219-7677
10
7500817
John Benjamins Publishing Company
Marketing Department / Karin Plijnaar, Pieter Lamers
onix@benjamins.nl
201705011134
ONIX title feed
eng
01
EUR
758017320
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JB
John Benjamins Publishing Company
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JB code
DS 28 Eb
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9789027266156
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10.1075/ds.28
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2016055107
DG
002
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DS
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1875-1792
Dialogue Studies
28
01
Dialogue across Media
01
ds.28
01
https://benjamins.com
02
https://benjamins.com/catalog/ds.28
1
B01
Jarmila Mildorf
Mildorf, Jarmila
Jarmila
Mildorf
University of Paderborn
2
B01
Bronwen Thomas
Thomas, Bronwen
Bronwen
Thomas
University of Bournemouth
01
eng
306
ix
296
LAN009030
v.2006
CFG
2
24
JB Subject Scheme
COMM.CGEN
Communication Studies
24
JB Subject Scheme
LIN.DIAL
Dialogue studies
24
JB Subject Scheme
LIN.DISC
Discourse studies
24
JB Subject Scheme
LIN.NAR
Narrative Studies
24
JB Subject Scheme
LIN.PRAG
Pragmatics
06
01
With chapters on social media, videogames and human-machine communication, <i>Dialogue across Media</i> provides a comprehensive overview of the role of dialogue in contemporary media. Drawing on the expertise of scholars and practitioners from multiple fields and disciplines, including screenwriters, literary critics, linguists and new media theorists, each chapter provides an in-depth analysis of dialogue in action. Together, these chapters demonstrate the unique energy and versatility that dialogic forms can offer artists and readers alike, and the special role that dialogue plays in helping us to understand the complexities and contradictions of human interaction. <br /><i>Dialogue across Media</i> provides an essential resource for students and specialists in many fields concerned with dialogue, including language and literature, media and cultural studies, narratology and rhetoric. <br />
05
Mildorf and Thomas’ <i>Dialogue across Media</i> constitutes a timely collection of exciting research into the arguably neglected role of dialogue in contemporary media texts.
Helen Ringrow, University of Portsmouth, UK, in Language and Literature 27 (2)
04
09
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Article
1
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List of contributors
10
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JB code
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16
16
Article
2
01
Introduction
Dialogue across Media
1
A01
Jarmila Mildorf
Mildorf, Jarmila
Jarmila
Mildorf
2
A01
Bronwen Thomas
Thomas, Bronwen
Bronwen
Thomas
10
01
JB code
ds.28.s1
Section header
3
01
Part I. Creating characters through dialogue
10
01
JB code
ds.28.02man
19
36
18
Article
4
01
Pragmatic stylistics and dramatic dialogue
Re-assessing Gus’s role in Pinter’s <i>The Dumb Waiter</i>
1
A01
Susan Mandala
Mandala, Susan
Susan
Mandala
01
In this chapter, I follow Short (1989, 1998) and view dramatic dialogue as a form of exchange that can be read on the page just as legitimately as it can be experienced on stage. Employing a pragmatic stylistic analysis linking the text on the page to my interpretation, I offer a re-reading of Pinter’s <i>The Dumb Waiter</i>. While for Burton (1980) Ben was “the dominating and superior interactant,” and Gus “the dominated and inferior one” (70), I argue here that it is Gus who can be considered the dominating character and show in the concluding discussion why this recalibration of power is significant for our wider understanding of the play.
10
01
JB code
ds.28.03ric
37
54
18
Article
5
01
Dialogue and character in 21st century TV drama
The case of ‘Sherlock Holmes’
1
A01
Kay P. Richardson
Richardson, Kay P.
Kay P.
Richardson
01
The successful British-made TV drama series <i>Sherlock</i> (BBC 2011-present) is one of the latest in a long sequence of dramatisations of the Victorian short stories and novels by Sir Arthur Conan Doyle. This chapter discusses some passages of dialogue from the first episode of this series, demonstrating how the character is created and maintained, focusing in particular on Sherlock’s antisocial tendencies, his eccentricity and his remarkable deductive powers. The analysis further seeks to isolate the <i>distinctive</i> contribution of dialogue in this respect from other aspects of audiovisual production, drawing as appropriate on the sociolinguistics of stance, politeness theory and conversational analysis.
