scholarly journals Theatrical interpretation of a literary work from the standpoint of semiotic creativity

2021 ◽  
Vol 12 (3) ◽  
pp. 125-141
Keyword(s):  
Literary Work ◽  
Meaning Construction ◽  
Multimodal Discourse ◽  
Theatrical Performance ◽  
Theatrical Performances ◽  
On Line ◽  
Poetic Function ◽  
Pragmatic Equivalence ◽  
Communicative Space

The study presents the results of linguosemiotic analysis of sign correlations between the play “The Elder Son” by Vampilov and 22 theatrical performances based on it (The Interna­tional on-line Festival “The Elder Son — 55”, November, 2020). The play and its multimodal interpretations are viewed as parts of a unique communicative space. These parts may be specified as the original communicative situation and the ‘derivatives’ characterized by semi­otic creativity of their authors — the playwright and the directors. The concept of semiotic resonance is used as a tool that can help to deepen the analysis of the meaning construction in the heterogeneous discourse of drama. Semiotic resonance is understood as the correlations of recurrently used signs accompanied by the amplification of meaning and emergence of new semantic projections. The investigation of the play — theatrical performance transformations made it possible to identify the specific levels of semiotic creativity, which correspond to the degree of pragmatic identity of the original content and its modulations. The author singled out the level of pragmatic equivalence and the level of pragmatic modulation, which account for different pragmatic effects produced and illustrated the realization of the poetic function of a sign in a multimodal discourse.

scholarly journals The notion of the arts as “unnatural natural” communication (exemplified by the discourse of drama)

2020 ◽  
pp. 88-96
Author(s):  
Е.Г. Логинова
Keyword(s):  
Meaning Construction ◽  
Cognitive Poetics ◽  
Literary Works ◽  
The Arts ◽  
Theoretical Assumptions ◽  
Theatrical Performances ◽  
The Aesthetic ◽  
And Linguistics ◽  
Literary Pragmatics ◽  
Communicative Space

В статье предпринимается попытка применить ряд положений когнитивной поэтики, семиотики и лингвистики к традиционным вопросам филологического анализа литературно-художественного дискурса, взятого как пример художественной коммуникации. Обосновывая понятие «неестественной естественности» художественной коммуникации, автор обращается к инструменту, способному обеспечить иной уровень анализа художественного дискурса, включающего исходный и трансформированный тексты (пьесу и ее сценическую интерпретацию), когда изучение смыслоформирования в едином коммуникативном пространстве происходит с учетом параллелизма форм, значений и прагматических установок говорящих. The article attempts to apply a number of provisions of cognitive poetics, semiotics and linguistics to the traditional philological analysis of literary works. Justifying the concept of the arts as “unnatural natural” communication (including literary works, theatrical performances, screen adaptions, paintings, etc.), the author relies on the key assumptions expressed in the works by Yu. Lotman, U. Eco, R. Barthes, R. Jacobson, T. van Dijk, M. Freeman and other scholars: “the second (modeling) system”; “literary pragmatics”; “oriented toward the expressive, the emotive and the aesthetic”; etc. The heterogeneous discourse of drama is used to exemplify the theoretical assumptions and so helps to grasp the idea of the arts as “unnatural natural” communication. Moreover, the author of the article speaks of semiotic resonance as a tool that can help to deepen the analysis of the meaning construction in the discourse of drama. Being a multifaceted phenomenon, semiotic resonance provides new perspectives for the analysis of the discourse of drama, when the study of the aesthetic effect of the communicative space as a whole takes into account the parallelism of forms, meanings and pragmatic attitudes of the characters in the original communicative situation and further communicative situations.

The situatedness of meaning construction in Wisława Szymborska’s “Cat in an Empty Apartment”

2020 ◽  
Vol 49 (1) ◽  
pp. 27-40
Author(s):  
Katarzyna Stadnik
Keyword(s):  
New York ◽  
Literary Work ◽  
Linguistic Analysis ◽  
Meaning Construction ◽  
Cultural Factors ◽  
Mental Activity ◽  
Cultural Milieu ◽  
Cognitive Linguistic ◽  
The Individual ◽  
Social And Cultural Factors

AbstractSo far the cognitively-oriented study of literature has largely missed out on the cognitive conception of situatedness, which holds that human mental activity should be seen through the lens of its grounding in the physical, social and cultural milieu of the individual. Accordingly, the article shows the value of this approach in a Cognitive Linguistic analysis of Wisława Szymborska’s poem “Cat in an Empty Apartment”, setting out the ways in which situatedness underlies dynamic meaning construction in the production and reception of the work, giving rise to the singularity (Attridge 2004. The singularity of literature. London-New York: Routledge) of the poem. The paper concludes that situatedness can illuminate how the interplay of cognitive, linguistic, social and cultural factors might be brought to bear on the singularity of a literary work.

