Voice and bodily deixis as manifestation of performativity in written texts (original) (raw)
Related papers
S.G. Proskurin Semiotics and writing systems.pdf
This article deals with semiotic modeling in writing. The process of modeling is involved in the creation of new scripts and alphabets. The narrative describes the so called ABC-principle in action. Since the ABC code is also a text, the letters have meaningful collocations and the letter names have meaningful associations. The sequence of letters in an ABC is a meaningful syntagm within a ritual text. We shall attempt to prove that these parts of an ABC are meaningful micro-texts that constitute a model of the world as conceived in Indo-European culture. Together with rituals, alphabets have contributed to the formation of concepts of the physical world and cultural identities.
К вопросу о перформативности божественных гимнов
В статье показано, что исследование семантико-коммуникативной составляющей гимнов позволяет выявить перформативные каркасы-«подушки», на которых покоится фундамент речевой деятельности. Так, обязательной семантико-коммуникативной составляющей гимна является информирование божества о его же качествах, иными словами, его восхваление. В качестве примеров божественных песен, восхваляющих и прославляющих Господа и святых, в статье рассмотрены три гимна, записанных на древнеанглийском («Кентский Гимн», «Гимн Кэдмона») и раннесреднеанглийском («Гимн Годрика») языках. Автор акцентирует внимание на языческом следе в древнеанглийских гимнах. Так, в работе подчеркивается, что на заре христианства для плавного перехода от язычества к христианству образ Иисуса Христа представлялся как образ вождя (Cyning-Вождь), а верующие представлялись Его дружинниками.
Interpretations of the mythologeme "tree-cross" in Old English
The topicality of the appeal to the interpretation of a tree-cross mythologeme is caused by the change of the pagan worldview into Christian. The development of ideas about the Christian sign is complex, in one of the approaches to transforming the tree-cross, a part of the overcome ideas about the world as space around the world axis is preserved, i.e. the world tree. The coming era of Christianity inherits this view, and the cross itself appears as a world axis that defines the coordinates of space. The purpose of the article is to show the evolutionary semiotic row, which represents both Christian and pagan symbolism. Initially, the cross appears as a motivated view. Then the terms of the denotative plan appear, devoid of pagan connotations of the tree-cross type. In general, in the evolution of the term continuity is traced, one designation is replaced by another. For some time, the second item copies the functions and forms of the first, replacing it in the subject line. The cross as an object of worship in Christianity replaces the world tree. All new nominations of the cross are associated with the motivation of the world as the center where the altar is installed, which was initially presented in the tradition as a world tree, and then became designated by the cross. The cross, as the main Christian symbol, often appears as made of wood and is identified with the cosmic world tree growing directly into heaven. Research methods which are used in this article are as follows: philological analysis of the text and semiotic analysis of texts. The set of communicatively relevant factors that determine the statement, as well as the situational and contextual relevance of the lexical meaning, are taken into account. In turn, the necessary initial amount of communicatively relevant information is obtained on the basis of linguistic methods. In particular, data from an etymological analysis are involved. The research material was provided by the Old English written monuments accessible to the modern researcher. Texts in other Indo-European languages are occasionally referred; they act as a background showing some parallels.
Проскурин С. Г. Ранняя перформативность.pdf
Описывается состояние ранней перформативности, которая опиралась на голосовую функцию. Само наличие перформативности, как конституирующего явления культуры, опирается на адекватность его оценивания по шкале «успешный – неуспешный» и исключения каких-либо оценок логического плана по шкале «истинный – ложный». В результате культура как бы покоится на некоторых постулатах, которые нельзя отрицать в обычном смысле слова. И здесь особую роль играет голос как аутопоэтический фактор перформативности. Именно голос является критерием распознавания ранней перформативности. Именно голосовая функция по- зволяет изначально менять ход событий произношением празвуков.
2017
Abstract The figurative pointing and painting in Sor Juana Inés de la Cruz's poetry create unique intersections of voice, person and gender whence lyric in the neuter or third person may speak. This paper follows her use of deixis (from the epideictic tradition), the gesture of pointing at and describing a person or an object, as a way to trace her subjectivity to the point of origin for the invective or praise, while exploring her navigation of the third and first persons within that tradition. Though the lyric traditionally operates on the first-person/ second-person dialectic, Sor Juana's productive use of the epideictic in her lyric poems opens a space for the neuter, or ternary logic, in a genre dominated by male subjectivity.