10
01
JB code
ds.28.04bat
55
76
22
Article
6
01
Look who’s talking
Using transactional analysis in the writing of effective screenplay dialogue
1
A01
Craig Batty
Batty, Craig
Craig
Batty
2
A01
Wilf Hashimi
Hashimi, Wilf
Wilf
Hashimi
01
Transactional Analysis (TA) is a theory of personality devised by Eric Berne, a Canadian psychiatrist, in the early 1960s. In particular, he ascribed specific meanings to the words ‘Parent,’ ‘Adult’ and ‘Child,’ and we suggest that these provide readily accessible ways in which screenwriters can understand the power that language possesses, and the ways in which dialogic subtext may be designed for optimum effect. This chapter seeks to connect TA with screenwriting practice to understand and put into use the effective writing of screenplay dialogue. We first provide an overview of the fundamental points of TA theory before examining examples of how dialogue between characters can be used to build the credible characterisation that is the hallmark of all good and engaging screenwriting.
10
01
JB code
ds.28.05tho
77
92
16
Article
7
01
All talk
Dialogue and intimacy in Spike Jonze’s <i>Her</i>
1
A01
Bronwen Thomas
Thomas, Bronwen
Bronwen
Thomas
01
This chapter focuses on the ways in which film dialogue can enact and foreground the complex mechanisms underlying conversational interaction, and demonstrate the ways in which verbal interaction may be as much about concealment and solipsism as it is about intimacy and revelation. With close reference to Spike Jonze’s <i>Her</i>, which centres on the developing relationship between a lonely writer and an operating system designed to fulfill his every need, the chapter will examine how the film’s foregrounding of character dialogue to the exclusion of almost everything else challenges convention and relies on the audience to read between the lines of the characters’ utterances. The chapter draws on theories of dialogue from literary criticism, narratology and linguistics as well as film studies to argue that dialogue in film is not just about exquisitely staged scenes or displays of auteurish experimentation, but plays an integral role in the audience’s active engagement with the characters and their investment in their unfolding relationships.
10
01
JB code
ds.28.s2
Section header
8
01
Part II. Involvement, audience design and social interaction
10
01
JB code
ds.28.06koi
95
116
22
Article
9
01
Studying everyday conversation
News announcements and news receipts in telephone conversations
1
A01
Aino Koivisto
Koivisto, Aino
Aino
Koivisto
01
Conversation Analysis (CA) is interested in the orderliness of our everyday communication and the social practices we engage in when trying to achieve various interactional goals. This article provides a brief overview of CA as a method and some aspects of everyday conversation from the CA perspective. As an example, the paper discusses the social action of delivering news and informings and responses to those actions in Finnish telephone conversations. It will be shown that telling a piece of news is an interactional process where the positioning of the informing and the way it is received by the recipient play a significant role in the final outcome of a news delivery sequence (Maynard 2003). Furthermore, the telephone as a medium has an impact on when and how a piece of news is delivered and how it is received.
10
01
JB code
ds.28.07mil
117
136
20
Article
10
01
Dialogic interactions on radio
Studs Terkel’s literary interviews
1
A01
Jarmila Mildorf
Mildorf, Jarmila
Jarmila
Mildorf
01
This paper focuses on a sub-category of journalistic interviews, namely the so-called “literary interview,” where writers are interviewed about their lives and works. More specifically, the paper investigates the dynamics of literary interviews as radio broadcasts and therefore emphasizes their conversational and medial side, paying attention to turn-taking mechanisms and the use of voice quality and prosody in the authors’ multimodal self-presentations. Key linguistic concepts in this regard are interviewees’ “audience design,” and also participants’ speech accommodation and verbal “duetting,” which point to the collaborative nature of these interviews. The case studies are drawn from American radio journalist Studs Terkel’s interviews with Ralph Ellison, Maya Angelou and Toni Morrison.
