Thesis (Ph. D.)--University of Wisconsin, 1965. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Inaug.-Diss.--Giessen. / Lebenslauf.

Thesis--Giessen. / Vita. Includes bibliographical references (p. v-vii).

This thesis is a study of proverbs and their use in dialogue. Proverbs have a long history but have not been the subject of much linguistic research in Sweden. The purpose of the study is to examine how proverbs are used, who uses them and to what extent they are used. The focus is on the communicative functions of the proverb and on how information is disseminated through proverbs. The theoretical basis of the study is systemic-functional linguistics and its view of language use, with focus on the interpersonal metafunction. A qualitative analysis has been performed using the principles and perspectives of conversation analysis. The source material consists of 45 Swedish plays published between 1700 and 2000, which form part of the corpus Svensk dramadialog (Swedish drama dialogue). Proverbs are used among other things to argue, criticise, comment, comfort, defend, object or explain. Their use varies over time in terms of frequency as well as to which speech functions are expressed, but they are predominantly used in much the same way today as 300 years ago. The results of the study show a clear decline in use over time in the number of proverbs in the material. They are used most frequently in the 18th century to argue and object, while in the 20th century they tend to be used to criticise. Their most common function in all periods is to comment. Older people use proverbs in speech more than younger people, and there is a frequent tendency for proverbs to be aimed at other people of the same generation. Equally as many women as men use proverbs in speech in relation to their speaking space in the corpus. Proverbs are frequently multifunctional and act as a linguistic resource in the dialogue.

<p>This thesis deals with interactional patterns in verbal disputes as portrayed in the written dialogue of Swedish drama over three centuries. The overarching aim is to contribute to research into conflict talk in Swedish dialogue, but also to contribute to historical pragmatics and linguistic stylistics.</p><p>The teoretical and methodological framework combines elements from conversation analysis and theories of communicative events (activity types). A corpus of 30 drama texts, written during the 18^th century, the late 19^th century, and the late 20^th century, was examined for examples of conflict events that are lexically marked as such in the texts (by words such as <i>argument</i>, <i>dispute</i>, <i>quarrel</i> etc.). </p><p>A total of 47 conflict events were identified in 21 of the 30 drama texts. The construction of the beginning of the three most significant types of conflict sequences found within 45 of the 47 events, totalling 111 sequences, is analysed in detail. The three sequence types concern differences in opinion (disagreement sequences), accusations (complaint sequences) and directives (rejection sequences).</p><p>One result of the study is that complaint sequences are shown to be by far the most common conflict pattern in the data. Another result is that few differences are found regarding the construction of the sequences over three centuries. For the most part, it is the same sort of moves that are frequent no matter which period the data stem from. One conclusion is therefore that the conflict patterns in drama dialogue appear to be relatively stable over time.</p><p>The study also deals with the dramatic functions of the conflict patterns (the events, sequence types or moves). Two functions are discussed, namely plot development and characterisation. While all conflict can further the process of characterisation, for example by showing the negotiation of differences in power between the characters, less than half of the events further the plot by having an effect on the disputants or other characters in the drama.</p>

This thesis deals with interactional patterns in verbal disputes as portrayed in the written dialogue of Swedish drama over three centuries. The overarching aim is to contribute to research into conflict talk in Swedish dialogue, but also to contribute to historical pragmatics and linguistic stylistics. The teoretical and methodological framework combines elements from conversation analysis and theories of communicative events (activity types). A corpus of 30 drama texts, written during the 18th century, the late 19th century, and the late 20th century, was examined for examples of conflict events that are lexically marked as such in the texts (by words such as argument, dispute, quarrel etc.). A total of 47 conflict events were identified in 21 of the 30 drama texts. The construction of the beginning of the three most significant types of conflict sequences found within 45 of the 47 events, totalling 111 sequences, is analysed in detail. The three sequence types concern differences in opinion (disagreement sequences), accusations (complaint sequences) and directives (rejection sequences). One result of the study is that complaint sequences are shown to be by far the most common conflict pattern in the data. Another result is that few differences are found regarding the construction of the sequences over three centuries. For the most part, it is the same sort of moves that are frequent no matter which period the data stem from. One conclusion is therefore that the conflict patterns in drama dialogue appear to be relatively stable over time. The study also deals with the dramatic functions of the conflict patterns (the events, sequence types or moves). Two functions are discussed, namely plot development and characterisation. While all conflict can further the process of characterisation, for example by showing the negotiation of differences in power between the characters, less than half of the events further the plot by having an effect on the disputants or other characters in the drama.

This paper studies the use of violations of conversation principles in the written dialogue of Tyrion Lannister in Game of Thrones. The aim is to establish if and how these violations aid in making him seem clever. The character's dialogues are matched against three theoretical principles: Politeness Theory, The Cooperative Principle and Turn-taking Principles. The findings suggest that by breaking basic principles of conversation, Tyrion provides entertaining dialogue and manages to create unexpected solutions to different threatening situations. Results show an even distribution of strategic violations, among the three theoretical approaches, which could suggest that the dialogue is consciously written to help make the audience feel impressed by the character's features. Tyrion's violations of conversation principles is a contribution in what makes him seem witty. This ability in the character seems to be closely linked to a lack of fear for any negative social consequences. The character's ability to act free from rules of social behavior could be considered one of the reasons behind his popularity among fans of the show.