Національна Академія Мистецтв України Інститут культурології
deixis) between them. It is also obvious that deixis is both contextual & intertextual
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| deixis) between them. It is also obvious that deixis is both contextual & intertextual phenomenon and concerns both the given text and the whole textual corpus, the last one inevitably involving the procedure of codification. In particular the existence of such intertextual points of reference ensues from the very property of details’ relative autonomy. Such details present in a textual corpus build up what can be said the metrical space of this corpus delivering thus typical metrical schemes for the particular texts (as for instance in the corpus of genre with the respective schemes of versification). It can be exemplified with the obligatory conventions of a genre, in particular with the key words that determine lexical “tonality”. In its turn deixis refers to phantom as the textual integrative foundation. Thus one can say of the transcendental background of deixis & phantom as the source for integrative textual basis and, in particular, for metrical scheme. Then rhythm as the explicit textual phenomenon stands in transcendental relation to its metrical source.
The existence of unavoidable repetitions as the immediate source of meter makes up the genuine basis for prosaic rhythm ensuing from permanently recurrent syntactic structures (in particular of propositions). Prosaic rhythm can be said to appear together with the dots of sentences, and the perturbations of this inevitable order makes up the proper textual rhythm. These “syntactic games” with rhythm can be exemplified with the separate works on symmetry and its removal in syntactic structures: it has been shown in particular that the structures of chiasm and zeugma deliver wide opportunities for the creation and distortion of symmetry. Of significance is that such opportunities involve the disclosure of the actual structure of sentence as in the proverb <time is that which man is always trying to kill, but which ends in killing him> where the actual predicate of the whole becomes the theme of the precedent clause representing thus an elegant inversion [Береговская, 36]. The metrical properties of unavoidable repetitions (say, of syntactic structures) can be exemplified also with the so called syntactic phraseology that displays both contextual and intertextual effects of such measure. One can say of syntactic invariants that provide schemes for producing derivative phrases. For instance there has been a special study carried out where nine exclamatory emphatic structures of the kind have been described1086. It is essential that such repeated stable construction give ground for developing different modal and aspectual meanings as the scheme providing conditions for the variability of contents1087. Meanwhile these obvious metrical prerequisites are only the observable side of a greater scope of textual opportunities. One could say that textual key words build up a metrical scheme also without the immediate repetitions of tautological kind: it is peculiar structure of phrase that provides such opportunity1088. Usually one can regard them as pivotal words (and passwords of dramatic action) that correlate with the above discussed predicative schemes of taxis and nexus. In its turn they can remain unmentioned and only implied. It is already the tautology of leitmotivs’ repetitions and recursions of key words that represent the outer and the simplest side of textual metrical space that can by no means be reduced to “tautological” organization. One can easily recognize the features of metrical automatic inertia and its rhythmical overcoming with the means of asymmetry and anisotropy in the attributes of rhythm found by the researchers of literature. Such inertia is discovered and described by S.T. Weimann, for instance, in “Decameron” with the tautological repetition of the motif of exaggeration1089. In particular the oscillations between the extremities of opposite events are gathered together and added in some wave that comprises and reorganizes their course1090. Such rhythmical reshaping force provides conditions for textual natural breath of compressions and expansions1091. Of significance is here the construction of rhythm as the oscillating deviations from some virtual mean values’ line made up of tautological contents. In difference to this concept of semantic rhythm applicable for epic genus there exists still the generalization of rhythm where the peculiarities of dramatic play are taken into account. It goes about the prevalence of action as the distinctive generic dramatic feature with the succeeding growth of the role of interpretative activity (in particular the already discussed observer’s participation) that becomes specialized performance involving already the indispensable non-verbal components. The conception of dramatic rhythm (demonstrated in particular in instructive manuals) includes first of all its confrontation