These two volumes offer a selection of the papers held at the conference of the International Association for Dialogue Analysis (IADA) in 2003. Volume I contains 38 articles devoted to dialogue and the phenomenon of 'dialogicity' in literature, ranging from antiquity to a large number of modern languages and literatures. The conversation-analytic approaches drawn upon are notable for their methodological diversity. This is also true of the 32 articles in Volume II. The main focus here is on present-day types of dialogue in the new electronic media and their 'traditional' counterparts (press, radio, television, film). The examples are taken from various countries, and they are discussed in terms of the intercultural, semiotic, translatorial, and general pragmatic issues they pose.

These two volumes offer a selection of the papers held at the conference of the International Association for Dialogue Analysis (IADA) in 2003. Volume I contains 38 articles devoted to dialogue and the phenomenon of 'dialogicity' in literature, ranging from antiquity to a large number of modern languages and literatures. The conversation-analytic approaches drawn upon are notable for their methodological diversity. This is also true of the 32 articles in Volume II. The main focus here is on present-day types of dialogue in the new electronic media and their 'traditional' counterparts (press, radio, television, film). The examples are taken from various countries, and they are discussed in terms of the intercultural, semiotic, translatorial, and general pragmatic issues they pose.

This book proposes a socio-pragmatic exploration of the discursive practices used to construe and dynamically negotiate positions in news interviews. It starts with a discursive interpretation of ‘positioning’, ‘role’ and ‘challenge’, puts forward the relevance of a distinction between social and interactional roles, demonstrates how challenges bring to the fore the relevant roles and role-components of the participants, and shows that in news interviews speakers constantly position and re-position themselves and each other through discourse.The discussion draws on an empirical fine-grained analysis of a 24-hour corpus of news interviews on Israeli television and a corpus of media references. The author postulates a discrepancy between interlocutors’ normative expectations, which presuppose an asymmetrical division of labor, on the one hand, and real-life practice, which exhibits partial symmetry in speakers’ selection of discourse patterns as well as reciprocity in the use of challenge strategies, on the other. Special attention is given to irony and terms of address, which are shown to act as the center-points of satellite challenge strategies, geared as an ensemble toward the co-construction of reciprocal positioning. The analysis of three case studies further sheds light on the negotiations of intertwined positionings in context.

The contribution that scholarly organizations make to the study of languages and literatures is a service to the value of systematically learning and using meaning—understanding that meaning operates in systems. Constructively speaking, these organizations support the teaching and research of our world’s experts in grammar, genre, medium, production, reception, exchange, critique, appreciation, and so on. More defensively, they are bulwarks against systems of misinformation, against the empowerment of misrepresentation and distrust between people. The chapters in this volume range from the Old Testament to Facebook and from East Asia to West Africa via Australia, the Americas, and Europe. The scholarly strength forged across that range speaks to similar strengths that so many scholarly organizations devoted to studies in languages and literatures have cultivated and maintained—often in the face of government indifference or hostility towards the Humanities. Beyond Babel makes a powerful case for their potential.

The contributors of the twelve texts collected in this volume follow two paths: Firstly, there is a methodological path related to the discussion of the interdisciplinarity of discourse studies and the potential of qualitative research based on the study of a single case. Secondly, by taking as a case study the political interview by Tomasz Lis, a leading liberal journalist, with Jarosław Kaczyński, chairman of the right-wing Law and Justice party, they delineate possible avenues for an in-depth view of the mechanisms of Poland's highly polarised public debate.

Pseudolus of all Plautus' comedies most fully reveals its author's metapoetics. As its eponymous clever slave telegraphs his every move to spectators, Pseudolus highlights the aesthetic, social, and performative priorities of Plautine comedy: brilliant linguistic play, creative appropriation of comic tradition, interrogation of convention and social norms, the projection of an air of improvisation and a fresh comic universe, and exploration of dramatic mimesis itself. The extensive Introduction analyses Plautus' delightful comedy as a stage-performance, the comic playwright's translation and adaptation practices, his innovative deployment of language and metrical and musical virtuosity, as well as the play's transmission and reception. In addition to detailed elucidation of the Latin text, the Commentary examines Pseudolus as a lens into Roman slave society at the time of its debut at the Megalensian festival of 191 BCE. The edition engages throughout with current criticism and issues of interest to both students and scholars.

This new commentary on Pseudolus provides an excellent introduction to current trends and advances in the study of Roman comedy.

Indirectness has been a key concept in pragmatic research for over four decades, however the notion as a technical term does not have an agreed-upon definition and remains vague and ambiguous. In this collection, indirectness is examined as a way of communicating meaning that is inferred from textual, contextual and intertextual meaning units. Emphasis is placed on the way in which indirectness serves the representation of diverse voices in the text, and this is examined through three main prisms: (1) the inferential view focuses on textual and contextual cues from which pragmatic indirect meanings might be inferred; (2) the dialogic-intertextual view focuses on dialogic and intertextual cues according to which different voices (social, ideological, literary etc.) are identified in the text; and (3) the functional view focuses on the pragmatic-rhetorical functions fulfilled by indirectness of both kinds.

As German-language literature turned in the mid-nineteenth century to the depiction of the profane, sensual world, a corresponding anxiety emerged about the terms of that depiction—with consequences not only for realist poetics but also for the conception of the material world itself. At the Limit of the Obscene examines the roots and repercussions of this anxiety in German realist and postrealist literature. Through analyses of works by Adalbert Stifter, Gustav Freytag, Theodor Fontane, Arno Holz, Gottfried Benn, and Franz Kafka, Erica Weitzman shows how German realism’s conflicted representations of the material world lead to an idea of the obscene as an excess of sensual appearance beyond human meaning: the obverse of the anthropocentric worldview that German realism both propagates and pushes to its crisis. At the Limit of the Obscene thus brings to light the troubled and troubling ontology underlying German realism, at the same time demonstrating how its works continue to shape our ideas about representability, alterity, and the relationship of human beings to the non-human well into the present day.

When we watch and listen to actors speaking lines that have been written by someone else-a common experience if we watch any television at all-the illusion of "people talking" is strong. These characters are people like us, but they are also different, products of a dramatic imagination, and the talk they exchange is not quite like ours. Television Dramatic Dialogue examines, from an applied sociolinguistic perspective, and with reference to television, the particular kind of "artificial" talk that we know as dialogue: onscreen/on-mike talk delivered by characters as part of dramatic storytelling in a range of fictional and nonfictional TV genres. As well as trying to identify the place which this kind of language occupies in sociolinguistic space, Richardson seeks to understand the conditions of its production by screenwriters and the conditions of its reception by audiences, offering two case studies, one British (Life on Mars) and one American (House).