10
01
JB code
ds.28.08lam
137
154
18
Article
11
01
Dialogism in journalistic discourse
An analysis of Ian McEwan’s “Savagely Awoken”
1
A01
Marina Lambrou
Lambrou, Marina
Marina
Lambrou
01
Drawing on Bakhtin’s (1986 [1929]) idea that language use is dialogic as it is marked by “addressivity” and “answerability” and addresses people and a particular context, this chapter argues that dialogism is also present in a commentary piece because it is part of a continuing, intertextual “dialogue” with previous reports and reporters of similar events as well as its readers, where it functions as “community building.” A discourse stylistic analysis of McEwan’s “Savagely Awoken” commentary identifies how dialogism is created and fulfils the important news values of newsworthiness in this carefully crafted and moving piece of journalistic writing.
10
01
JB code
ds.28.09geo
155
178
24
Article
12
01
Friends and followers ‘in the know’
A narrative interactional approach to social media participation
1
A01
Alexandra Georgakopoulou
Georgakopoulou, Alexandra
Alexandra
Georgakopoulou
01
Interactional approaches to everyday conversations, both bi- and multi-party ones, have amply documented the systematicity of sequential phenomena to be found within turn-taking as well as their close links with participant roles and relations. A comparable approach to social media communication is lagging behind, despite the fact that much of the social media pre-designing is specifically aimed at getting users in some kind of a ‘dialogue,’ e.g., between posters and respondents, with facilities such as Like, Comment, Share, etc. In addition to providing a framework for future work on dialogical processes on social media, the findings of this study problematize restrictive views of social media platforms as environments for self-selecting participation on the one hand and ‘context collapse’ (e.g., Marwick 2011) of participation on the other hand.
10
01
JB code
ds.28.10piw
179
202
24
Article
13
01
Dialogue with computers
Dialogue games in action
1
A01
Paul Piwek
Piwek, Paul
Paul
Piwek
01
With the advent of digital personal assistants for mobile devices, systems that are marketed as engaging in (spoken) dialogue have reached a wider public than ever before. For a student of dialogue, this raises the question to what extent such systems are genuine dialogue partners. In order to address this question, this study proposes to use the concept of a dialogue game as an analytical tool. Thus, we reframe the question as asking for the dialogue games that such systems play. Our analysis, as applied to a number of landmark systems and illustrated with dialogue extracts, leads to a fine-grained classification of such systems. Drawing on this analysis, we propose that the uptake of future generations of more powerful dialogue systems will depend on whether they are <i>self-validating.</i> A self-validating dialogue system can not only talk and do things, but also discuss the <i>why</i> of what it says and does, and learn from such discussions.
10
01
JB code
ds.28.s3
Section header
14
01
Part III. Playfulness and narrative functions of dialogue
10
01
JB code
ds.28.11ber
205
224
20
Article
15
01
Dialogue in Audiophonic Fiction
The Case of Audio Drama
1
A01
Lars Bernaerts
Bernaerts, Lars
Lars
Bernaerts
10
01
JB code
ds.28.12mik
225
250
26
Article
16
01
Dialogue in comics
Medium-specific features and basic narrative functions
1
A01
Kai Mikkonen
Mikkonen, Kai
Kai
Mikkonen
01
This paper focuses on the dialogue form in comics as a key narrative device, and examines the main elements and narrative functions that characterise scenes of talk in comics. The goal is to develop a medium-specific understanding of the dialogue form in comics. The starting point is the multimodal character of conversational exchange in comics. This requires a focus on the interaction between the utterance and the elements of the narrative drawing, that is, the ways in which the dialogue form (as written and drawn speech) interacts with what is shown in the image. Crucial aspects of graphic showing in scenes of talk in comics are facial expressions, gestures, body language and shape, and participant involvement. Equally, the expressive functions of typography and pictorial symbols, onomatopoeia, as well as graphic style, panel framing, and page layout, can play a major role.
