“There’s, like, total silence again, roysh, and no one says anything”

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The way the complexities of fictional dialogue are creatively exploited in a play,a film or a novel can reveal much about the management of ordinary conversation.Although it is evident that fictional dialogue and naturally occurring conversationare different types of communication, it is no less true that fictionalrepresentations of dialogue and narratives creatively exploit linguistic featureswhich may be characteristic of spoken language. This chapter discusses how discoursemarkers such as like and roysh, and quotative patterns such as be + like,go, and be + there are employed in the work of Irish author Paul Howard inorder to recreate contemporary Dublin English.


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