ZigZag

2013 ◽  
Author(s):  
Lisa Perrott
Keyword(s):  
Digital Media ◽  
Visual Imagery ◽  
Raw Materials ◽  
Musical Instruments ◽  
Material Life ◽  
Visual Music ◽  
Complex Process ◽  
Theatrical Performance ◽  
Theatrical Performances ◽  
Life Force

This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Animators and visual music artists have long experimented with technological devices to explore the image–sound relationship, often innovating new ways of composing motion in time and space. For Len Lye this involved pioneering methods of animation and exploring the material qualities of organic materials such as film and metal, creating a substantial body of handmade animations that continue to affect audiences and inspire contemporary practitioners. Lye’s work provided the inspiration and raw materials for the development ofZig Zag, an homage to Lye, which integrated traditional musical instruments with digital media, remixed and projected visual imagery, and improvised theatrical performance. This complex process of remediation is discussed in relation to the extracinematic animation of both Lye’s sculptures and the theatrical performances. Extending the term “animation” is fundamental to understanding the wayZig Zagis a reanimation of the latent material life force embodied in Lye’s resting sculptures.

scholarly journals Multimodality’s challenge to marketing theory: A Discussion

2012 ◽  
Vol 1 (3) ◽  
Author(s):  
Paul White
Keyword(s):  
Communication Technologies ◽  
First Century ◽  
Marketing Theory ◽  
Traditional Media ◽  
Multimodal Discourse Analysis ◽  
Multimodal Discourse ◽  
Modal Density ◽  
Background Continuum ◽  
A Site ◽  
Communicative Space

AbstractThis discussion challenges conventional marketing theory regarding posters and billboards in the twenty first century. It argues against the prevailing dogmatic statement that a poster or billboard must communicate its message in mere seconds (Drewniarny and Jewler 2011). It also points out that convergence of traditional media with new communication technologies is challenging the notion that posters and billboards are stillIn contrast, it proposes that assessing how people interact with billboards and posters from a mediated and multimodal discourse perspective is more useful. This involves looking at posters and billboards when they are actually in use rather than considering them only as they are present in the environment. The modal density foreground-background continuum (Norris 2004), the concept of a site of attention (Jones 2005) and the idea of the communicative space (White 2012) are multimodal discourse methodology tools that prove particularly illuminating in this context. While no empirical data is analysed as part of this discussion, mediated and multimodal discourse analysis of two specific examples from previous studies serves to illustrate the points made here.

scholarly journals Pragmatic Coherence and Equivalence in Literary Translation

2021 ◽  
Vol 1 (1) ◽  
pp. 142-154
Author(s):  
Shushanik Paronyan
Keyword(s):  
Cultural Context ◽  
Research Work ◽  
Literary Work ◽  
Cross Cultural ◽  
Literary Translation ◽  
Original Text ◽  
Source Text ◽  
Pragmatic Analysis ◽  
The Cross ◽  
Pragmatic Equivalence

The topic of the present paper concerns cultural translation and focuses on the cross-cultural aspect of pragmatic equivalence. It is based on the hypothesis that the pragmatic framework of the literary work, i.e.  the deliberate choice of  tied verbal actions and the interpretations of these actions, forms  an important slot in the overall structure of cultural context and displays the artistic literary idea of the writer.  Hence the research work clearly shows that literary translation should adequately transmit the intentions and ideas encoded in the original text to the readers from the respective culture. The cross-cultural pragmatic analysis of the speech act sequences and reporting words carried out on the material of a literary work in English and its Armenian translation has enabled us to determine that the violation of pragmatic coherence of the source text distorts the cultural context planned by the author.

scholarly journals THE USE OF "GRAY SHADOW" IN THE PERFORMING ARTS AS A WAY TO CREATE A MYSTERIOUS EFFECT

