Introduction to Didascalic Semiotics E-Book

Yehia Abd El Azeem

• Herausgeber: GRIN Verlag
• Sprache: Englisch

Veröffentlichungsjahr: 2014

Beschreibung

Research Paper (postgraduate) from the year 2013 in the subject Speech Science / Linguistics, grade: 67, University of Salford, language: English, abstract: By the virtue of an experimental non-fictive interjection in didascalia, basically as a meta-textual liberation from narrative Drama (scripts read rather than performed) and which is in due to be tackled in this essay on a verge of criticism; rhetorical inference, that which is intrinsic within the ideal scarcity of dialogical perlocutionary acts (since stage directions are mostly descriptive) could be claimed - under formal theoretical parameters - to propose one of independent chronologies or otherwise a differed diegetic timing against the original immediacy of authorship, if we could estrange the absent author from ontological audience. In other words, if didascalia are mostly known as to be structurally reflexive in correspondence to the linearity of time and actions (fictitious variables) whether to performers on stage, or to readers off-stage-through a medium coder of signifiers (author) would the authorial upmost reference retain the same mode of diegetic liberation when dualized; according to which signature (before dialogue and thus before reference) and omniscience (off dialogue and hence unreliable) manifest a ‘space’ of didascalic autology*? On the alert of a transitional stage-direction thus from the fiction of narrative didascalia to a non-fiction of its meta-textuality, discrepancies appertaining the metaphoricity of its dialogical rhetoric are due to be rehearsed in between semiotic topographies, after which the non-dialogic rhetoric could be timed. Since the meta-textual metaphorical recognition of dramatis personae in modern drama is seemingly subjective to the omniscient rhetorical method of narration by virtue of unreliable representational comparability of signifiers (between what readers polarize by the prelocutionary force of dramatis personae against the descriptive extended allegory of the author) a syntactic “identity” seems to have been historically repressed; which, though it could be recognized as a conceptual metaphor - referring to the understanding of one idea, or as a conceptual domain, in terms of another - it proposes most fundamentally a chronological shift of signs different from those in a given text. Such chronology does seem to lurk between the diegesis of inference and the mimesis of reference that all together await a centripetal duality of rhetorical augmentation in didascalia itself (away from a given performance) that permits a meta-textual liberation of lexical heterodiegtic directions.

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Table of Contents

(All figures are self-illustrated)

1. Introduction

2. Disassembling of Narrative Method

3. Introduction to Dual Omniscience

4. Towards Didascalic Chronology (Imminence)

5. Non-Alignment of Narrative Didascalia

5.1 Proof of Crisis in Narrative Diegesis; when Generic Omniscience Multiplies

6. The Ir-referentiality of Dual Omniscience

7. Imminence Definitions from Experimentations

7.1 First-Rhetoric and Didascalic Truth

7.2 Dramatic Truth Contra Dramatic Fact

8. Parameters of Imminence

8.1 Imminence of omniscience (I.O)

8.2 The Sixth Wall

8.3 From Imminent Irrelevance to Imminent Salience

8.4 Statistic-Signal

9. The Royal Chronology to Didascalic-Audience

10. Reading Force Or Narrative Inertia?

11. Didascalic Audience

12. Suggestion of an Un-Liberated Didascalic Energy

13. Works Cited

1. Introduction

 By the virtue of an experimental non-fictive interjection in didascalia, basically as a meta-textual liberation from narrative Drama (scripts read rather than performed) and which is in due to be tackled in this essay on a verge of criticism ; rhetorical inference, that which is intrinsic within the ideal scarcity of dialogical perlocutionary acts (since stage directions are mostly descriptive) could be claimed –under formal theoretical parameters-to propose one of independent chronologies or otherwise a differed diegetic timing against the original immediacy of authorship-if we could estrange the absent author from ontological audience. In other words, if didascalia are mostly known as to be structurally reflexive in correspondence to the linearity of time and actions (fictitious variables) whether to performers on stage, or to readers off-stage-through a medium coder of signifiers (author) would the authorial upmost reference retain the same mode of diegetic liberation when dualized; according to which signature (before dialogue and thus before reference) and omniscience (off dialogue and hence unreliable) manifest a ‘space’ of didascalic auto-logy[1]?