Dramaturgy of Sound in Futurist Performance
An examination of concepts of sound in futurist theatrical theory reveals that it was the perception and adoption of sound as matter in futurist poetry, arts and performance that gave birth to an authentic dramaturgy. In their initial explorations of acoustic material, Futurists imagined and evolved a dramaturgy of sound that not only informed a range of their artistic endeavors but finds relevance in the current discourse of contemporary theatre and performance. The path of their recognition of sound’s materiality is mapped through the analysis of the theory in futurist manifestos and its performative implications, the instances of dramaturgy of sound in futurist performance.
'I' in the Space of Page and Text
People and Cultures in Motion: Environment, Space and the Humanities (Yidong de kongjian – shenghuo shijie yu renwen kexue guoji huiyi lunwenji 移動的空間----生活世界與人文科學國際會議論文集). Taipei: Guoli zhengzhi daxue wenxueyuan, 2017
The relation between the subject and space in poetry is complex. Studying this problem, we should take into account that a poet always adds one dimension to the representation of space by normal and conventional linguistic tools 2-the dimension of page. We propose to reconstruct the subject through the analysis of the situation and the position of 'I' as a word in the text and on the page. Our main assumption is that 'I' as a first person pronoun is a direct linguistic representative of a speaker in the text and in the space of a poem created by the distribution of verses on the page. As material for this study we used texts written by English, Russian and Spanish contemporary poets from the 1950's onwards.
Lyricism in Hellenistic Epigram
Trends in Classics, 2017
The paper explores the lyrical qualities of Hellenistic epigram not only by linking it to the lyric poems and tropes of the past but primarily by drawing on the modern understanding of lyric as genre or mode. Taking as a point of departure the notion of lyric subjectivity, it discusses the degree to which the poet's voice is involved in the different types of epigram, namely dedicatory, sepulchral and erotic. An in-depth reading of selected epigrams from the Greek Anthology brings to light the various uses and emotional effects of the lyric 'I' within the rhetoric of the epigrammatic discourse. In the archaic and classical ages, lyric and epigram, though sharing the quality of brevity, were basically antithetical genres, one being sung to musical accompaniment and the other inscribed to be read. The differences between them-adaptable context versus spatial fixity, oral presentation in song versus visual presentation for reading, stanzaic meters versus hexameters or elegiacs-offered clarity to their generic autonomy. In the early Hellenistic age, when archaic lyric was canonized in editions as poetry without music and epigrams gained in literary status through collection in book format, lyric, as a kind of literary relic,1 shifted in status towards mode, while epigram became an avant-garde literary type, creatively adapted to new topics and alive to experimenting with voice and trope. At the same time, of course, old and new lyric songs were widely performed in public and private settings and countless epigrams were inscribed on stone, but the limited survival of lyric poetry from this period in comparison with the much greater preservation of Hellenistic book epigrams signals a new aesthetic 1 For the term λυρικός which first appears only in the Hellenistic era along with the canoniza-tion of the lyric poets in editions, see Müller 2012, 72-75.
Intermediality and Performance Art
Intermedial interaction among various media or sign systems has always existed in most cultures, but since performance art is a relatively new phenomenon, this chapter focuses on the relationship between intermediality and performance art. With the increasingly frequent use of sophisticated digital technologies in multimedia performance, the relationship between intermediality and performance art has moved into sharp focus. What happens when several media interact in performance art? What is the relationship between intermediality, performance and performativity in multimedia art forms? How does the sense of openness and of unraveling of the source or pre-text translate into the intermedial adaptation that a performance involves? This chapter discusses issues of semiotics, performativity and self-reference in relationship to intermediality. For its application of these theoretical concerns, it will use Laurie Anderson, the American performance artist, whose large and complex multimedia productions have not only revolutionized the art form but which also offer interesting insights into the adaptation of the intersection of narrative, visual, musical and gestural source texts mediated by new technologies and the performing arts. Intermedial interaction among various media or sign systems has always existed in most cultures, but since performance art is a relatively new phenomenon, this chapter focuses on the relationship between intermediality and performance art. With the increasingly frequent use of sophisticated digital technologies in multimedia performance, the relationship between intermediality and performance art has moved into sharp focus. What happens when several media interact in performance art? What is the relationship between intermediality, performance and performativity in multimedia art forms? How does the sense of openness and of unraveling of the source or pre-text translate into the intermedial adaptation that a performance involves? This chapter discusses issues of semiotics, performativity and self-reference in relationship to intermediality. For its application of these theoretical concerns, it will use Laurie Anderson, the American performance artist, whose large and complex multimedia productions have not only revolutionized the art form but which also offer interesting insights into the adaptation of the intersection of narrative, visual, musical and gestural source texts mediated by new technologies and the performing arts. Keywords: intermediality, performance art, performativity, self-reference, self-reflexivity, multimedia, Laurie Anderson