序 何兆熊 Acknowledgements Abstract 内容提要 Chapter 1 Introduction 1.1 The rationale of the study 1.2 Objectives of the study 1.3 Methodology of the study 1.4 Outline of the book Chapter 2 Stylistics of drama: The state of the art 2.1 The pre-stylistic period 2.1.1 The traditional literary critical approach 2.1.2 The rhetorical-poetic approach 2.2 The early stylistic period:The poetic-fictional approach 2.3 The pragmatic and discourse analysis period:The study of the dialogue 2.4 The pragmastylistic period:The study of stage directions 2.5 A comparison and contrast of the different approaches 2.6 Summary Chapter 3 Pragmatics as a perspective on dramatic texts 3.1 The view of pragmatics as a tool kit 3.2 The view of pragmatics as a perspective on language 3.3 Different contributions of discourse analysis and pragmatics to stylistics of drama 3.4 A pragmatic perspective on dramatic texts 3.4.1 The phonological level 3.4.2 The semantic level 3.5 Summary Chapter 4 Stage directions as an important object for stylistic analysis 4.1 Some theoretical preliminaries 4.1.1 Which is the object of stylistics of drama, text or perform-ance? 4.1.2 The double-level structure of the dramatic discourse 4.1.3 The production and comprehension of dramatic message 4.1.4 Speech,act,and semiotics 4.1.5 “Video discourse analysis”and“visualized discourse analysis” 4.2 Stage directions as an important object for stylistic analysis 4.2.1 Deletion and substitution: A way to elicit the importance of stage directions for stylistics of drama 4.2.2 Stage directions in classical plays 4.3 Summary Chapter 5 From page to stage: A pragmastylistic perspective on stage directions 5.1 Pragmastylistics of drama: An integrated theory 5.1.1 Defining pragmastylistics of drama 5.1.2 Research questions drama pragmastylisticians attempt to answer 5.1.3 The procedure for pragmastylistic analysis of dramatic texts 5.2 A pragmastylistic perspective on stage directions of drama 5.2.1 A pragmastylistic perspective on stage directions 5.2.2 An analytical procedure of stage directions 5.2.3 Analyzing and tagging the stage direction unit: An example 5.3 Summary Chapter 6 Characterization revealed in stage directions 6.1 Introduction 6.1.1 Yu’s stylistic study of the play 6.1.2 My research questions 6.2 Methodology 6.2.1 Samples for analysis 6.2.2 Process of analysis 6.3 Results and discussion 6.3.1 General statistics 6.3.2 Characterization revealed by stage directions 6.4 Summary Chapter 7 Conclusion 7.1 Summary of the study 7.2 Significance of the study 7.3 Implications of the study 7.4 Limitations of the study and suggestions for further exploration References Appendix
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