On the alert of a transitional stage-direction thus from the fiction of narrative didascalia to a non-fiction of its meta-textuality, discrepancies appertaining the metaphoricity of its dialogical rhetoric are due to be rehearsed in between semiotic topographies, after which the non-dialogic rhetoric could be timed. Since the meta-textual metaphorical recognition of

dramatis personae in modern drama is seemingly subjective to the omniscient rhetorical

method of narration by virtue of unreliable representational comparability of signifiers (between what readers polarize by the prelocutionary force of dramatis personae against the descriptive extended allegory of the author) a syntactic “identity” seems to have been

historically repressed; which, though it could be recognized as a conceptual metaphor–referring to the understanding of one idea, or as a conceptual domain, in terms of another- it proposes most fundamentally a chronological shift of signs different from those in a given text. Such chronology does seem to lurk between the diegesis of inference and the mimesis of reference that all together await a centripetal duality of rhetorical augmentation in didascalia itself (away from a given performance) that permits a meta-textual liberation of lexical heterodiegtic directions. It distances itself then, one at a time, from Saucer’s victorious opposition of values (that could be achievable by contrastive diegesis through the syntactic medium of the descriptive stage directions against the diegetic representation of dialogical directions contained within the perlocutionary forces of speech acts in script) or Derrida’s deconstructive adjournment of meaning that could otherwise be condensed by an intentional precedence of didascalia as a pre-textual story-line to the hypo-textual dialogue.

 If reading dramatic texts thus revive a general ad-positional contention between adjuncts of mode against arguments of Genre, pointing out in “Introductions a la architexte” for instance the consequential notion of dramatic genre according to Plato as a divorced metaphorical diegesis awaiting metathesis with both of its tenor and vehicle decoded only as a mode of diagrammatic (comparable) signifiers tangible worthwhile in performance on stage apart from monotheistic reading, what rhetorical repression hence is non-dialogically unsupervised that lingers between the underestimation of genre as a pragmatic classification of drama (exercised by Plato prior to non-existent written stage directions or read dramatic texts at their times) and mixed modes/lexis of scripts in their relationship to narrative didascaliae? What omniscient timing could be meta-textually applicable from a didascalic semiotics’ point of view, given that modern drama has proven as not to be purely mimetic and consequently not allegorically generic nor modern stage directions have been hyperbolic-ally metonymic or metaphoric to surpass its omniscient declaration by Para-textual intrusion. Such discursive dramatization of stage-directions do not entail an independent syntactic identity against the narrative medium of play’s discourse or a hypo-textual legitimate estrangement ( by proposing for example a narrative dramatic resolution or epiphany whether apparent to readers aside from dramatis personae, or by registering a divisionary per-formative metaphor to the extent of a rhetorical hyperbole) though realizing in line that one of the fundamental aspects of hyperbole is according to Oxford dictionary is “to create a strong impression, but is not meant to be taken literally.” (2012)

2. Disassembling of Narrative Method

 In the process of such chronological shift from fictive semiotics to didascalo-sphere (didascalic semiotics), the unsettled meta-textual method of narration in didascalia presents itself as a viable overture towards another chronology of omniscience. In as much as narrative didascalia being modally a mimetic epicization of reference against the perf-formative argument of diegesis ( inherent in the perpetual circum-positional due of rhetoric between the immediacy of absence “ author/narrator” and the prominence of position “actors”),crossing space with diction, or timing with fiction, has been restricted to interdependent denouement or catastrophic interpolations considering a reflexive narrative structure where literary resolution is subjectively hetero-diegetic in the narrative view of the author or objectively intrusive in that of the actors. Due to the generic didactic archetype of stage directions as an allegorical pre-textual or meta-textual hetero-diegetic soliloquy of the absent/dead author with its dual dedication to performers and readers (not audience) the [2]fictive voice of the narrator exclusively within narrative didascalia has not mimetically or metaphorically acclaimed a resolute method of narration as a literary element independent rhetorically for acclaiming a discursive dramatic resolution (since that stage directions could always be metonymically extended against the discourse of signifiers) parallel in argument and augmentation to that of script. In other words, if dramatic resolution has always been exclusive to the syntactic rhetoric of dialogue as concerns immediacy of signature apart from the spatial ad position of didascalia as a suggestion of pre-text, meta-text or even extra-text, would a rhetorical mutation in the signature of the umwelt* (when didascalia is a counter-presence against dialogue) from concurrent omniscience to imminent omniscience, from third-person view to an auto-logical voice for instance (which entails a non-credible or untrustworthy argument though not the classical rhetorical reticence) propose an equivocal hierarchy of signifiers, leading henceforward to a divisionary resolution in the logic/pathos of script, retaining as its supreme counterbalance what could be claimed as a conditional script.

 Codification of didascalia -as a mode of rhetorical metonymy (since that it’s extended analogy is chronologically comparable to its closest dialogical domain;” script”) and which metaphorically could be accused of committing the rhetorical fault of catachresis such as the mixed per-formative metaphor of independent actors or directors against the per-illocutionary speech acts of stage direction or in cases such as Shaw’s Arcadia where didascalia commits an intentional rhetorical fault through its narrative structure by Shaw’s own didascalic

dialogue with the reader rather than other actors or audience-, has hetero-diegetic-ally been assessed as a collective omniscience with a logical semio-sphere reconcilable with the classical thematic account of plot and dialogue. Strictly speaking, it renovates a poetic approach on how to”write [a character] so that he (author) may prevent it-his character-from [3]perishing in the process” (Barker, 29) of an actor's interpretation.