to meter as its necessary existential prerequisite1092 and stresses the features of struggle as its most essential quality whereas tempo behaves as a kind of the resultant force of the interaction between rhythm and meter1093. Therefore the very action represented in a dramatic work has rhythmic structure as the process of the development of conflict through the deeds of dramatis personae and the interaction of their wills1094. Such “agonistic” approach to dramatic rhythm comes back to K.S. Stanislavski’s conception of the so called tempo-rhythm that concerns the transcendental phantom of action and can by no means be restricted with verbal row (as the outer sound forms of the rhythmically organized signifiers) or the rows of motion & plasticity. It is the struggle irreducible to separate components that becomes the genuine substance of tempo-rhythm1095. If the implicit semantic rhythm of a novel as it is conceived for example in the cited works of S.T. Weimann coexists together with the explicitly observable prosaic rhythm of, say, the syntactic constructions with its meters of the recurrent patterns of propositional structures, it is another case within dramatic genus where also the corporeal movement bears the meaning not only of something resembling choreography but of the generalized image of numerous other non-verbal factors that are involved in the performance of a dramatic play and build up a transcendental object of imagery. There appears the generalized spatial image representing transcendental non-verbal powers united with the rhythm. This transcendental nature of tempo-rhythm is attested with its attachment to the so called “supposed circumstances” created with imagery and to the inner state of human beings as they perceive them1096. Therefore one can say of a multitude of tempo-rhythms that “inhabit” a dramatic work and in particular each dramatis persona and subsequently of a “contest” between different rhythms1097. Such “inter-rhythmical contestation” represents the phantom of action as the genuine foundation of dramatic entirety so that it is the thorough action that determines dramatic rhythm1098. This inner essence of rhythm is revealed in the reciprocal connections between the external actions and the internal personal state of mind (or between the manifested and the latent in more general sense) where the virtual “as if” of the “supposed circumstances” becomes the intermediary link1099. In its turn it is the latent and the inherent that plays the decisive role in determining the adequate performable tempo-rhythm1100 so that it is the transcendental reality that tempo-rhythm belongs to. This can be exemplified also with practical recommendations as to the formation of adequate tempo-rhythm during the preparation of performance (given by K.S. Stanislavsky for “Othello”)1101 where again the “supposed circumstances” of the virtual imaginary transcendental reality becomes the source for the besought decision. Respectively tempo-rhythm is conceived as the attribute of imaginary space and not as a scheme void of contents: one can find such rhythmical mental load with reproducing arbitrary structures and arousing respective sentiments1102. Then it becomes the inner personal world where the rhythmical synthesis is carried out. The difference of the rhythm conceived in such way in drama from that in a novel reveals itself in particular in the necessity of portraying characters and subsequently of distributing their cues in the respective order and sequence. As a very demonstrative example here the work of A.N. Ostrovsky can serve who paid special attention to the first initial cues of a character. In particular he many a time elaborated these utterances reshaping them so that the words used there could become idiomatic traits of the thorough portrayal1103. It becomes demonstrative that neutral or direct forms of utterances as a rule give place to those of intentional form referring usually to presupposition supposed to be known for addressees. The importance of the initial position within such portrayal comes also from the role of the first cues as those starting the action. It is the attachment to the action that radically changes the role of such separate enunciations in drama in comparison to novels where the initial phase of action, generally speaking, can be replaced in the middle segments of narration. In its turn the action as the only and singular distinctive trait of a dramatic play entails the significance of the disposition of separate cues within the role of a character as the sequential and gradual disclosure of the deeds’ motivation that is not obligatory for epic text1104. Dramatic verbal mask as the device of attaining goals needs respective sequential order unnecessary for novels where the deeds are not so tightly fixed to textual evolvement. It ensues from the priority of action also the insufficiency of dramatic textual data for the formation of rhythm. Therefore dramatic rhythm always needs the performer’s participation to appear as such. In particular in