation of meaning in drama. Some shared knowledge is universal. For example, if we are told that it is raining we will expect the ground to get wet and to see people trying to avoid getting wet, wherever we are in the world. Other kinds of shared knowledge vary from one culture, era and/or part of the world to another. For example, if we are told that a British family are having their main evening meal, we will expect them to eat the savoury course with a knife and fork and the sweet course with a spoon (and possibly a fork). And we would expect them to hold the fork in their left hand. But in the USA it is common to put the knife down after cutting some food up and transfer the fork to the right hand. And in China we would expect people to eat with chopsticks. These expectations, based on shared knowledge, may not apply in every circumstance, but we would expect them to apply in most circumstances in the relevant cultural context. We share knowledge about every aspect of our lives, including the areas we have already covered on this course. Consider, for example, turn-taking, which we explored in Topic 11. We share knowledge about the typical turn-taking patterns found in different kinds of situation: for example in coffee bar conversations among friends we expect everyone to be able to take turns on an equal basis, whereas in classrooms we expect the teacher to speak first, and to have many more turns perhaps as many as all the other participants put together! We will focus on our use of shared knowledge in understanding dramatic texts, but it is important to remember that, as with all the other areas we have covered on this course, what we learn can also be applied to other text-types, literary and non-literary. In Session A we will apply what we discover to the beginning of a play by Willie Russell called Educating Rita. In Session B we will look at some extracts from what are usually called absurdist plays. We will discover that one of the important features of absurdist drama is that there are overt clashes between what happens in these plays and what we would expect to happen, according to the knowledge we all intuitively share about the relevant situations portrayed. Shared knowledge When we communicate with one another, without realising it, we depend upon the fact that we share all sorts of background knowledge with our interlocutors. So, if you want to tell someone about a wonderful meal you had in a restaurant the previous evening, you are unlikely to begin by telling them that the restaurant contained tables and chairs, that you had to order your food before eating it, and so on. In other words, you rely on the fact that your addressee shares with you quite a lot of knowledge about restaurants, and you can therefore limit yourself to the most interesting parts of your experience. Similarly, if you make a reference to my husband or my wife in the course of the conversation, you would expect your hearers to assume that you are married, that you live with that person, and so on. In the majority of the cases, we don't need to think consciously about the contribution of shared knowledge to the success of our interactions with others. Task A Filling in gaps - back to the restaurant! The fact that we share knowledge means that writers do not have to describe absolutely everything in a scene. They can depend on their readers to fill in the gaps for them, leaving them to concentrate on the aspects that are more important thematically. Imagine that you are watching a TV drama and you see a close-up of a young couple who are in love, having a meal together in a restaurant and talking intimately while eating. Next the camera cuts to a scene where the couple are walking away from a taxi, up some steps and into a block of flats. Think carefully about what must have happened in between the two camera shots and write down what you assume the couple have done. What happened in the restaurant after they finished their meal? What happened after they left the restaurant? Task B Making predictions - back to the flat! Now lets go back to our two young lovers. They are just opening the door of the young womans flat. What do you expect to see inside? What do you expect them to do, once they have got inside? Write down your predictions Task C In a hospital operating theatre Most people have not been inside a hospital operating theatre while conscious. Even if you have been in one, you will probably have been anaesthetised at the time. Yet we can still say with reasonable certainty what we would expect to see if we did go into an operating theatre an operating table, trolleys with scalpels and other surgical tools, doctors and nurses wearing theatre gowns, face masks, and so on. How do we know about such things if we have not experienced them? Task D - How is our shared knowledge organised? Clearly, our shared knowledge comes from shared experience. Although we all have personal experiences, individual to each of us, we all know that many of those experiences are similar in various ways. Most of the people you know at university will probably have attended different secondary schools from you. But nonetheless, you will all have similar expectations about what secondary schools are like, what the teachers are like, what sorts of clothes they wear, how they