通读文章后不难发现，这五个框架是全文分析的基础，不但很好的承接了上文由塞克斯等学者提出的话轮转换理论，更重要的是为后文提供了一个良好的理论平台，使作者游刃有余的分析一篇看似信手拈来、实则精心挑选的戏剧语篇，同时也构成了文章的“独创性”。如果作者经过多年潜心研究得出这一理论框架的话，实则为国内戏剧文体学研究界一大幸事，可谓开创戏剧文体学定量分析模式之先河。然而不幸的是，此文的写作和发表时间稍迟一步。早在1996年，笔者在英国求学之时便拜读过由Addison Wesley Longman Limited 出版公司发行、英国兰卡斯特大学现代英语与语言学系著名文体学家Mick Short先生著述的Exploring the Language of Poems, Plays and Prose（国内著名外语期刊《外国语》曾为此书作过书评）.
Look at the questions below and decide whether they apply best,
other things being equal, to more powerful or less powerful
interactants in conversations. I have indicated my intuitions
with an “X” in the columns below. See if your intuitions
about what is typical coincide with mine:
Powerful Powerless
Speakers speakers
Who has most turns? X
Who has the least? X
Who has the longest turns? X
Who has the shortest? X
Who initiates conversational exchanges?X
Who responds? X
Who controls the conversational topic?X
Who follows the topics of others? X
Who interrupts? X
Who is interrupted? X
Who uses terms of address not marked for respect
( e.g. first names only)? X
Who uses terms of address marked for respect
( e.g. title + last name)? X
Who allocates turns to others?X