10
01
JB code
ds.28.13dom
251
270
20
Article
17
01
Dialogue in video games
1
A01
Sebastian Domsch
Domsch, Sebastian
Sebastian
Domsch
01
Dialogue is hardwired into the very matrix of video games, not only because they are an interactive medium, but because they are an <i>active</i> one: they react to input by players and can offer their own input. From the beginning, rule structures in video games were communicated through language. The more emphasis a game put on narrative, the more this turned into a dialogue with the player. Video games are usually at least implicitly cast as second-person narratives, hinting at or enacting a dialogue between the narrator/game master and the player. The player’s avatar also communicates within the game. This chapter looks systematically at the relationship between ludic and dialogic structures and at the various forms that dialogue has taken in video games.
10
01
JB code
ds.28.14may
271
290
20
Article
18
01
Dialogue and interaction in role-playing games
Playful communication as Ludic culture
1
A01
Frans Mäyrä
Mäyrä, Frans
Frans
Mäyrä
01
Dialogue is central to role-playing games (RPGs). It serves multiple purposes, some of which are related to its functional role in mediating in-game clues or actions, some to the role of language in the collaborative construction of shared fantasy. The aim of this chapter is to identity the multiple functions dialogue has in role-playing games, and to provide illustrative examples and analyses of typical and inventive applications of dialogue in role-play. The examples are also chosen to highlight the similarities and differences between such RPG forms as table-top, pen-and-paper RPGs, larp or live-action role-play, as well as single-player and multiplayer, online computer role-playing games.
10
01
JB code
ds.28.15ind
291
296
6
Article
19
01
Index
02
JBENJAMINS
John Benjamins Publishing Company
01
John Benjamins Publishing Company
Amsterdam/Philadelphia
NL
04
20170119
2017
John Benjamins B.V.
02
WORLD
13
15
9789027210456
01
JB
3
John Benjamins e-Platform
03
jbe-platform.com
09
WORLD
21
01
00
99.00
EUR
R
01
00
83.00
GBP
Z
01
gen
00
149.00
USD
S
162017319
03
01
01
JB
John Benjamins Publishing Company
01
JB code
DS 28 Hb
15
9789027210456
13
2016041071
BB
01
DS
02
1875-1792
Dialogue Studies
28
01
Dialogue across Media
01
ds.28
01
https://benjamins.com
02
https://benjamins.com/catalog/ds.28
1
B01
Jarmila Mildorf
Mildorf, Jarmila
Jarmila
Mildorf
University of Paderborn
2
B01
Bronwen Thomas
Thomas, Bronwen
Bronwen
Thomas
University of Bournemouth
01
eng
306
ix
296
LAN009030
v.2006
CFG
2
24
JB Subject Scheme
COMM.CGEN
Communication Studies
24
JB Subject Scheme
LIN.DIAL
Dialogue studies
24
JB Subject Scheme
LIN.DISC
Discourse studies
24
JB Subject Scheme
LIN.NAR
Narrative Studies
24
JB Subject Scheme
LIN.PRAG
Pragmatics
06
01
With chapters on social media, videogames and human-machine communication, <i>Dialogue across Media</i> provides a comprehensive overview of the role of dialogue in contemporary media. Drawing on the expertise of scholars and practitioners from multiple fields and disciplines, including screenwriters, literary critics, linguists and new media theorists, each chapter provides an in-depth analysis of dialogue in action. Together, these chapters demonstrate the unique energy and versatility that dialogic forms can offer artists and readers alike, and the special role that dialogue plays in helping us to understand the complexities and contradictions of human interaction. <br /><i>Dialogue across Media</i> provides an essential resource for students and specialists in many fields concerned with dialogue, including language and literature, media and cultural studies, narratology and rhetoric. <br />
05
Mildorf and Thomas’ <i>Dialogue across Media</i> constitutes a timely collection of exciting research into the arguably neglected role of dialogue in contemporary media texts.
