Reading the Identity of Dramatis Personae Through the Semantics of Possible Worlds
Part of : Γράμμα : περιοδικό θεωρίας και κριτικής ; Vol.20, 2012, pages 221-235
Issue:
Pages:
221-235
Author:
Abstract:
The semantics of possible worlds allows us to see an abundance of alternative“independent” worlds that might not even exist.The notion is based on the principle that fictional worlds are not reproductionsor representations of the actual world but dominant kingdoms ofthe possible. Furthermore, it accepts that heroes, locations, and facts thatrefer to their actual or historical equivalent constitute in a sense a particularsemantic order.The present study focuses on the fact that fictional characters and theirhistorical and actual models are both captives of a transworld identity: afundamental concept of the semiotic theory of possible worlds. As such,the analysis focuses on various European and American plays and the manipulationto which they subject the transworld identity of their dramaticcharacters. Some fertile hypotheses from quantum physics can be used asadditional instruments of this study.
Subject:
Subject (LC):
References (1):
- Primary dramatic textsAnagnostaki, Loula. Αντόνιο ή το μήνυμα. (Antonio or the Message), Athens: Kedros,1980. Print.––. Σ’ εσάς που με ακούτε. (To You All Listening to Me). Theatre. Vol. 1. Athens: Kedros,2007. 87-142. Print.Blanco, Sergio. Kassandra. Unpublished.Carr, Marina. By the Bog of Cats... London: Faber and Faber, 2004. Print.Fleischmann, Stephanie. Omonia -3, an Epistolary Play. Unpublished.Jouanneau, Joël. Sous l’oeil d’OEdipe (d’après Sophocle et Euripide). Paris: Actes-Sud,2009. Print.Kambanellis, Iakovos. Ο Γορίλας και η ορτανσία. (The Gorilla and the Hydrangea).Theatre. Vol. 4. Athens: Kedros, 1989. 159-234. Print.––. Στη Χώρα Ίψεν. (In the Country of Ibsen). Theatre. Vol. 6. Athens: Kedros, 1994.91-140. Print.––. Η Τελευταία Πράξη. (The Last Act). Theatre. Vol. 7. Athens: Kedros, 1998. 165-241. Print.Pontikas, Marios. Ο δολοφόνος του Λαΐου και τα Κοράκια. (Laius’s Murderer and theCrows). The Collected Works of Theatrika. Vol. 3. Athens: Aigokeros, 2007. 223-242. Print.Racine, Jean. Iphigénie. Théâtre Complet II. Paris: Flammarion, 1965. 127-193.Print.Vergou, Konstadina. Ο γάμος της Αντιγόνης. (Antigone’s Marriage). Athens: οδεβ,1983. Print.Williams, Tennessee. Camino Real. Trans. Alexis Solomos. Athens-Ioannina: Dodoni,1995. Print.Ziogas, Vasilis. Ο Δον Κιχώτης σε νέες περιπέτειες. (Don Quixote‘s New Adventures).Athens: Ermis, 1996. Print.––. Οι Κάφροι ή η αληθινή ιστορία του Μενελάου και της Ελένης (κωμωδία φλυάκων).(The Kaffirs or the True Story of Menelaus and Helen (a Comedy of Phlyakes).Athens: Ermis, 1996. Print.––. Το προξενιό της Αντιγόνης – Η κωμωδία της μύγας. (Antigone’s Arranged Marriage– A Comedy of the Fly). Athens: Ermis, 1996. 6-38. Print.Secondary sourcesBarrow, John. The Infinite Book. Greek trans. Theophanis Frammenos. Athens: Travlos,2007. Print.Barthes, Roland. Le degré zéro de l’écriture suivi de Nouveaux essais critiques.Paris: Seuil, 1972. Greek trans. Kostas Papayiorgis. Athens: Ekdoseis 70, 1971.Print.Bradley, Raymond, and Norman Swartz. Possible Worlds: An Introduction to Logicand Its Philosophy. Oxford: Blackwell, 1979. Print.Burke, Peter. Cultural Hybridity. Cambridge: Polity Press Ltd, 2009. Greek trans. IriniStamatopoulou. Athens: Metaichmio, 2010. Print.Castellucci, Claudia, and Romeo Castellucci. Les Pèlerins de la matière: Théorie etpraxis du théâtre. Écrits de la Socìetas Raffaello Sanzio. Trans. Karin Espinosa.Besançon: Les Solitaires Intempestifs, 2001. Print.Castellucci, Claudia et al. The Theatre of Socìetas Raffaello Sanzio. London and NewYork: Routledge, 2007. Print.Doležel, Lubomír. “Possible Worlds of Fiction and History”. New Literary History 29.4(1998): 785-809. Print.––. Heterocosmica: Fiction and Possible Worlds. Baltimore and London: The JohnHopkins University Press, 1998. Print.Eco, Umberto. I limiti dell’ interpretazione. Milano: Fabbri, Bompiani, Sonzogno, 1990.Greek trans. Marianna Kondyli, Athens: Gnosi, 1993. Print.––. Lector in fabula: Le rôle du lecteur. Trans. Myriem Bouzaher. Paris: Grasset, 1985.Print.Elam, Keir. The Semiotics of Theatre and Drama. London and New York: Routledge,1980. Print.Escola, Marc. “Mondes possibles et textes possibles”. La théorie des mondes possibles:Un outil pour l’analyse littéraire. Séminaire C.L.A.M. et UniversitéParis VII Denis Diderot, novembre 2005-juin 2006. 