Race: A Play by David Mamet

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By David Mamet

"Gripping. . . . Deep in its intestine, Mamet's new play argues, every thing in America—and this play throws in intercourse, rape, the legislations, employment and relationships—is nonetheless approximately race."—Chicago Tribune

"A dramatist celebrated for introducing expletives to the yankee theatre now tackles a really taboo four-letter be aware. . . . such a lot thinking about the ability and treachery of language, Mamet continues to be American theatre's so much pressing five-letter word."—The Guardian

David Mamet, who took almost about sexual harassment along with his 1992 drama Oleanna, has once more ignited controversy, hitting the hot-button factor of our so-called post-racial society. while a wealthy white guy is accused of raping a more youthful African American girl, he seems to a multicultural legislation enterprise for his security. yet while his lawyers—one of them white, one other black—begin to strategize, they have to confront their very own biases and assumptions approximately race relatives in the US. at present enjoying to acclaim on Broadway in a construction directed by way of Mamet, viewers participants can be moved to self-scrutiny through his signature gritty but finely tuned language.

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Sample text

But these lists are clearly different from either of the other kinds of naming. They occur in non-audible contexts in both texts; and though useful and usual, they are optionally deletable because they could be done without — one distinguish­ ing feature of the PARATEXTUAL. The PARATEXTUAL features such as IIA and IIB, and also IIC and IID, lie at the juncture of the TEXTUAL and the SUP­ RATEXTUAL: they are the only elements which, if present, are usually identi­ cal in both the dramatic and theatrical texts, as Figure 2 indicates in the uppermost row.

Striking is the almost total lack of provision for the non-verbal (SUPRATEXTUAL) theatrical media. Despite these and certain other limitations, Elam's scheme has the unusual virtue of being displayed, and it is thoughtful and suggestive. The main point to note is that certain of his elements are closely related to some in this study, though sometimes the connection has been obscured; and that certain elements present in the one study are not present in the other. The division of the text according to microsegments is the method used by field linguists who have studied very diverse and often 'remote' lan­ guages all over the world.

In terms of other dimensions, such as ARISTOTELIAN DIVISIONS or language COMMUNICATIVE FUNCTIONS, more revealing relationships may emerge. 5. Establishing a controlled semiotics for the dramatic microcorpus There is a great need of establishing a controlled semiotics for the stylistic analysis of the drama. The present Chapter specifies six semiotic dimen­ sions which are subject to control. These will be approached through two necessary and problematic facets which have received much attention in the semiotic study of extended texts: the handling of narrative, and the seg­ menting of the texts into suitable units of meaning.

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