Національна Академія Мистецтв України Інститут культурології
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- field structure of totality as a hierarchy
| communicative relationship between author and addressee (observer) and, respectively, their images, so that it determines the essence of poetical message as the communication’s object.
In particular the moment of participation contributes essentially to the differentiation between comedy and tragedy. The appeal to participation most clearly reveals itself in tragic catharsis in opposite to comic absurdity that provokes distanced attitude. It is the opposition of sympathy vs. antipathy that betrays the effect of participation. No need to say that such observer’s involvement and participation in the represented action must be strictly distanced; otherwise it will be something different from scenic play. Whether in the form of lyrical sympathy or dramatic attendance it goes about imaginary involvement in textual integration together with the heroes. Here in its turn it comes to the last of the generic dimensions within the axis of totality vs. partiality. As to the generic distinctions between drama and epics the mentioned involvement of sympathy and antipathy in its turn displays differences of the role of totality: if epic novel represents it neutrally it reveals in drama field structure with the central moments of culmination producing catastrophe and pathos so that participation reveals itself as accentuation within the dramatic functional structure. Therefore dramatic play aims at representing totality as epic novels do though in a different way. In drama totality is implicit and inferential in its nature, it is still to be discovered and recovered with an observer’s efforts. Dramatic play appeals to an observer’s competence surpassing the experience of a separate hero so that with the aid of this key the door to the universe can be unlocked. It is observer’s distance that provides such excellent competence necessary for textual integration. The totality of dramatic play is conceived as the property of actions and therefore is represented in imperative mode. The implied totality is that feature that unites dramatic and epic genera and confronts them to the lyrical genus where particulars have no such references to totality. This way of representing totality delivers to drama the favorable conditions for stressing the decisive point of culmination, and the existence of such point has been marked by W. von Humboldt as the principal generic peculiarity of drama in opposite to the “smoothness” of epic textual structure959. This field structure of totality as a hierarchy revealed in dramatic play (in difference to its epic representation) gives the reasons to come to the conclusion that it does go about reconsidering totality as the global world’s map960. In particular it is the illusion of simultaneity that marks the effect exerted with the perception of dramatic play. Thus the above discussed textual integrative conditions (distance vs. participation, contemplation vs. action. totality vs. particularity) play their role in the disclosure of idiomatic motif’s connotations. These particular revelations of dramatic textual functionalism and hierarchy are to be observed most immediately in the particulars of dramatic syntax. The specific dramatic textual density (in difference to loosened epic prosaic narration) entails also the particular syntactic peculiarities of scenic speech comparable to the known deviations of versified lyrical works. In particular one can refer to the intensification of distant syntactic relations (especially in conversational episodes). The role of syntax is first of all that of imparting asymmetry (and therefore revealing anisotropy) instead of homogeneous field structure with its opposition of center vs. periphery. In dramatic situation these features promote in delineating the tendentiousness in opposite to epic ubiquity. Dramatic syntax with its asymmetry underlines the intentional priority. It is here that the specific dramatic peculiarity of anisotropy (as the inevitability and irretrievability of actions’ consequences) with its fatalistic and antithetic verve results in the shift and drift of symmetrical structures. The already discussed problem of culmination exemplifies such displacement of the center of balance. Generic poetical peculiarities of syntax can be seen very vividly in the distant relations arising both in dramatic and lyrical texts. Distance of connections reveals textual density and deictic scheme as the basis of textual integration961. Together with such widespread form of poetical deviation from normative syntax as hyperbaton with the ensuing distant relations it is to mention the figure of prolepsis that can play an important role in dramatic reproduction of conversational speech962. It intersects also with the so called nominativus pendens with the separated prepositional member of sentence [Schneider, 513]. It is especially to stress that together with such device as parenthesis it carries out emphatic function and therefore involves the procedures of actualization. In particular as far as it entails the anticipating effects the phenomenon of double actualization arises963. This phenomenon consists in disclosing predicative functions in those elements that potentially haven’t them so that the number of predicates can be multiplied964. These and other syntactic particulars of dramatic speech can be summed up with the scheme of dramatic deixis as the decisive power determining the idiomatic metamorphoses. Inversions & insertions with distant consequences build up thus the core of poetical syntax. In its turn such deviations become also experimental explorative device that enables putting the obtained effects under examination with introducing distant divisions of tied elements. To sum up, dialogical direct speech as the most demonstrative external generic feature of drama represents only a particular case of textual segregation within the axis of personal dimension. Together with it other dimensions are involved so that dramatic contextual conditions become favorable for the intensified interpretability of separate phrases promoting thus their meaningfulness. It is the mechanism of segregation & aggregation that initiates such interpretative development. The common rhetorical device of parcellation as the immediate step imparting ambiguity with the ensuing necessity of interpretative elucidation grows here to the scope of general segregation that entails this intensification of interpretative efforts. It is in dramatic genus that textual segregation is carried out most consequently entailing “invitation” for these efforts. One can find a very palpable example of such parcellation represented in the form of an “echo” of replica repeated in divided shape with segregation resulting in meditating efforts. This device coming back to the old rhetoric figure of symploke (that’s of taking the same word from different viewpoints that can happen from the combination of anaphor with epiphor in repetition) and resulting in the homonymous dissociation represents actually the collision of the viewpoints. This device of echo-like repeating fragments of replica with the aim of endowing them with new references and thus reconsidering their meanings is often used in the dialogues of lovers. Such is the case in A. Block’s “The Fate’s Song” (4).