26 janvier 2006. Web.http://www.univ-paris-diderot.fr/sc/site.php?bc=clam&np=SSEM1&g=sm&m2=no.18 Aug. 2010.Genette, Gérard. Palimpsestes: La littérature au second degré. Paris: Seuil, 1982.Print.Grammatikakis, Giorgos. The Auto-biography of Light. Irakleion: Kriti UniversityPress, 2006 (in Greek). Print.Gribbin John. The Universe: A Biography. London: Penguin Books, 2008. Greek trans.Andreas Michailidis. Athens: Metaichmio, 2009. Print.Hager, Philip. “From the Margin to the Mainstream: The Production of Politically-engagedTheatre in Greece during the Dictatorship of the Colonels (1967-1974)”.Diss. Royal Holloway College, University of London, 2008.Hintikka, Jaakko. The Intentions of Intentionality and Other New Models for Modalities.Dordrecht: Reidel, 1975. Print.Kaku, Michio. Parallel Worlds. Greek trans. Elena Pissia. Athens: Travlos, 2005.Print.Kripke, Saul A. “Semantical Considerations on Modal Logic”. Acta Philosophica Fennica16 (1963): 83-94. Rpt. Reference and Modality. Ed. L. Linsky. Oxford:Clarendon Press, 1971. 63-72. Print.sm&m2=no.Naming and Necessity. Cambridge:Harvard University Press, 1980. Print.Lewis, David. Philosophical Papers. T. I. New York: Oxford University Press, 1983.Print.McIntyre, Dan. Point of View in Plays: A Cognitive Stylistic Approach to Viewpoint inDrama and Other Text-types. Amsterdam/Philadelphia: John Benjamins PublishingCompany, 2006. Print.Monneret, Philippe. “Fiction et croyance: les mondes possibles fictionnels comme facteursde plasticité doxastique”. La théorie des mondes possibles. SéminaireC.L.A.M. et Université Paris VII Denis Diderot, novembre 2005-juin 2006. 2mars 2006. Web. 18 Aug. 2010.Pavel, Thomas G. Fictional Worlds. Cambridge: Harvard University Press, 1986. Print.––. “Mondes possibles, normes et biens”. La théorie des mondes possibles: Un outilpour l’analyse littéraire. Séminaire C.L.A.M. et Université Paris VII Denis Diderot,novembre 2005-juin 2006. 27 avril 2006. Web. 18 Aug. 2010.Pavis, Patrice. L’analyse des spectacles. Paris: Nathan, 1996. Print.Payatakis, Spyros. “Tragically Alone in Berlin”. Kathimerini, 2 March 2003: 8 (inGreek). Print.Pitozzi, Enrico, and Annalisa Sacchi. Itinera : Trajectoires de la forme. Tragedia Endogonidia.Trans. Jean-Louis Provoyeur. Paris: Actes Sud, 2008. Print.Rescher, Nicholas. A Theory of Possibility: A Constructivistic and Conceptualist Accountof Possible Individuals and Possible Worlds. Oxford: Blackwell, 1975. Print.Ronen, Ruth. Possible Worlds in Literary Theory. Cambridge: Cambridge UniversityPress, 1994. Print.Ryan, Marie-Laure. “Des mondes possibles aux univers parallèles”. La théorie desMondes possibles: Un outil pour l’analyse littéraire. Séminaire C.L.A.M. et UniversitéParis VII Denis Diderot, novembre 2005-juin 2006. 4 mai 2006. Web. 18Aug. 2010.––. Possible Worlds, Artificial Intelligence and Narrative Theory. Bloomington: IndianaUniversity Press, 1991. Print.Semino, E. “Possible Worlds: Stylistic Applications”. Encyclopedia of Language andLinguistics. 2d ed. 2006. 777-782. Print.Tackels, Bruno. Les Castellucci. Besançon: Les Solitaires Intempestifs, 2005. Print.Tsatsoulis, Dimitris. “Implicit, Presupposed and Implied in the Theatrical Dialogue ofAndreas Staikos”. Andreas Staikos, Ostrich Feathers – Theatre. Athens: EllinikaGrammata, 2001 (in Greek). Print.––. “The Post-avant garde Writing of Loula Anagnostaki: Drawing from Her Last WorkTo you all that are listening to me”. Signs of Writing – Codes of the Stage in ContemporaryGreek Theatre. Athens: Nefeli, 2007. 280-303 (in Greek). Print.––. Ibsen’s Intertexts in the Dramatic Writing of Iakovos Kambanellis.Athens: Metaichmio,2004 (in Greek). Print.––. “Open Possibilities, Rational Asymptotes and Alternative Worlds in Loulas Anagnostaki’sPlays”. Theatrographies 16 (2011): 57-78 (in Greek). Print.––. Conversing Images: Photography and Surrealist Aesthetics on the Scene Writingof Socìetas Raffaello Sanzio. Athens: Metaichmio, 2011. Print.Vassilopoulou, Katerina. “Possible Worlds in the Theatre of the Absurd”. Papers fromthe Lancaster University Postgraduate Conference on Linguistics and LanguageTeaching, T. 1. Ed. Costas Gabrielatos. Lancaster: Richard Slessor & J. W. Unger,2007. 120-138. Print.
