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.
Inhaltsverzeichnis (Table of Contents)
- Introduction
- Disassembling of Narrative Method
- Introduction to Dual Omniscience
- Towards Didascalic Chronology (Imminence)
- Non-Alignment of Narrative Didascalia
- Proof of Crisis in Narrative Diegesis; when Generic Omniscience Multiplies
- The Ir-referentiality of Dual Omniscience
- Imminence Definitions from Experimentations
- First-Rhetoric and Didascalic Truth
- Dramatic Truth Contra Dramatic Fact
- Parameters of Imminence
- Imminence of omniscience (I.O)
- The Sixth Wall
- From Imminent Irrelevance to Imminent Salience
- Statistic-Signal
- The Royal Chronology to Didascalic-Audience
- Reading Force Or Narrative Inertia?
- Didascalic Audience
- Suggestion of an Un-Liberated Didascalic Energy
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This treatise aims to explore the concept of didascalic semiotics, which is the study of stage directions in dramatic texts. It examines how stage directions can be understood as a unique form of discourse with its own chronology and rules of interpretation. The text argues that stage directions are not simply passive elements but can be viewed as independent elements that contribute to the meaning and impact of a play. Key themes explored include:- The relationship between narrative and didascalic discourse
- The nature of omniscience in dramatic texts
- The concept of imminence and its role in didascalic semiotics
- The interpretation of stage directions as a form of meta-textual liberation
- The impact of stage directions on the relationship between author, performer, and audience
Zusammenfassung der Kapitel (Chapter Summaries)
- Introduction: The chapter introduces the concept of didascalic semiotics and its relevance to the study of dramatic texts. It examines the potential of stage directions to create a unique and independent chronology, separate from the chronology of dialogue. It also introduces the key concept of dual omniscience, which refers to the potential for both the author and the characters to hold a level of omniscience within a play.
- Disassembling of Narrative Method: This chapter focuses on the chronological shift from narrative discourse to didascalic discourse. It discusses how stage directions can be seen as a form of meta-textual liberation, offering a unique perspective on the dramatic text. The chapter also explores the concept of "Umwelt" as it relates to the relationship between dialogue and stage directions.
- Introduction to Dual Omniscience: This chapter delves into the concept of dual omniscience, exploring the ways in which both the author and the characters can hold a degree of knowledge and understanding within the dramatic text. It argues that the author's presence is not restricted to dialogue and can be manifested through the stage directions.
- Towards Didascalic Chronology (Imminence): This chapter examines the concept of imminence, a distinct chronology that governs the interpretation of stage directions. It explores the ways in which stage directions can be understood as independent elements that contribute to the overall meaning and impact of a play. This chapter also highlights the importance of recognizing the difference between dramatic truth and dramatic fact in the interpretation of stage directions.
- Non-Alignment of Narrative Didascalia: This chapter delves into the potential for conflict and tension between the narrative discourse of the play and the distinct discourse of the stage directions. It explores the ways in which the playwright can utilize stage directions to challenge traditional narrative conventions. The chapter also discusses the concept of generic omniscience and its impact on the interpretation of stage directions.
Schlüsselwörter (Keywords)
The key concepts and terms central to this treatise include didascalic semiotics, stage directions, narrative discourse, dual omniscience, imminence, meta-textual liberation, Umwelt, dramatic truth, and dramatic fact. These terms are used to explore the unique relationship between stage directions and dialogue, emphasizing the potential for stage directions to create a distinct and independent discourse that contributes to the overall meaning and impact of a dramatic text.- Citation du texte
- Yehia Abd El Azeem (Auteur), 2013, Introduction to Didascalic Semiotics, Munich, GRIN Verlag, https://www.grin.com/document/282046