It is the overt demonstration of the comprehensions’ incongruence in the use of the words ‘man’, ‘blood’, ‘to begin’, ‘star’. All differences of the meanings arouse the further discussion and become the developmental powers of the drama. The hero’s appeals are retorted with the discouraging answers. In particular the opposition of the outer surface and inner core is implied with the different attachments of ‘blood’ to ‘face’ and ‘heart’. This implication initiates the opposition of enthusiasm and skepticism that is outspokenly uttered in the last cue on the ‘fallen star’. Such echoed locutions demonstrate very clearly that idiomatic development goes inevitably together with the development of action: the heroes learn one another reciprocally with each new replica, and the meanings of the phrases on their part display permanent renovations. The situatio0n depicted in the scene is that of ACQUAINTANCE between man and woman. The device of echoed locutions correlates with the tasks of reciprocal reconnaissance of the both characters. Another example of the device’s use that correlates with the situation of DISAPPOINTMENT is to be found in the case of the hero of M. Kulish’s “The Pathetic Sonata” appealing his former sweetheart Mary (now condemned to death and awaiting the execution in the prison) who divides his speech into particles to give response to every bit of them:
The girl’s objections here refer to the well known old image of the Cossack and the girl near the wells that reproduces the motif of the Gospel’s Samaritan woman. Besides, there’s the puzzle connected with the motif [SWING HORSE] from the psychoanalytic viewpoint the motif of taking the seat at a swing horse replaced with the genuine horse is the representation of the latent infantilism’s detention. The author tries to escape from childhood but he is not able to accomplish this without the girl who is to perish after their conversation. Thus a simple division of the repeated words gives pretext for wide reflections disclosing the references to the unexpected topics. It is to add here that another motif of [UNBIDDEN (SELF- INVITED) GUEST] appears twice radically changing its meaning. First the hero appeals with this phrase in his imagination to his sweetheart’s vision, then his imagined words are used in the reply of the girl awaiting death. Now this motif is identified with hangman and not with lover. The segregation of a pair of words promotes reconsidering it as an idiom with the full semantic inversion. One could call such exchange of replicas the initial form of analytical conversation as it comes to the elucidation of contents through the disclosure of details. The more developed form of such echoing repetition of replicas can be found in the devices of catechetic structures where the assertion is retorted with a question. These questions can be those of investigating nature (as the aspects of cooperative dialogue) or they can represent objections and negations in interrogative form. Then a dialogue displays the apparent features of discussion965. Besides it is observable that in such cases conflicts are aroused more frequently966. Catechetic structures as the source of discussion can therefore come back to a mere echo where the situational collision appears in its visible form. One of the directions of the further development can be found in the formation of some special phrases that can be used only in reply to some precedent replica967. Therefore it is already the positional order that can grow from the prerequisites of simple echo. Still another kind of this device is to be encountered in Buratino’s play “The Golden Key” by A.N. Tolstoy. Here the homonymous dissociation of the idiom OMEN (ПРИМЕТА) becomes the decisive motif for the whole dramatic action. For the first time it appears as the sign referring to contrast objects – those of the concealed treasure behind the fire-place and of the weather to be changed. Meanwhile the changing weather points to the fortune of dramatic antagonist and arouses his irritation. The second case of the idiom is connected with the salvation of the protagonist.
