Abstract
In this chapter, the notion of stage configurations will be linked to the concept of predications and explored in the context of adapting The Island for the stage. In addition, dialogue as the dominant form in Selimović’s novel will be analysed based on research findings in speech acts models.
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Notes
- 1.
“Un premier composant, c’est-à-dire un premier ensemble de connaissances (nous l’appellerons composant linguistique) assignerait à chaque énoncé, indépendamment de tout contexte, une certaine description, que nous appelons signification, et, par exemple, à A, la signification A′. Et un deuxième composant (le composant rhétorique) aurait pour tâche, étant donné la signification A′ attachée à A, et les circonstances X dans lesquelles A est prononcé, de prévoir le sens effectif de A dans la situation X” (Ducrot 1972, p. 111).
- 2.
“Il devient nécessaire d’avoir à sa disposition des modes d’expression implicite, qui permettent de laisser entendre sans encourir la responsibilité d’avoir dit” (Ducrot 1972, p. 6).
- 3.
“En confiant donc la recherche des présupposés au composant linguistique—qui traite de l’énoncé lui-même, sans considération de ses conditions d’occurrence—alors que les sous-entendus seraient prévus par un composant rhétorique qui tient compte des circonstances de l’énonciation, nous rendons justice à un certain sentiment, ou au moins à une certaine prétention, des sujets parlants” (Ducrot 1972, p. 131).
- 4.
I use the definition of discourse proposed by Ubersfeld. In the context of theatre studies, “discourse, as opposed to text, which is a sequence of sentences between two semantic blanks, is embedded in the discursive mechanism that constitutes it” (1999, p.15).
- 5.
“For the drama is that particular literary work of art where the word is no longer free, but bound. It has become the figure, like the stone from which a statue is formed. To put it differently, the figure no longer is in the medium of the word, as is so in epic fiction, but rather the word is in the medium of the figure—which in turn is merely another formulation of the fact that the narrative function has become nil” (Hamburger 1973, p. 200).
- 6.
Ellis-Fermor contemplates various technical possibilities for detecting undisclosed thoughts in drama, and this approach could be considered compensatory for the narrative function. The author identifies major techniques of compensation: the chorus in Ancient Greek drama, soliloquy, monologue, or more subtle techniques such as “making the fact of [unspoken thought] suppression the main theme of the play” (1964, p. 117).
- 7.
The quoted segment is my translation of the Serbo-Croatian translation (Lukács 1990).
- 8.
In the English translation of Lukács’ The Theory of the Novel by Anna Bostock, the referenced section reads: “And so a note of reproachful, elegiac sorrow enters into its ecstasy at having found itself: a note of disappointment at a life which has not been even a caricature of what Its knowledge of destiny had so clairvoyantly heralded and which gave it the strength to travel the long road alone and in darkness. This loneliness is not only dramatic but also psychological, because it is not merely the a priori property of all dramatis personae but also the lived experience of man in the process of becoming a hero; and if psychology is not to remain merely raw material for drama, it can only express itself as lyricism of the soul” (1971, p. 46).
- 9.
Style indirect libre: “C’est un discours qui se présente à premierè vue comme un style indirect (ce qui veut dire qu’il comporte les marques de temps et de personne correspondant à un discours de l’auteur) mais qui est pénétré, dans sa structure sémantique et syntaxique, par des propriétés de l’énonciation, donc du discours du personnage” (Ducrot and Todorov 1972, p. 387).
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Garić-Komnenić, S. (2024). Adaptation and Dialogue Studies. In: Bosnian Literary Adaptations on Stage and Screen. Adaptation in Theatre and Performance. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-031-47134-6_5
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