Helen Ringrow, University of Portsmouth, UK, in Language and Literature 27 (2)
04
09
01
https://benjamins.com/covers/475/ds.28.png
04
03
01
https://benjamins.com/covers/475_jpg/9789027210456.jpg
04
03
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https://benjamins.com/covers/475_tif/9789027210456.tif
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09
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09
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https://benjamins.com/covers/3d_web/ds.28.hb.png
10
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JB code
ds.28.001loc
vii
x
4
Article
1
01
List of contributors
10
01
JB code
ds.28.01int
1
16
16
Article
2
01
Introduction
Dialogue across Media
1
A01
Jarmila Mildorf
Mildorf, Jarmila
Jarmila
Mildorf
2
A01
Bronwen Thomas
Thomas, Bronwen
Bronwen
Thomas
10
01
JB code
ds.28.s1
Section header
3
01
Part I. Creating characters through dialogue
10
01
JB code
ds.28.02man
19
36
18
Article
4
01
Pragmatic stylistics and dramatic dialogue
Re-assessing Gus’s role in Pinter’s <i>The Dumb Waiter</i>
1
A01
Susan Mandala
Mandala, Susan
Susan
Mandala
01
In this chapter, I follow Short (1989, 1998) and view dramatic dialogue as a form of exchange that can be read on the page just as legitimately as it can be experienced on stage. Employing a pragmatic stylistic analysis linking the text on the page to my interpretation, I offer a re-reading of Pinter’s <i>The Dumb Waiter</i>. While for Burton (1980) Ben was “the dominating and superior interactant,” and Gus “the dominated and inferior one” (70), I argue here that it is Gus who can be considered the dominating character and show in the concluding discussion why this recalibration of power is significant for our wider understanding of the play.
10
01
JB code
ds.28.03ric
37
54
18
Article
5
01
Dialogue and character in 21st century TV drama
The case of ‘Sherlock Holmes’
1
A01
Kay P. Richardson
Richardson, Kay P.
Kay P.
Richardson
01
The successful British-made TV drama series <i>Sherlock</i> (BBC 2011-present) is one of the latest in a long sequence of dramatisations of the Victorian short stories and novels by Sir Arthur Conan Doyle. This chapter discusses some passages of dialogue from the first episode of this series, demonstrating how the character is created and maintained, focusing in particular on Sherlock’s antisocial tendencies, his eccentricity and his remarkable deductive powers. The analysis further seeks to isolate the <i>distinctive</i> contribution of dialogue in this respect from other aspects of audiovisual production, drawing as appropriate on the sociolinguistics of stance, politeness theory and conversational analysis.
10
01
JB code
ds.28.04bat
55
76
22
Article
6
01
Look who’s talking
Using transactional analysis in the writing of effective screenplay dialogue
1
A01
Craig Batty
Batty, Craig
Craig
Batty
2
A01
Wilf Hashimi
Hashimi, Wilf
Wilf
Hashimi
01
Transactional Analysis (TA) is a theory of personality devised by Eric Berne, a Canadian psychiatrist, in the early 1960s. In particular, he ascribed specific meanings to the words ‘Parent,’ ‘Adult’ and ‘Child,’ and we suggest that these provide readily accessible ways in which screenwriters can understand the power that language possesses, and the ways in which dialogic subtext may be designed for optimum effect. This chapter seeks to connect TA with screenwriting practice to understand and put into use the effective writing of screenplay dialogue. We first provide an overview of the fundamental points of TA theory before examining examples of how dialogue between characters can be used to build the credible characterisation that is the hallmark of all good and engaging screenwriting.
10
01
JB code
ds.28.05tho
77
92
16
Article
7
01
All talk
Dialogue and intimacy in Spike Jonze’s <i>Her</i>
1
A01
Bronwen Thomas
Thomas, Bronwen
Bronwen
Thomas
01
This chapter focuses on the ways in which film dialogue can enact and foreground the complex mechanisms underlying conversational interaction, and demonstrate the ways in which verbal interaction may be as much about concealment and solipsism as it is about intimacy and revelation. With close reference to Spike Jonze’s <i>Her</i>, which centres on the developing relationship between a lonely writer and an operating system designed to fulfill his every need, the chapter will examine how the film’s foregrounding of character dialogue to the exclusion of almost everything else challenges convention and relies on the audience to read between the lines of the characters’ utterances. The chapter draws on theories of dialogue from literary criticism, narratology and linguistics as well as film studies to argue that dialogue in film is not just about exquisitely staged scenes or displays of auteurish experimentation, but plays an integral role in the audience’s active engagement with the characters and their investment in their unfolding relationships.