behave, and so on. Hence the phrase secondary school will conjure up a set of individual pictures for each of us, but those pictures will have many similarities with the pictures other people conjure up. One possibility is that we store all our bits of knowledge in our brains in an unordered list, as it were, but this seems unlikely. It is difficult to see how we could efficiently conjure up all the different elements of restaurant or school, for example, when one of these concept is raised in our minds through textual reference or an image of the outside an appropriate building in a film. So the Psychologists suggest that such knowledge is organised into what they call schemata. In other words, we store the information about what lectures are like in a lecture schema, information we have about cinemas in a cinema schema, and so on. Below you will find an image of the head of a typical student (!). Click on the head and you can see (a little bit) of his schematic organisation. [see site for picture] You can see that we have used the visual metaphor of a filing cabinet here. This is a helpful metaphor to use, as it raises the possibility of similar schemas being filed near one another (in the same drawer, as it were). If you think about your schema for a hotel service counter and an airport check-in counter, for example, you can see that they share various features. New arrivals go up to the counter with their bags in each case and an official behind the desk checks them in. So in cognitive retrieval terms, it would make sense for the two schemas to be organised in memory in a way that relates them together - this would help us to retrieve related schemata more easily. There is still an awful lot about how memory is stored in the brain that is unclear, but the idea of organised schematas certainly looks plausible, and we will use it in our account of how we understand drama in this topic. On the next page, though, we will first explore in a bit more detail the kinds of things we can have schematic knowledge of. More about shared schematic knowledge General knowledge of the world we inhabit It should be clear from the work we have done on the previous page (shared knowledge) that writers can use the knowledge that we all share. There are two main ways that writers can use schematic assumptions. Firstly, they can omit details which are unimportant to the plot or thematic meaning, relying on the reader to fill them in for them. This saves space and makes the writing less boring. They can also use schematic knowledge productively to create special effects - by writing in a way that disrupts our conventional schematic expectations. We will explore this latter aspect later in this topic, but first it will be helpful to explore in more detail what sorts of things we possess schematic knowledge about. In general terms we will discover that we have detailed schematic knowledge about an enormous number of things. Task A Schematic knowledge about objects We have schematic knowledge about just about every kind of object we encounter in the real world, as well as quite a few most of us have never experienced directly (e.g. flying saucers, submarines, handcuffs). We will use the dinner fork as a straightforward example. [ONLINE TASK] Task B Schematic knowledge about people We also have schematic knowledge about categories of people. There is no doubt about which of the people below we would assume schematically is the astronaut and which is the airplane pilot: As a more detailed example, we will explore our schematic knowledge about what university teachers are like. [ONLINE TASK] Task C Schematic knowledge about places and situations We also have schematic knowledge about places and situations. This knowledge can usefully be subdivided into (i) scene knowledge: the schematic knowledge we have about what objects, and with what properties, we would normally expect to find in a particular place and (ii) script knowledge: what we would expect to happen in that place, and in what order. We will use lectures as our example. First we will test out your schematic scene knowledge for lecture theatres and then we will explore your schematic assumptions about lecture scripts. Part a - Scene knowledge [ONLINE TASK] Part b - Script knowledge First of all, think about what events you would expect to happen in a lecture theatre, and in what order. Then look at the set of events described below. Remove the events which do not prototypically occur in lectures . Then rearrange the events you think can occur in lectures into what you think is the most likely chronological order. When you have done this you can see if you get the same answers as us, and at the same time compare more generally your assumptions about lecture scripts with ours. 1. The lecturer distributes the handouts. 2. A student distributes the handouts for the lecturer. 3. A student gives the lecturer a cup of tea and an apple. 4. An ice cream seller walks up and down the steps of the lecture theatre, selling ice creams. 5. The lecturer summarises what the lecture will be about. 6. The lecturer arrives. 7. The lecturer switches off the overhead projector. 8. The students rush in and sit eagerly as near to the lecturer as they can. 9. The lecturer tells the students what they need to do in between the lecture and before the seminar which follows it. 10. The students start to take notes. 