difference opera and other music dramatic forms the necessity of performer’s initiative is stressed by K.S. Stanislavski in his comprehension of tempo-rhythm1105. This circumstance entails also the consequences concerning the nature of non-verbal prerequisites of dramatic rhythm that are to be found in particular in music images. It is to underline still one important consequence of action’s prevalence in dramatic genus: it reveals itself in particular in the circumstance that the rhythmic flow of scenic speech itself coincides with the semantic rhythm which in novel has the outlook of a plot’s evolvement. This rhythmic structure can often be of latent nature without leaving vestiges upon the surface layers of textual entity. In particular it concerns A.P. Chekhov’s plays where one says of the inner latent rhythm1106. Actually the rhythm conceived in such manner signifies just the peculiar for poetry process of the shift from verbal substance to autonomous images. While using the term rhythm in this meaning one designates the rhythm of speech as the inseparable part and parcel of human activity and subsequently of dramatic action. Moreover it is the latent rhythmic structure that one minds here. One cannot divide within this latency the signifiers (of sound speech) from the signified (of contents and intents) so that subsequently the rhythm of speech remains inseparable from the rhythm of deeds and even physical movements. One can trace here the mentioned transcendental nature of poetry consisting in the transition from immanent verbal substance to non-verbal “beads” for memorizing textual integration that display their own inherent rhythmic structure of corporeal movements and semantic processes. This inseparability of verbal and non-verbal elements of rhythm as an integrative power is especially traceable in dialogical segments1107. Of significance is that such rhythm not only unites word & deed, sound & sense but also makes up an impersonal community of the conversation’s participants as an autonomous entity1108. Thus it is due to the rise of such particular rhythmic structure that something super-individual comes into play that imparts its will to separate characters. Therefore one can also say of ensembles instead of dialogues as the peculiar textual features of A.P. Chekhov’s dramatic works1109. Rhythm imparts organization to a set of events that the narration refers to and discloses their regularity. In particular it represents their temporal order or spontaneity1110. That such generalized concept of rhythm not only comprises the inner form of imaginative contents in the unity with its verbal outer sound form but also involves the non-verbal circumstances of scenic speech can be seen from the usual scenic practice of conceiving this concept as it is attested for instance by M. Chekhov. It is especially worth mentioning that he says of centripetal & centrifugal aspects of rhythm in connection with the phases of tension & relaxation1111. In particular there arises the risk of rhythm’s degradation to voluntary and subsequently to automatic movement as the result of its reduction to metric scheme1112 that entails the opportunities of destructive nature. While introducing rhythm as the evident generalization of temporality one has to warn against its overestimation as the constructive power. Rhythm can very easily be transformed from productive textual source into a destructive force, the reasons being its integrative insufficiency and ineffectiveness. Due to the inertial metrical scheme of tautology as the initial condition for the very existence of rhythm the rhythmical movement can be reduced to automatic movement in the manner of a mechanical fly-wheel. Any tautology can become the source of meter with its automatism. It exerts stupefying impact so that the simplification in the manner of ostinato or mantra arises. This inhibitory imitative mechanism has been already discussed. Now one can add that it possesses also provocative properties inviting for interpretative activity in regard to the repeated and reproduced elements. Such destructive effects are usually connected with the so called fascination as the result of rhythmical impact1113. It provokes the disinterested game with rhythm for rhythm’s sake that becomes the behavioral feature of the auto-motivation of narcotic kind. The jeopardy of automatic reduction can be seen in the dialectics of will as a psychological correlate of rhythm1114. Meanwhile the identification of rhythm and will entails also the necessity to take into the account the perversion of will being isolated from mind and sense. Such volition easily becomes anonymous and submitted to some impersonal imperative1115. That is why rhythm can by no means remain autonomous; otherwise the good will of creation becomes perverted into the evil will of destruction. As well as metonymic semantic shifts from partiality to partiality, rhythm turns to be insufficient for integration. The essence of rhythm is that it not only remains transcendental in regard to its metrical