2021 ◽  
Vol 23 (80) ◽  
pp. 51-59
Author(s):  
A. Vucenovic ◽  
Keyword(s):  
Performing Arts ◽  
Art Criticism ◽  
Physical Phenomenon ◽  
Theatrical Performance ◽  
Puppet Theater ◽  
Theatrical Performances ◽  
Pass Through ◽  
Light And Shadow ◽  
Different Cultures ◽  
The Relationship

The phenomenon of light and shadow is discussed by many sciences, including art criticism. And what does the shadow really represent? What is the relationship between light and shadow? When and why do we use shadows as a technique in theatrical performances? This work explores the shadow as a consequence of the action of light on an object that does not allow it to pass through - the "gray shadow" in theatrical performances. There Are numerous theatrical performances in which diverse projections and shadows are used as expressive means. We use shadow in the theater when we want to know, to see the unlit, hidden side of someone or something. This physical phenomenon has always attracted the attention of people of different cultures and eras and naturally found application in theatrical performances. They involve in either multi-colored or gray shadows. When an object does not transmit light completely appears - a "gray shadow", denoting only the contours of a certain object, the silhouette of the object used in the theatrical performance. Folk art in the form of riddles, games and other things created phrases that are an important guide in understanding and determining the laws of their existence in theatrical works. Shadows turned out to be interesting and useful in training actors and directors of the puppet theater.

scholarly journals Lettuce Entertain You: Floral Agency in Ralph Knevet's Rhodon and Iris

2021 ◽  
Vol 6 (2) ◽  
pp. 24-38
Author(s):  
Ashley Howard
Keyword(s):  
Two Dimensions ◽  
Theatrical Performance ◽  
Theatrical Performances ◽  
History Of ◽  
The Many ◽  
Floral Characters ◽  
The Way

This essay investigates the performativity of plants in Ralph Knevet’s Rhodon and Iris, a play that was written and performed for a feast held by the Norwich Society of Florists in 1631. The play explores at least two forms of performativity: the first is the act of staging plants for a theatrical performance, where vegetables present their virtues through floral allegories that are enacted by human players. The second form is the way plants affect and are affected by their environments, particularly as theorized by Michael Marder and Mel Y. Chen. In Rhodon and Iris, these two dimensions work together to produce a form of floral agency that decenters the human. The essay explores how floral agency collaborates with literary narratives when beings perform for plants (within a history of floral celebrations), as plants (embodying plants as allegorical figures), and with plants (floral characters using plants as ingredients in cosmetics, poisons, and antidotes). Knevet uses literature to articulate a unique plant philosophy that challenges divisions between art and nature and among literature, philosophy, and science. Rhodon and Iris thus illustrates the many ways that theatrical performances and printed playbooks, and even printed herbals and herbaria, responded to and shaped the performativity of plants.

The Impact of a High School Alcohol Education Program Utilizing a Live Theatrical Performance: A Comparative Study

1983 ◽  
Vol 13 (3) ◽  
pp. 229-248 ◽  
Author(s):  
Louis Gliksman ◽  
Ronald R. Douglas ◽  
Cindy Smythe
Keyword(s):  
Lesson Plans ◽  
Alcohol Education ◽  
Northwestern Ontario ◽  
Theatrical Performance ◽  
Theatrical Performances ◽  
And Behavior ◽  
Attitudes And Behavior ◽  
And Control ◽  
The Impact ◽  
Study Offer

The impact of a live theatrical performance on the knowledge, attitudes and behavior of grade nine and ten students viewing the performance was assessed by eighteen measures using a pretest/posttest questionnaire. “BOOZE,” a series of five alcohol related skits, was matched with a subset of ARF Alcohol Lesson Plans for comparative purposes. Participating Northwestern Ontario schools were assigned to one of four groups; Performance Only, Lesson Plans Only, Performance and Lesson Plans, and Control. The results indicated that all three interventions had an impact on attitudes and behavior. Although the Performance Only intervention was as effective as the Lesson Plans Only program, the two together not only did not increase the impact, but in some instances produced decrements. The results of the present study offer encouragement for the potential of theatrical performances as a vehicle for drug education. Since the study demonstrates a short term effect, the authors recommend utilizing a live theatrical performance with special consideration given to evaluating the duration of message impact.

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