Drama looks then like a transformation of a novel where interpretative opportunities of each phrase are essentially enlarged due to the effects of textual parcellation and segregation. In its turn the segregation of verbal substance as the preliminary step to aggregation is carried out most outspokenly in personal and positional dimensions resulting in separate replicas uttered in separate scenic episodes. Therefore situation as the basic unit of interpretation is here given in its pure, “naked” shape. Here the bridge of dramatic text towards codification becomes apparent. Situations (as it has been just mentioned) are predictable in the same manner as the judicial cases can be foreseen within the legislative norms and therefore they correlate with codified conventions. With situations taken into consideration one comes to the circumstances of casual nature where the predictability of reproducible conventions comes into play. The foreseen cases represent situations that the unexpected consequences and the opportunities of further transformations and interpretative modifications. Thus any situation displays components reducible to conventions together with those with unexpected consequences. Therefore the very predictability as such presupposes the proper situational collision involving the alternative issues of expected / unexpected results and respective connotations. This collision enables separating details that can represent situations with the respective attributive features. Such details correlate with what has been designated as the prototype of situation. Thus dealing with the products of textual segregation in drama one can find the grounds for representing prototypical situations with the respective detail. As a classical example of the detection of meaningfulness of phrasal details on refers usually to the 1871st I.A. Goncharov’s analysis of A.S. Griboyedov’s comedy968 where it has been substantiated the importance of the accident with Molchalin in the 2nd act (his fall from the horse with the succeeding explanation with the succeeding explanation between him and Sophie)969. In particular the phenomenon of the fatal rumor provoked with these events becomes the turning point of dramatic conflict970. The importance of seemingly insignificant phrases dropped from Molchalin’s mouth consists in the consequence that they betray his genuine intentions and discloses his concealed essence971. Such approach enables interpreting Molchalin as an inversion of Iago, so that Sophie becomes a feminine version of Othello while Chatski represents a masculine Desdemona. Meanwhile there appears still an alternative opportunity for comprehending the events if one takes into account the fate of some phrases and, in particular, of the motif LAUGHTER in this comedy. This motif is mentioned in Chatski’s cue cited by I.S. Goncharov ( «Мне в петлю лезть, а ей смешно!» ) where the hero accuses her former sweetheart with such sin. At the same time there are much more cases of this motif being mentioned, and all they promote condemning the conduct of this hero:
It is laughter that becomes here the dangerous daemonic power that brings the hero to destruction. In the initial replicas one encounters still the opposition LAUGHTER VS. TEDIUM; the ability to smile is here estimated as a sound and universal element. Meanwhile it is already the semantic modulation with the introduction of the ideas of laughter’s attachment to joy and happiness that the new stress appears: it goes about the “silly laughter” as the help in merry-making. It is this stress that turns out to become fatal: there follows the disappointment from derision and its identification with SIN. One could therefore suppose that it would be designate the comedy as “The Harm from Laughter” instead of “The Harm from Mind”. The liberty of deriding all things becomes the ground for the hero’s condemnation. The situation of universal DERISION turns into the derision of that who derides the opponents and instead of overcoming tedium respasses norm. At the same time it is not each phrase of dramatic text that is endowed with the intensified interpretative opportunities in equal degree. In opposite to the rarities of phrases that acquire the decisive meaning of pivot-words and passwords (as is the case with the generation of the mentioned rumor in A.S. Griboyedov’s play) one always encounters the series of indispensable enunciations ensuing from the necessity of telling proper to the respective situation. Such obligatory phrases are to be found, for instance in the phrases of episodic characters used in typical situations as the Messenger (W. Shakespeare’s “Much Ado about Nothing”, 1.1): “I know none of that name”; “He hath done good service”. The matter is that these obligatory phrases can’t be opposed to the pivot-words of passwords as the commonplaces to rarities in the manner of the rhetoric topos vs. hapax. Obligatory speeches are necessary also for characters’ portrayal where the peculiar rarities must be used as well. Oberon in his conversation with Titania (W. Shakespeare’s “Midsummer Night’s Dream”, 2.1) uses both an unusual appeal “tarry, rash wanton” and quite predictable in the situation locutions “for shame” or “knowing I know thy love”. Therefore it is the overall thorough action that determines the functional missions of separate phrases and the idiomatic meaning that they get within the borders of the play. In its turn the very situations that the action consists of are liable to codification and in particular display the features of apparent conventionality. The ensuing dependence of the meaning of a phrase upon the contextual conditions and intertextual references to conventions can be shown very vividly. For example, in Gogol’s “The Marriage” in the mouth of Podkolesin the sense of verb “to be married” completely changes from the questions to the servant («Может быть, он говорил, не хочет ли барин жениться?» ‘has not he asked by chance whether the mister wants to marry?’) until the concluding monologue just before the unexpected change of decision («… я бы дал повеление жениться всем …» ‘I’d order the command to marry everybody’). Comparing such fragments as the potential cited aphorisms, it is easy to see the transition from concealed boast and teasing behavior in a rhetorical question to the absurdity of marriage “following the order” so that the motif ORDERED MARRIAGE comes into play. The latter fact justifies the final flight of Podkolesin as the manifestation of free will with the transformation of sense in something radically inverted. Social conventions of the kind and the ensuing absurdity as their indispensable concomitant satellite give pretext for the dramatic representation of colloquy with its conventional locutions as the object of scenic exhibition. The just discussed attachment to жүктеу/скачать 6.92 Mb. Достарыңызбен бөлісу:
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