Academic literature on the topic 'English fiction Dialogue'

How to write realistic dialogue. Allison & Busby, 1994.

Summers, Rowena. How to write realistic dialogue. Allison & Busby, 1994.

Matched pairs: Gender and intertextual dialogue in eighteenth-century fiction. University of Delaware Press, 2002.

Forms of speech in Victorian fiction. Longman, 1994.

Fictional dialogue: Speech and conversation in the modern and postmodern novel. University of Nebraska Press, 2012.

Thomas, Bronwen. Fictional dialogue: Speech and conversation in the modern and postmodern novel. University of Nebraska Press, 2012.

Kimball, Jean. Joyce and the early Freudians: A synchronic dialogue of texts. University Press of Florida, 2003.

Incomplete fictions: The formation of English Renaissance dialogue. Catholic University of America Press, 1985.

Morace, Robert A. The dialogic novels of Malcolm Bradbury and David Lodge. Southern Illinois University Press, 1989.

Prince, Michael. Philosophical dialogue in the British Enlightenment: Theology, aesthetics, and the novel. Cambridge University Press, 1996.

Gelbukh, Alexander, Grigori Sidorov, and José Ángel Vera-Félix. "Paragraph-Level Alignment of an English-Spanish Parallel Corpus of Fiction Texts Using Bilingual Dictionaries." In Text, Speech and Dialogue. Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11846406_8.

Oksefjell Ebeling, Signe, and Hilde Hasselgård. "Chapter 18. Intensification in dialogue vs. narrative in a corpus of present-day English fiction." In Studies in Corpus Linguistics. John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/scl.97.18ebe.

Scholar, John. "James’s Criticism of Existing Theories of the Impression, 1872–88." In Henry James and the Art of Impressions. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198853510.003.0002.

Hammersley, Rachel. "Innovation in Style." In James Harrington. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198809852.003.0008.

"The (mis)rendering of informationally marked structures in fictive orality: English in situ accent-shift into Catalan." In The Translation of Fictive Dialogue. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401207805_013.

Anderson, David. "An English Pilgrim." In Landscape and Subjectivity in the Work of Patrick Keiller, W.G. Sebald, and Iain Sinclair. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198847199.003.0005.

Branham, R. Bracht. "Inventing the Novel." In Inventing the Novel. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198841265.003.0002.

Hingston, Kylee-Anne. "Grotesque Bodies: Hybridity and Focalization in Victor Hugo’s Notre-Dame de Paris." In Articulating Bodies. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620757.003.0002.

"37). Indeed, rumour had it that one of them, En cas de bonheur, was nicknamed En cas de déprogrammation (In Case of Happiness/In Case of Cutting from the Schedules) (Pélégrin 1989: 37). The third and least powerful element in this force field is the British contribution to French TV serial fiction. As the French preference for the high(er) cultural mini-series might lead one to expect, British production is represented by BBC-style middle-brow costume dramas such as The Forsyte Saga, rather than by such soaps as Coronation Street or EastEnders, neither of which had been screened in France when Neighbours opened. This triangular force field of high-gloss prime-time American soaps and high(er) cultural French and British costume and psychological dramas afforded no familiar televisual footholds for a Neighbours. It landed in a limbo, possibly ahead of its time, but certainly lost in 1989. Whereas its register of the everyday proved readily assimilable to the British aesthetic discourse of social realism exemplified by such community-based soaps as Brookside, EastEnders, and even Coronation Street, such a discourse is in France found less in soaps than in quite another genre, the policier. Simultaneously, Neighbours fails to measure up to two key expectations of French television serial fiction: its psychological characterization with psychologically oriented mise-en-scène, and its polished, articulate dialog involving word-games and verbal topping (Bianchi 1990: 100–101). The second and third factors working against Neighbours’s French success are linguistic and to do with television imports. Both the unfamiliarities of the English language and of other Australian televisual product doubtless played their part in Neighbours’s failure in France. Linguistically, France is more chauvinist than such European countries as Holland, Belgium, and Germany, where Australian and British soap operas and mini-series are much more widely screened. And apart from short runs of Young Doctors, A Country Practice, and a few oddball exports, Australian televisual material is known best through the mini-series All the Rivers Run, The Thornbirds, and Return to Eden (which was successful enough on TF1 in 1989 for La Cinq to rescreen it in 1991). This is a far cry from the legion Australian soaps which paved the way for Neighbours in Britain. All in all, the prospects for Neighbours in France were not promising. In the event, as in the USA, it secured no opportunity to build up its audience. Antenne 2 declined to discuss the brevity of its run or its (too) frequent rescheduling. Catherine Humblot, Le Monde’s television commentator, sees a “French mania for change in television scheduling” as a widespread phenomenon: “if a programme has no immediate success, then they move it” (Humblot 1992). Rolande Cousin, the passionate advocate of Neighbours who had previously sold Santa Barbara and Dallas in France, adds that Antenne 2’s lack of confidence in the Australian soap may have been exacerbated by its employment policy of the time of offering golden handshakes to its experienced management and installing young blood. This would have arisen from Antenne 2’s difficulties finding adequate advertising revenue to support its." In To Be Continued... Routledge, 2002. http://dx.doi.org/10.4324/9780203131855-29.