11. The lecturer reads out a text. 12. The lecturer switches on the overhead projector to display a text. 13. The students saunter in and sit as near to the back of the lecture theatre as they can. 14. The students wait until the lecturer has finished and then put their notepads away. 15. The students leave after the lecturer has finished. 16. While the lecturer is still talking the students start putting their notepads away and some begin to leave. 17. The lecturer analyses a text using a copy of it on the overhead projector. 18. The students who were late each receive 20 lashes as punishment for their rudeness. Task D Knowledge about language and of communicative conventions We also have knowledge, some of which is schematic, about language and the conventions we use when communicating with one another. Below we explore examples of four different kinds of linguistic knowledge we possess. Part 1 - We have knowledge about the meanings of words. Lets assume that we are told that someone is a bachelor. Which of the statements below about that person are true, which untrue, which likely and which unlikely? TrueFalseLikelyUnlikelyThe person is male. [T]The person is female. [F]The person has a wife. [F]The person has a husband. [F]The person is thirteen years old. [F]The person is thirty years old. [L]The person is a father. [U]The person is a mother. [F]The person favourite drink is beer. [L]The persons favourite drink is white wine. [U] Part 2 - We have knowledge about the meanings of linguistic structures. Lets pretend that you are male (and married) and someone asks you the following question: Have you stopped beating your wife? This question invites a YES/NO answer. Lets assume that you have never beaten your wife. What is the problem you face? Part 3 - We have knowledge about the conditions for the happy performance of particular speech acts. When we say things in particular contexts we often perform actions through what we say, and linguists and philosophers normally call these actions speech acts. Lets explore an example to show what we mean. Below is a sentence. Lets pretend that you have just said it. Im really really sorry. Now answer the following questions and then compare your answers with ours. 1. What did you do (what speech act did you perform) when you uttered this sentence? 2. What sort of thing must have happened before you uttered the sentence? 3. What are you committed to after you have uttered the sentence? Part 4 - We have knowledge about the language styles appropriate for different situations. (a) Where would you predict the following extracts to occur? With 4mm circular needle cast on 202sts and work in ROWS of garter st as folls: 6.00 GMTV (3722671). 9.25 Trisha (T) (8547958). 10.30 Dr otter (R) (T). The photolytic decomposition of phenylazotriphenylmethane in benzene apparently follows a similar course to the pyrolytic decomposition discussed above. (b) Where have we explored this kind of knowledge before on this course, and how might it be important in the analysis of drama? Our schematic knowledge of a typical tutorial On the next page we are going to begin to work on an extract from the beginning of a play by Willy Russell. This play, which was first performed in 1980, is about a mature English literature student and her tutor. She is a new Open University student and the tutor is a lecturer at another university who is teaching on an Open University summer course for the first time. They are just about to meet for the first time, for their first tutorial. Before we meet them, lets explore some of our schematic assumptions about them. We have asked some former Language and Style students for their schematic assumptions, and when you compare your answers with ours we will actually be summarising what they told us. Task A The tutor What would you expect the tutor to be like? Male or female? What social class? What sort of clothes? What sort of accent? What would you expect the tutor to be called? Task B The student What is your schematic image of a female mature student like? What social class? What sort of accent? What sort of clothes? What would you expect her to be called? Task C How would we expect them to act towards one another in their first tutorial? What would you expect the turn-taking to be like? Who will speak first, and who second? Who will initiate and who will respond? What kinds of speech acts would you typically expect each person to use? Who will control the topic? Who will have the longest turns? Would there be any interruptions? If so, who would do the interrupting? What terms of address would you expect them to use towards one another? How would you expect them to act towards one another in terms of politeness? Educating Rita This extract is very near to the beginning of the play Educating Rita by Willy Russell. Rita is an Open University student who is meeting Frank, her English tutor, for the first time. The conversation takes place in Franks office. Rita has knocked and Frank has said Come in, but Rita has had some difficulty in getting the door to open. Irritated, she now stands by Franks desk. Read the extract below two or three times, until you feel you are reasonably familiar with it. As you do so, remember the schematic