10
01
JB code
ds.28.s2
Section header
8
01
Part II. Involvement, audience design and social interaction
10
01
JB code
ds.28.06koi
95
116
22
Article
9
01
Studying everyday conversation
News announcements and news receipts in telephone conversations
1
A01
Aino Koivisto
Koivisto, Aino
Aino
Koivisto
01
Conversation Analysis (CA) is interested in the orderliness of our everyday communication and the social practices we engage in when trying to achieve various interactional goals. This article provides a brief overview of CA as a method and some aspects of everyday conversation from the CA perspective. As an example, the paper discusses the social action of delivering news and informings and responses to those actions in Finnish telephone conversations. It will be shown that telling a piece of news is an interactional process where the positioning of the informing and the way it is received by the recipient play a significant role in the final outcome of a news delivery sequence (Maynard 2003). Furthermore, the telephone as a medium has an impact on when and how a piece of news is delivered and how it is received.
10
01
JB code
ds.28.07mil
117
136
20
Article
10
01
Dialogic interactions on radio
Studs Terkel’s literary interviews
1
A01
Jarmila Mildorf
Mildorf, Jarmila
Jarmila
Mildorf
01
This paper focuses on a sub-category of journalistic interviews, namely the so-called “literary interview,” where writers are interviewed about their lives and works. More specifically, the paper investigates the dynamics of literary interviews as radio broadcasts and therefore emphasizes their conversational and medial side, paying attention to turn-taking mechanisms and the use of voice quality and prosody in the authors’ multimodal self-presentations. Key linguistic concepts in this regard are interviewees’ “audience design,” and also participants’ speech accommodation and verbal “duetting,” which point to the collaborative nature of these interviews. The case studies are drawn from American radio journalist Studs Terkel’s interviews with Ralph Ellison, Maya Angelou and Toni Morrison.
10
01
JB code
ds.28.08lam
137
154
18
Article
11
01
Dialogism in journalistic discourse
An analysis of Ian McEwan’s “Savagely Awoken”
1
A01
Marina Lambrou
Lambrou, Marina
Marina
Lambrou
01
Drawing on Bakhtin’s (1986 [1929]) idea that language use is dialogic as it is marked by “addressivity” and “answerability” and addresses people and a particular context, this chapter argues that dialogism is also present in a commentary piece because it is part of a continuing, intertextual “dialogue” with previous reports and reporters of similar events as well as its readers, where it functions as “community building.” A discourse stylistic analysis of McEwan’s “Savagely Awoken” commentary identifies how dialogism is created and fulfils the important news values of newsworthiness in this carefully crafted and moving piece of journalistic writing.
10
01
JB code
ds.28.09geo
155
178
24
Article
12
01
Friends and followers ‘in the know’
A narrative interactional approach to social media participation
1
A01
Alexandra Georgakopoulou
Georgakopoulou, Alexandra
Alexandra
Georgakopoulou
01
Interactional approaches to everyday conversations, both bi- and multi-party ones, have amply documented the systematicity of sequential phenomena to be found within turn-taking as well as their close links with participant roles and relations. A comparable approach to social media communication is lagging behind, despite the fact that much of the social media pre-designing is specifically aimed at getting users in some kind of a ‘dialogue,’ e.g., between posters and respondents, with facilities such as Like, Comment, Share, etc. In addition to providing a framework for future work on dialogical processes on social media, the findings of this study problematize restrictive views of social media platforms as environments for self-selecting participation on the one hand and ‘context collapse’ (e.g., Marwick 2011) of participation on the other hand.
