A classification of the didascalic discourse from a polyfhonic perspective
In general terms, traditional theatrical studies seem to overlook the fact that the stage directions do not constitute a homogeneous set of statements, but, on the contrary, there are a series of formal differences that allow identifying different subtypes, each of them with a specific function in t...
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2018 |
| País: | Brasil |
| Institución: | Pontifícia Universidade Católica do Rio Grande do Sul (PUCRS) |
| Repositorio: | letrônica |
| Idioma: | español |
| OAI Identifier: | oai:ojs.revistaseletronicas.pucrs.br:article/31274 |
| Acceso en línea: | https://revistaseletronicas.pucrs.br/letronica/article/view/31274 |
| Access Level: | acceso abierto |
| Palabra clave: | Argumentation Stage Direction Polyphony Replica Dramatic Text. Argumentación Didascalia Polifonía Réplica Texto dramático. |
| Sumario: | In general terms, traditional theatrical studies seem to overlook the fact that the stage directions do not constitute a homogeneous set of statements, but, on the contrary, there are a series of formal differences that allow identifying different subtypes, each of them with a specific function in the construction of meaning. Therefore, in this paper we seek to propose a classification of didactic discourse that addresses its specific linguistic characteristics. In this regard, we propose to distinguish between the “didascalias paratextuales” (those that are external to the narrative), the “didascalias generales” (statements that fulfill the function of constructing a representation of the dramatic situation) and the “didascalias particulares” (expressions that accompany each one of the replicas of the characters and specialize in defining their “scenography” (see MAINGENEAU, 2002)). To test our hypothesis, we will be framed in the Enfoque dialógico de la argumentación y la polifonía enunciativa (see GARCÍA NEGRONI, 2009, 2016a, 2016b, 2017), a non-referential theory of the linguistic meaning. Finally, regarding the corpus of work, we will use the piece Misterio del ramo de rosas (2009) by the argentinian writer Manuel Puig to exemplify the different subtypes that we propose in our categorization of stage direction discourse. |
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