assumptions we explored on the previous pager about tutors, mature students and how you would expect them to interact in a first tutorial. Jot down how you think these characters, and this interaction, compare with what you would normally expect. There are no answers on this page for you to compare your views with. Instead, when you have finished your work on this page, go the next one, where we will analyse the extract more carefully. You can then see in detail whether your reactions are justified by an analysis of the text. FRANK stares at RITA who stands by a desk1. FRANK: You are?2. RITA: What am I?3. FRANK: Pardon?4. RITA: What?5. FRANK (looking for the admission papers): Now you are?6. RITA: Im a what?FRANK looks up and then returns to the papers as RITA goes to hang her coat on the door hooks. 7. RITA (noticing the picture): Thats a nice picture, isnt it? (She goes up to it.)8. FRANK: Erm...yes. I suppose it is...nice.9. RITA (studying the picture): Its very erotic.10. FRANK (looking up): Actually I dont think Ive looked at it for about ten years, but yes, I suppose it is.11. RITA: Theres no suppose about it. Look at those tits.FRANK coughs and goes back to looking for the admission paper. 12. RITA: Is it supposed to be erotic? I mean when he painted it do ythink he wanted to turn people on?13. FRANK: Erm...probably.14. RITA: Ill bet he did yknow. Ydont paint pictures like that just so that people can admire the brush strokes do y?15. FRANK (giving a short laugh): No...no ... youre probably right.16. RITA: This was the pornography of its day, wasnt it? Its sort of like Men Only isnt it? But in those days they had to pretend it wasnt erotic so they made it religious, didnt they? Do you think its erotic?17. FRANK (taking a look): I think its very beautiful.18. RITA: I didnt ask y if it was beautiful.19. FRANK: But the term beautiful covers the many feelings I have about that picture, including the feeling that, yes, it is erotic.20. RITA (coming back to the desk): Dyget a lot like me?21. FRANK: Pardon?22. RITA: Do you get a lot of students like me?23. FRANK: Not exactly, no...24. RITA: I was dead surprised when they took me. I dont suppose they would have done if itd been a proper university. The Open Universitys different though, isnt it?25. FRANK: Ive...erm...not had much more experience of it than you. This is the first O.U. work Ive done.26. RITA: Dyneed the money?27. FRANK: I do as a matter of fact.28. RITA: Its terrible these days, the money, isnt it? With the inflation an that. You work for the ordinary university, dont y? With the real students. The Open Universitys different isnt it?29. FRANK: Its supposed to embrace a more comprehensive studentship, yes.30. RITA (inspecting a bookcase): Degrees for dishwashers.31. FRANK: Would you...erm...like to sit down?32. RITA: No! Can I smoke? (She goes to her bag and rummages in it.)33. FRANK: Tobacco?34. RITA: Yeh. (She half laughs.) Was that a joke? (She takes out a packet of cigarettes and a lighter.) Here - dywant one? (She takes out two cigarettes and dumps the packet on the desk.)35. FRANK (after a pause): Ah...Id love one.36. RITA: Well, have one.37. FRANK (after a pause): I...dont smoke. I made a promise not to smoke.38. RITA: Well, I wont tell anyone.39. FRANK: Promise?Analysing Rita Task A - General interpretative thoughts Task B Who speaks most, and how does this compare with our schematic expectations? Who would you expect to speak most and why? Calculate (i) the number of turns for each character and (ii) the average number of words per turn for each character. What do you find? Task C Interruptions and indications of non-fluency (i) Are there any interruptions? If so, who interrupts who, and with what effect? (ii) What indications of non-fluency are there? Who are they associated with, and what effect do they have? Task D Who controls the topic? Look carefully through the conversation, identifying the points where new topics are introduced into the conversation, what they are and who introduces them. What does this tell you about the interaction between Frank and Rita? Task E What terms of address to the characters use to one another? Apart from the pronoun you, what address terms do the characters use when addressing each other, and what does what you find tell us? Task F Speech Acts (i) Who typically initiates in the various conversational exchanges, and who responds? (ii) What kinds of speech acts do Rita and Frank typically use? (iii) What do the answers to (i) and (ii) tell us about the exchange? Task G Politeness Clearly we would expect two people meeting for the first time to be polite to one another. Are there any counter examples to this schematic assumption in the extract? Task H Summary We have not exhausted the kinds of analysis we could have used on this extract. For example, we could have looked in detail at how Rita disrupts Frank in the first few turns, and how her presuppositions and expectations in sentences like Its sort of like Men Only isnt it (turn 16) and I dont suppose they would have done if it had been a proper university (turn 24). But what we have seen time and time again in this analysis is that Rita behaves consistently in way that goes against our schematic assumptions concerning someone in her position. It is this large and systematic contrast