10
01
JB code
ds.28.10piw
179
202
24
Article
13
01
Dialogue with computers
Dialogue games in action
1
A01
Paul Piwek
Piwek, Paul
Paul
Piwek
01
With the advent of digital personal assistants for mobile devices, systems that are marketed as engaging in (spoken) dialogue have reached a wider public than ever before. For a student of dialogue, this raises the question to what extent such systems are genuine dialogue partners. In order to address this question, this study proposes to use the concept of a dialogue game as an analytical tool. Thus, we reframe the question as asking for the dialogue games that such systems play. Our analysis, as applied to a number of landmark systems and illustrated with dialogue extracts, leads to a fine-grained classification of such systems. Drawing on this analysis, we propose that the uptake of future generations of more powerful dialogue systems will depend on whether they are <i>self-validating.</i> A self-validating dialogue system can not only talk and do things, but also discuss the <i>why</i> of what it says and does, and learn from such discussions.
10
01
JB code
ds.28.s3
Section header
14
01
Part III. Playfulness and narrative functions of dialogue
10
01
JB code
ds.28.11ber
205
224
20
Article
15
01
Dialogue in Audiophonic Fiction
The Case of Audio Drama
1
A01
Lars Bernaerts
Bernaerts, Lars
Lars
Bernaerts
10
01
JB code
ds.28.12mik
225
250
26
Article
16
01
Dialogue in comics
Medium-specific features and basic narrative functions
1
A01
Kai Mikkonen
Mikkonen, Kai
Kai
Mikkonen
01
This paper focuses on the dialogue form in comics as a key narrative device, and examines the main elements and narrative functions that characterise scenes of talk in comics. The goal is to develop a medium-specific understanding of the dialogue form in comics. The starting point is the multimodal character of conversational exchange in comics. This requires a focus on the interaction between the utterance and the elements of the narrative drawing, that is, the ways in which the dialogue form (as written and drawn speech) interacts with what is shown in the image. Crucial aspects of graphic showing in scenes of talk in comics are facial expressions, gestures, body language and shape, and participant involvement. Equally, the expressive functions of typography and pictorial symbols, onomatopoeia, as well as graphic style, panel framing, and page layout, can play a major role.
10
01
JB code
ds.28.13dom
251
270
20
Article
17
01
Dialogue in video games
1
A01
Sebastian Domsch
Domsch, Sebastian
Sebastian
Domsch
01
Dialogue is hardwired into the very matrix of video games, not only because they are an interactive medium, but because they are an <i>active</i> one: they react to input by players and can offer their own input. From the beginning, rule structures in video games were communicated through language. The more emphasis a game put on narrative, the more this turned into a dialogue with the player. Video games are usually at least implicitly cast as second-person narratives, hinting at or enacting a dialogue between the narrator/game master and the player. The player’s avatar also communicates within the game. This chapter looks systematically at the relationship between ludic and dialogic structures and at the various forms that dialogue has taken in video games.
10
01
JB code
ds.28.14may
271
290
20
Article
18
01
Dialogue and interaction in role-playing games
Playful communication as Ludic culture
1
A01
Frans Mäyrä
Mäyrä, Frans
Frans
Mäyrä
01
Dialogue is central to role-playing games (RPGs). It serves multiple purposes, some of which are related to its functional role in mediating in-game clues or actions, some to the role of language in the collaborative construction of shared fantasy. The aim of this chapter is to identity the multiple functions dialogue has in role-playing games, and to provide illustrative examples and analyses of typical and inventive applications of dialogue in role-play. The examples are also chosen to highlight the similarities and differences between such RPG forms as table-top, pen-and-paper RPGs, larp or live-action role-play, as well as single-player and multiplayer, online computer role-playing games.
10
01
JB code
ds.28.15ind
291
296
6
Article
19
01
Index
02
JBENJAMINS
John Benjamins Publishing Company
01
John Benjamins Publishing Company
Amsterdam/Philadelphia
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20170119
2017
John Benjamins B.V.
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JB
10
bebc
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21
26
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https://benjamins.com
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149.00
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