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Interactive Monologue in Witchcraft Pamphlets’ Prefaces (1566-1621)
| DC Field | Value | Language |
|---|---|---|
| dc.contributor.author | Krisda Chaemsaithong | - |
| dc.date.accessioned | 2022-07-15T19:36:53Z | - |
| dc.date.available | 2022-07-15T19:36:53Z | - |
| dc.date.issued | 2016-00 | - |
| dc.identifier.issn | 1598-9453 | - |
| dc.identifier.issn | 2636-1183 | - |
| dc.identifier.uri | https://scholarworks.bwise.kr/hanyang/handle/2021.sw.hanyang/155536 | - |
| dc.description.abstract | Informed by Goffman’s concept of footing (1981), this study explores multiple voices and speaking roles that a writer may take up in the preface of witchcraft pamphlets, along with their pragmatic functions. The qualitative analysis of thirteen witchcraft pamphlets (1566-1621) explicates the ways in which pamphleteers consistently shift into and depart from three speaking identities (authorial, interlocutory, and character roles). Such distinct patterns strategically serve to promote the reception, and avoid refutation, of the main text. | - |
| dc.format.extent | 20 | - |
| dc.language | 영어 | - |
| dc.language.iso | ENG | - |
| dc.publisher | 한국영어학학회 | - |
| dc.title | Interactive Monologue in Witchcraft Pamphlets’ Prefaces (1566-1621) | - |
| dc.type | Article | - |
| dc.publisher.location | 대한민국 | - |
| dc.identifier.doi | 10.17960/ell.2016.22.1.002 | - |
| dc.identifier.bibliographicCitation | 영어학연구, v.22, no.1, pp 19 - 38 | - |
| dc.citation.title | 영어학연구 | - |
| dc.citation.volume | 22 | - |
| dc.citation.number | 1 | - |
| dc.citation.startPage | 19 | - |
| dc.citation.endPage | 38 | - |
| dc.identifier.kciid | ART002103589 | - |
| dc.description.isOpenAccess | N | - |
| dc.description.journalRegisteredClass | kci | - |
| dc.subject.keywordAuthor | authorial | - |
| dc.subject.keywordAuthor | character | - |
| dc.subject.keywordAuthor | footing | - |
| dc.subject.keywordAuthor | interlocutory | - |
| dc.subject.keywordAuthor | paratext | - |
| dc.subject.keywordAuthor | preface | - |
| dc.subject.keywordAuthor | speaking roles | - |
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