with our expectations, involving so many aspects of her conversational behaviour that makes the dialogue at the beginning of Educating Rita both striking and amusing. It is not at all surprising that Frank cant cope with her, and that we feel sympathetic towards him in his plight, as well as laughing at the way Rita turns his world upside down. For the extract we have examined, at least, Educating Rita seems to be an ironic title for Willy Russells play. Session B - What will we learn in this topic? In session B we will not learn any new analytical tools, but instead will use what we have discovered about shared knowledge and presuppositions in session A to help us understand something about how absurdist drama creates the kinds of effects it does. To do this we will look at an extract from Edward Albee's Zoo Story. Then, as a kind of round-up to the drama section of the course (and indeed the whole course) we will look at a complete absurdist text, a sketch by Harold Pinter called Applicant. In analysing Applicant we will examine the shared (and unshared!) assumptions involved, but also some other aspects of the sketch, using what we have learned about in other parts of the drama section of the course - turn-taking in particular. Absurdist Drama In this session we will look at a couple of examples from absurdist texts. Absurdist drama typically involves very big clashes between the audience and the characters on stage in terms of the assumptions they hold. It is a kind of deviation writ very large, as it were. The clash in assumptions between the world of the characters and the world of the audience is usually so dramatic that what we are presented with seems absurd hence the term absurdism. Big clashes in assumptions between characters and audience also turn up a lot in situation comedies, and so, not surprisingly, much absurdist drama has a comic element, as we will see in both of the examples we will consider in this session. Sometimes, though, the absurdism correlates with feelings of extreme threat. Next in this session we will look at an extract from the beginning of Zoo Story by the American playwright, Edward Albee. Then we will examine an early sketch by the British playwright Harold Pinter, who is well-known for his absurdist drama (though he has written plenty of non-absurdist plays too). The sketch is called Applicant. Because Applicant is the last text we will look at in the drama section of the course, we will also use it as an opportunity for a round-up analysis, looking at the sketch using all the different forms of analysis we have used in the drama section of the course. Zoo story Task A General Below is a passage from near the beginning of the play Zoo Story by Edward Albee. It was first published in 1958. Peter is sitting on a park bench reading and Jerry, a total stranger, has struck up a conversation with him. The extract, from near the beginning of the play, comes after a couple of minutes of uneasy talk. In later tasks we will function on particular turns in the extract and the assumptions they involve. But first lets gather some general impressions about the extract as a whole. Read the text below, carefully thinking about the assumptions that each of the characters appear to hold. Focus particularly on those cases where there is a clash between our assumptions and those entertained by (one of) the characters. Which character seems most peculiar and why? After you have collected your thoughts, compare your initial impressions with ours. JERRY: You have a TV, haven't you? (1) PETER: Why yes, we have two; one for the children (2) JERRY: You're married! (3) PETER: Why, certainly. (4) JERRY: It isn't a law, for God's sake. (5) PETER: No ... no, of course not. (6) JERRY: And you have a wife. (7) PETER: Yes! (8) JERRY: And you have children. (9) PETER: Yes; two. (10) JERRY: Boys? (11) PETER: No, girls ... both girls. (12) JERRY: But you wanted boys. (13) PETER: Well ... naturally, every man wants a son, but ... (14) JERRY: But that's the way the cookie crumbles? (15) PETER: I wasn't going to say that. (16) Task B Turn 1 Given that the two characters have only just met, what is odd about Jerrys utterance in turn 1? Task C Turn 3 When Jerry says Youre married!, how does he know? Task D Turns 4 and 5 Why does Peter say Why certainly? And what is odd about Jerrys response (It isnt a law for Gods sake.) Task E Turns 7 and 9 What is odd about Jerrys utterances in turns 7 and 9? Task F Turn 15 Why do you think Jerrys contribution in turn 15 upsets Peter? Task G Concluding remarks We can see that Jerrys conversational behaviour in this extract is peculiar and difficult to interpret. And so it is very unsettling, both for Peter and for us. Most of the things we have seen relate in some way to clashes between Jerry and us concerning the way that he makes use of schematic assumptions. He appears to need to spell out assumptions that we would not expect to spell out, and can apparently change assumptions dramatically from turn to turn. His use of style is also sometimes inappropriate. It is thus not surprising that Peter seems unsettled in the conversation and we find it difficult to interpret Jerrys behaviour satisfactorily. This unsettling effect related to character assumptions and how they are used is one of the hallmarks of absurdist