scheme nut also always presupposes something transcendental in regard to itself. In particular such transcendental essence is harmony that concerns textual integrity. Rhythm can be said to pass beyond its own borders and involve those situated beyond its reach within the realm of harmony. It is textual entirety that can’t be reached with the rhythm as such and without the involvement of harmony. Rhythm remains at the brim of risk between production and destruction, and this risk belongs to its peculiar semantic features. These circumstances cause the well known difficulties of conceiving rhythm that would be adequate for the artistic image1116. It is such destructive risk of rhythm within the dramatic genus that G.N. Boyadshiyev has described. The comprehensions of scenic rhythm suggested by him presupposes just the meaningfulness of its external revelations as the corporeal movement that discloses intentional purposefulness and inner depth of its foundations1117. Meanwhile such conceived rhythm always implies the already discussed danger of reduction to automatic metrical scheme that comes to abstraction peculiar for the so called typical roles or emploies.1118. What is qualified as abstractedness can be identified with the mentioned automatism. Vice versa as the paragon of productive and creative effects of rhythm those cases can serve when one feels the existence of inner deep rhythmic structure irreducible to such abstract automatic metrical schemes so that the inner and outer forms coexist and represent their interaction1119. To remind the just cited Saint Augustine’s statement on the potential infiniteness of rhythmical borders, one can conclude of the absence of the features of termination within rhythmic scope and therefore of the necessity of involving harmony to attain textual integration within the closed terminated shape. Naked and bare rhythm can be said to turn into the contradictory quality of the absence of rhythm or arrhythmia. This can be exemplified with the sample of conductor’s practice: the whole work must be conducted at one continuous movement as if “in one breath” and not as a combination of separate gests. Therefore rhythm involves harmony to achieve such goal, it appeals to something transcendental. In this respect the personality of conductor can serve as a paragon for textual synthesis. It is the involvement of elements that remain transcendental in regard to rhythm that impart the constructive qualities revealed in a conductor’s performance. It is very demonstrative that actually it is harmony and not the rhythm that is meant when it goes about these rhythmical qualities1120. The peculiarity of dramatic semantic rhythm in difference to that of lyrics is to be found in the meaning of personal intentions that play the role of metrical scheme (whereas it is the tautology of commonly acceptable truths that are meant to become the metrical line of mean values in lyrics). The decisive role of intention for dramatic rhythm is to be seen on the motivational chain that performs the role of metrical scheme. Intentional verve of dialogue is to be detected in the chain of tightly interlaced particulars, so that details point out one to another. Words can be said not to design but to assign to things, they don’t describe the things but just prescribe them their meanings. Rhythm as the revelation of intention and of personal attitude will become the source of such referential net. Together with intention the problem motivation vs. spontaneity comes forward where the contradiction of rhythm and meter can be interpreted as that of free will and motivational circumstances. Then the volitional side of utterances gains priority and respectively the aspectual parameters of text become essential rhythmic power. The discussed theme of semantic modulation substantiates then the necessity of involving the integrative powers of textual organization transgressing the purely verbal borders. Apparently such process of semantic transition involves the whole textual hierarchy as the field structure with its center - periphery opposition resulting in its displacement (as the model of actual predication disclosed in message demonstrates). It involves the ideas of semantic harmony as the interrelations of the whole and the parts that indispensably must supplement the concept of semantic rhythm within the development of textual synthesis. Then the already mentioned V.G. Admoni’s idea of the parallels existent between verbal text and musical score presumes further developmental possibilities ensuing from the peculiarities of textual integration. The phantomlike non-verbal integrative sources & issues that reflect the transcendental foundation of textual entirety give grounds for the next step to generalization and to pass to the already introduced categories of textual rhythm and harmony. Before doing it immediately it is necessary to stress that in developing the statement on non-verbal transcendental basis of text the concept of facture is to be involved as a reasonable device adopted