Chapter 1 Introduction
1.1 Study background
1.2 Objectives of the study
1.3 Mimesis and diegesis
1.4 Further explanations of point of view in dramatic texts
1.5 The relation between dramatic text and performance
1.6 Outline of the dissertation
Chapter 2 Literature Review
2.1 Introduction
2.2 Work and problems about point of view in drama
2.2.1 Groff' s point of view in drama
2.2.2 Richardson' s typology of narration in drama
2.2.3 Weingarten' s analysis of La Fundacion
2.2.4 McIntyre' s point of view in drama
2.3 Point of view in stage directions
2.4 Point of view in film
2.4.1 Narration in film
2.4.2 Objective and subjective shots in film
2.5 Conclusion
Chapter 3 Narration， Narrative and Point of View
3.1 Introduction
3.2 Narrative and narration
3.2.1 Fabula and sjuzhet
3.2.2 Story and discourse
3.3 Types of narration
3.3.1 Uspensky' s internal and external narration
3.3.2 Fowler' s classification of narration
3.3.3 Simpson' s development of Fowler' s work
3.4 Point of view in prose fiction
3.4.1 Genette' s focalization
3.4.2 Bal and other' s critique of Genette' s focalization
3.4.3 Uspensky' s four planes of point of view
3.4.3.1 Point of view on the spatial and temporal plane
3.4.3.2 Point of view on the ideological plane
3.4.3.3 Point of view on the phraseological plane
3.4.3.4 Point of view on the plane of psychology
3.4.4 Fowler' s modifications of Uspensky' s classification
3.4.5 Chatman' s work on point of view
3.4.5.1 Slant and filter
3.4.5.2 Center and interest-focus
3.4.5.3 Perceptual and conceptual point of view
3.5 Checklist of linguistic indicators of point of view
3.5.1 Schema-oriented language
3.5.2 Value-laden language
3.5.3 Given information vs new information
3.5.4 Deixis
3.5.5 Representations of thought and perception
3.5.6 Psychological sequencing
3.5.7 Graphology
3.5.8 Presupposition
3.5.9 Grice' s cooperative principle
3.6 Conclusion
Chapter 4 Deietic shifts theory and point of view
4.1 Intrduction
4.2 Deictic shift theory
4.3 The definition of the deictic center
4.4 Categories of deixis
4.4.1 Spatial deixis
4.4.2 Temporal deixis
4.4.3 Person deixis
4.4.4 Social deixis
4.4.5 Empathetic deixis
4.5 Galbraith's deictic shift theory
4.5.1 Deictic fields
4.5.2 PUSHes and POPs
4.5.3 Edgework
4.5.4 Deictic decay
4.5.5 More theories of PUSHes and POPs
4.6 Emmott' s contextual frame theory
4.7 Improved version of deictic shift theory
4.8 Conclusion
Chapter 5 Possible-worlds theory and point of view
5.1 Introduction
5.2 The possible-worlds theory
5.2.1 Possible worlds and the semantics of fiction
5.2.2 Possible worlds and narrative semantics
5.2.3 Inadequacy of truth conditional semantics
5.2.4 Ryan' s typology of possible worlds
5.3 Alternative possible worlds
5.3.1 Fantasy universes
5.3.2 The Principle of minimal departure
5.4 Deictic shifts and possible worlds
5.4.1 Recentering
5.4.2 Increasing and decreasing the prominence of
possible worlds
5.4.3 Deictic shift and possible worlds in Miss Cooper
5.5 Conclusion
Chapter 6 Mind style and point of view
6.1 Introduction
6.2 Studies of mind style
6.3 Leech and Short' s discussion of mind style
6.3.1 Linguistic choices and mind style
6.3.2 Three usual/unusual mind styles
6.4 Logic and mind style
6.5 Paradigms of reality and mind style
6.6 Conclusion
Chapter 7 Conclusion
7.1 Summary
7.2 Concluding remarks
Bibliography
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