drama. Note also how there is a bit of an issue in this extract concerning which schematic assumptions we take along to the text (see our discussion of Tasks B and C, for example). Should we operate with the assumptions that were in place at the time the play was written, or the ones we currently hold? Traditional literary criticism took the former line, suggesting that to use knowledge not available at the time a text was written was anachronistic and could lead to mistaken understandings (i.e. it would be rather like assuming that the word gay in a text by Shakespeare could mean homosexual, even though that meaning for the word did not arise until the 20th century). Some modern critics believe that it is reasonable for the reader to take along more modern assumptions as they merely lead to different understandings, not a false ones. We are with the traditionalists on this one, even though it is harder work (you have to research assumptions and the meanings of words in former times or other cultures if the text concerned does not come from your culture cf. texts written in English by Africans or Indians, for example). But you need to work out for yourself where you stand on this debate. Getting to know Applicant Below you will find (a) a video-clip of a student performance and (b) the script of an early sketch by Harold Pinter called Applicant. It is convenient to look at this short sketch because it is a short complete text, as well as being absurdist. We have numbered the turns in the script for ease of reference. After you have familiarised yourself with the sketch, write down your first impressions of it, what the characters are like, what happens and why, and then compare your comments with ours. An office. LAMB, a young man, eager, cheerful, enthusiastic, is striding nervously, alone. The door opens. MISS PIFFS come in. She is the essence of efficiency.1. PiffsAh, good morning.2. LambOh, good morning miss.3. PiffsAre you Mr. Lamb?4. LambThat's right.5. Piffs(studying a piece of paper) Yes, you're applying for this vacant post, aren't you?6. LambI am actually, yes.7. PiffsAre you a physicist?8. LambOh yes, indeed. It's my whole life.9. Piffs(languidly) Good. Now our procedure is, that before we discuss the applicant's qualifications we like to subject him to a little test to determine his psychological suitability. You've no objection?10. LambOh, good heavens, no.11. PiffsJolly good.MISS PIFFS has taken some objects out of a drawer and goes to LAMB. She places a chair for him.12. PiffsPlease sit down. (He sits) Can I fit these to your palms?13. Lamb(affably) What are they?14. PiffsElectrodes.15. LambOh yes, of course. Funny little things.She attaches them to his palms.16. PiffsNow the earphones.She attaches earphones to his head.17. LambI say how amusing.18. PiffsNow I plug in.She plugs in to the wall.19. Lamb(a trifle nervously) Plug in, do you? Oh yes. of course. Yes, you'd have to, wouldn't you?MISS PIFFS perches on a high stool and looks down on LAMB.This help to determine my . . . my suitability does it?20. PiffsUnquestionably. Now relax. Just relax. Don't think about a thing.21. LambNo.22. PiffsRelax completely. Rela-a-a-x. Quite relaxed?LAMB nods. MISS PIFFS presses a button on the side of her stool. A piercing high?pitched buzz?hum is heard. LAMB jolts rigid. His hands go to his earphones. He is propelled from the chair. He tries to crawl under the chair. MISS PIFFS watches, impassive. 'The noise stops. LAMB peeps out from under the chair, crawls out, stands, twitches, emits a short chuckle and collapses in the chair.23. PiffsWould you say you were an excitable person?24. LambNot - not unduly, no. Of course, I 25. PiffsWould you say you were a moody person?26. LambMoody? No, I wouldn't say I was moody - well sometimes occasionally I 27.PiffsDo you ever get fits of depression?28. LambWell, I wouldn't call them depression exactly 29. PiffsDo you often do things you regret in the morning?30. LambRegret? Things I regret? Well, it depends what you mean by often, really - I mean when you say often 31. PiffsAre you often puzzled by women?32. LambWomen?33. PiffsMen.34. LambMen? Well, I was just going to answer the question about women 35. PiffsDo you often feel puzzled?36. LambPuzzled?37. PiffsBy women.38. LambWomen?39. PiffsMen.40. LambOh, now just a minute, I Look, do you want separate answers or a joint answer?41. PiffsAfter your day's work do you ever feel tired? Edgy? Fretty? Irritable? At a loose end? Morose? Frustrated? Morbid? Unable to concentrate? Unable to sleep? Unable to eat? Unable to remain seated? Unable to remain upright? Lustful? Indolent? On heat? Randy? Full of desire? Full of energy? Full of dread? Drained? of energy, of dread? of desire?Pause.42. Lamb(thinking) Well, it's difficult to say really43. PiffsAre you a good mixer?44. LambWell, you've touched on quite an interesting point there 45. PiffsDo you suffer from eczema, listlessness, or falling coat?46. LambEr47. PiffsAre you virgo intacta?48. LambI beg your pardon?49. PiffsAre you virgo intacta?50. LambOh, I say, that's rather embarrassing. I mean - in front of a lady 51. PiffsAre you virgo intacta?52. LambYes, I am, actually. I'll make no secret of it.53. PiffsHave you always been virgo intacta?54. LambOh yes, always. Always.55. PiffsFrom the word go?56. LambGo? Oh