from musicology. It suggests the generalized idea of verbal tissue (comprising the already discussed concepts of speech registers analogous to musical tessitura and textual stratification) that not only has an outlook of a non-verbal object but also presupposes the further disclosure of developmental opportunities contained within textual non-verbal premises of integration. Together with the functional organization of text the thematic attribute comes into play (in particular in the actual division of sentence with the ensuing variability of meanings) that determines what is attached to the stratification of facture. In particular it is worth mentioning here that the concept of the so called “intruding counterpoint” (S.V. Slonimski’s term)1121 correlates with the described phenomenon of theme’s transformation into rheme (actual predicate). There has already been used the term “drops” (in regard to N. Leskov’s works) to designate the insertions of the supposed alien speech into the author’s narration. It correlates to the concept of “characteristic layer (stratum)” suggested by V.N. Kholopova where in particular the idée fixe of ostinato arises1122. It is essential that devices of the kind make music opened to pictorial effects1123. Functional stratification of facture enables the segregation of tautological pleonasms of commonplaces hat build up the background of what can be called semantic metrical scheme as an interstitial tissue of text. The existence of facture gives grounds to say of textual substance to be reshaped for images. Obviously the “self-oblivion” of words takes place here. Besides, the stress upon substance involves here also the elements of outer form. Meanwhile of significance is the circumstance that the very division of the inner and outer forms depends upon functional distribution and is therefore the aspect of textual integration1124. Thus one can trace the inevitable involvement of harmony as the result of constructive rhythmical development together with the whole scope of musical attributes ensuing from functional textual system. Semantic harmony becomes especially observable in lyrical impromptu where spontaneous details display there attachment to the entirety of poem. It goes actually about the intensified revelation of functional textual structure where the verbal substance is determined with the entirety’s destinations. This textual functionalism is naturally associated with the formation of semantic metrical space that generalizes the referential net of deixis and is applicable to a wide intertextual milieu. Harmony becomes possible due to the existence of something analogous to musical tonality so that spontaneous impromptu presupposes such preexistent measurable semantic space. It is due to the presence of such space that the appearance of lyrical utterances such as R.M. Rilke’s “The Foreboding” (Vorgefühl) from “The Book of Images”: “Ich bin wie eine Fahne von Fernen umgeben …” ‘I’m as a banner surrounded with distances’. The image of a poet’s solitude is here comprehensible due to the already existent harmony of imagination where banner can be correlated with the free space and winds that arouse its trepidation. This harmonious unity based on the ready code of conventional and spontaneous images displays in its turn the representation of the whole tissue of textual facture where the lyrical enunciation reveals its emblematic outlook. Phrases taken as quotations from a lyrical poem then acquire the properties of the segments of melodic stuff taken from a musical score. Such is especially the case with the problem of termination in some subspecies of epic prosaic works where the presence of lyrical motifs becomes observable1125. Of a special significance is the contradiction between epic plot as the outer substantiation of textual integrity and the ideal deep reasons for synthesis where the first seems to be unfinished in opposite to the essential termination of a work1126. In particular these properties are disclosed in elegiac influences that have become the source for dramatic “open” finals (as in A.P. Chekhov’s works). Another revelation of lyrical harmony can be found in the mentioned phenomenon of impromptu. Such is the case with Th. I. Tyutchev’s lyrical composition where harmony as the integrative foundation is revealed with overcoming disharmony and the development of contradictions that takes place in a rapid momentary movement1127. Lyrical composition presupposes the sources of semantic metrical space where the key images determine the development of semantic transition or modulation as its structural basis. To exemplify it with the mentioned poet’s works one can cite his “December Morning”:
The image of the struggle between night and day belongs to the universal lyrical conventions. Meanwhile it admits the infinite multitude of possible solutions and in the cited impromptu one finds the contemplated dramatic scene of personified essences. The жүктеу/скачать 6.92 Mb. Достарыңызбен бөлісу:
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