Introduction to Didascalic Semiotics

Inhaltsverzeichnis (Table of Contents)

• Introduction
• Disassembling of Narrative Method
• Introduction to Dual Omniscience
• Towards Didascalic Chronology (Imminence)
• Non-Alignment of Narrative Didascalia
  • Proof of Crisis in Narrative Diegesis; when Generic Omniscience Multiplies
• The Ir-referentiality of Dual Omniscience
• Imminence Definitions from Experimentations
  • First-Rhetoric and Didascalic Truth
  • Dramatic Truth Contra Dramatic Fact
• Parameters of Imminence
  • Imminence of omniscience (I.O)
  • The Sixth Wall
  • From Imminent Irrelevance to Imminent Salience
  • Statistic-Signal
• The Royal Chronology to Didascalic-Audience
• Reading Force Or Narrative Inertia?
• Didascalic Audience
• Suggestion of an Un-Liberated Didascalic Energy

Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)

This treatise aims to explore the concept of didascalic semiotics, which is the study of stage directions in dramatic texts. It examines how stage directions can be understood as a unique form of discourse with its own chronology and rules of interpretation. The text argues that stage directions are not simply passive elements but can be viewed as independent elements that contribute to the meaning and impact of a play. Key themes explored include:

• The relationship between narrative and didascalic discourse
• The nature of omniscience in dramatic texts
• The concept of imminence and its role in didascalic semiotics
• The interpretation of stage directions as a form of meta-textual liberation
• The impact of stage directions on the relationship between author, performer, and audience

Zusammenfassung der Kapitel (Chapter Summaries)

• Introduction: The chapter introduces the concept of didascalic semiotics and its relevance to the study of dramatic texts. It examines the potential of stage directions to create a unique and independent chronology, separate from the chronology of dialogue. It also introduces the key concept of dual omniscience, which refers to the potential for both the author and the characters to hold a level of omniscience within a play.
• Disassembling of Narrative Method: This chapter focuses on the chronological shift from narrative discourse to didascalic discourse. It discusses how stage directions can be seen as a form of meta-textual liberation, offering a unique perspective on the dramatic text. The chapter also explores the concept of "Umwelt" as it relates to the relationship between dialogue and stage directions.
• Introduction to Dual Omniscience: This chapter delves into the concept of dual omniscience, exploring the ways in which both the author and the characters can hold a degree of knowledge and understanding within the dramatic text. It argues that the author's presence is not restricted to dialogue and can be manifested through the stage directions.
• Towards Didascalic Chronology (Imminence): This chapter examines the concept of imminence, a distinct chronology that governs the interpretation of stage directions. It explores the ways in which stage directions can be understood as independent elements that contribute to the overall meaning and impact of a play. This chapter also highlights the importance of recognizing the difference between dramatic truth and dramatic fact in the interpretation of stage directions.
• Non-Alignment of Narrative Didascalia: This chapter delves into the potential for conflict and tension between the narrative discourse of the play and the distinct discourse of the stage directions. It explores the ways in which the playwright can utilize stage directions to challenge traditional narrative conventions. The chapter also discusses the concept of generic omniscience and its impact on the interpretation of stage directions.

Schlüsselwörter (Keywords)

The key concepts and terms central to this treatise include didascalic semiotics, stage directions, narrative discourse, dual omniscience, imminence, meta-textual liberation, Umwelt, dramatic truth, and dramatic fact. These terms are used to explore the unique relationship between stage directions and dialogue, emphasizing the potential for stage directions to create a distinct and independent discourse that contributes to the overall meaning and impact of a dramatic text.