yes, from the word go.57. PiffsDo women frighten you?She presses a button on the other side of her stool. The stage is plunged into redness, which flashes on and off in time with her questions.58. Piffs(building) Their clothes? Their shoes? Their voices? Their laughter? Their stares? Their way of walking? Their way of sitting? Their way of smiling? Their way of talking? Their mouths? Their hands? Their feet? Their shins? Their thighs? Their knees? Their eyes? Their (Drumbeat). Their (Drumbeat). Their (Cymbal bang). Their (Trombone chord). Their (Bass note).59. Lamb(in a high voice) Well it depends what you mean really The light still flashes. She presses the other button and the piercing buzz?hum is heard again. LAMB's hands go to his earphones. He is propelled from the chair, falls, rolls, crawls, totters and collapses. Silence. He lies face upwards. MISS PIFFS looks at him then walks to LAMB and bends over him.60. PiffsThank you very much, Mr. Lamb. We'll let you know.Assumptions in Applicant In this section we are first going to look at schematic assumptions in helping to characterise the different phases of the sketch. Then we will go on to look at the presuppositions behind some particular sentences which are rather odd. We will use these forms of analysis to help explain why the sketch is absurd. Task A Turns 1-11 Using your schematic knowledge, what kind of situation is being set up in turns 1-11? How do the stage directions and what is said by the characters help you to decide what schema to apply to the scene? Task B Turns 12-22 and the stage direction following turn 22 How does the situation change in turns 12-22? What situation schema now seems appropriate? What evidence is there for your conclusions? Task C Turns 23-59 and the stage direction following turn 59 What situation schema seems most appropriate for this part of the sketch? What evidence is there for your conclusions? Task D Turn 60 In the final turn of the sketch Miss Piffs says Thank you very much, Mr. Lamb. Well let you know. What situation schema seems most appropriate for this part of the sketch? What evidence is there for your conclusions, and what is the effect of this schema change? Task E Turn 45 What unusual presupposition seems to be behind (part of) turn 45, and how can it be connected to turn 41? Why is this presupposition absurd? Task F Turns 47-54 How is this sequence presuppositionally absurd? Turn-taking in Applicant On this page we are first going to look at the turn-taking patterns in Applicant, and what they tell us about the two characters and their relationship. We will also use politeness analysis and Gricean implicature, where appropriate, to explain particular effects. However, to keep your tasks on Applicant to a reasonable size we will not undertake fully-fledged analyses of politeness or implicature. Task A Turn numbers Count the number of turns used by Lamb and by Piffs, and work out the reasons for the difference between the two characters. Task B Turn size Now count the number of graphological words (words separated graphologically by spaces) used by Lamb and by Piffs, calculate the turn-average for each character and comment on the difference between the two characters. Task C Interruptions How many interruptions are there in the sketch, and who interrupts who? Task D Initiations, responses and topic control Looking at the script as a whole, decide (a) who initiates and who responds in the various conversational exchanges, and (b) who controls the topics that are explored. How would you explain any deviations from the general pattern you discern? Task E Turns 41 and 58 What is odd in turn-taking terms about turns 41 and 58? Topic Summary In this topic we have learned about how we bring along shared knowledge about situations, people and so on to texts in the form of 'pre-packaged' schemata. We have also seen how writers can use the schematic knowledge we and they share to create meanings and effects in texts including absurdist effects when the assumptions of characters are markedly at odds with our own assumptions. We have also seen that individual utterances and sentences can involve specific assumptions in the form of presuppositions, and that these can also be manipulated to create a range of effects, including absurdity. When assumptions in texts clash with the assumptions we hold, the deviation involved creates the effect of foregrounding and as this topic is the final topic on the course, we can use this fact to help us to notice something very important about the different aspects of analysis we have noticed in the course: When we have introduced particular kinds of analysis (e.g. turn-taking when looking at drama) we have chosen the genre which the mode of analysis works on best of all but it is important to remember that al the forms of analysis will be applicable to a particular text to some degree. For example prose and drama texts can make creative use of semantic and graphological deviation. Poetry and drama texts can also use viewpoint manipulation creatively. And poetry and prose texts can make creative use of turn-taking and inferential effects. SO THE MOTTO FOR THE COURSE IS: In stylistic analysis everything you have learned is potentially useful when analysing any text. 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