Different representations of social actions create distinct types of discourses. Applying van Leeuwen’s 'Social Actions' framework (2008), the present study critically analyzes the power relations between the main characters of Radi’s dramas From behind the Windows and Hamlet with Season Salad. The objective of our study is to account for the differences between the discourse of the dominant and the discourse of the dominated. In order to elucidate such differences we count and analyze the characters’ social (re)actions and, in turn, identify four types of contrasts: cognitive vs. affective and perceptive reactions; material vs. semiotic actions; transactive vs. non-transactive actions; interactive vs. instrumental actions. Two opposing discourses emerge from these contrasts. On the one hand, the dominant characters mostly react cognitively and their actions are often semiotic, transactive, and interactive. On the other hand, the dominated characters’ reactions are often affective and perceptive, while most of their actions are material, non-transactive, and instrumental. As the results show, the author’s linguistic choices underscore the power relations between the dominant and the dominated characters. Building upon the fact that our analysis sheds light on the underlying ideologies and intentions of the author, we tentatively conclude that despite its being predominantly employed in the analysis of political discourses, van Leeuwen’s framework also proves effective in the critical analysis of literary works.
The construct of mature woman in media discourse — a critical analysis
