Stage Direction Role in M. I. Tsvetaeva's Romantic Plays: Semantic, Functional and Pragmatic Aspects

By Pupysheva, Evgeniya Leonidovna; Ivygina, Alyona Alexandrovna | Asian Social Science, April 2015 | Go to article overview

Stage Direction Role in M. I. Tsvetaeva's Romantic Plays: Semantic, Functional and Pragmatic Aspects


Pupysheva, Evgeniya Leonidovna, Ivygina, Alyona Alexandrovna, Asian Social Science


Abstract

A stage direction as a special kind of paratext gets a special refraction in the plays by Marina Tsvetaeva: it is a kind of the author's mise en scène direction. The article focuses on semantic, pragmatic and functional analysis of stage directions in the romantic plays "Blizzard" ("Metel") and "Jack of Hearts" ("Chervonniy Valet") by Marina Tsvetaeva. The authors draw particular attention to examining the pragmatic function of inter-connective, prepositional and inter-positional remarks in the analyzed plays. The topic relevance is related to the consideration of the discourse of the great poet, who plays a special place in the cultural heritage, both in Russia and abroad, as well as of polysemy and duality of stage direction representation in the romantic paradigm of M. I. Tsvetaeva's plays.

Keywords: stage directions, pragmatics, semantics, function, romantic play, Marina Tsvetaeva

1. Introduction

In recent years, in linguistics due to the development of new anthropocentric, cognitive and discursive paradigms and treatment of the text pragmatic component analysis, the study of the particular writer's or poet's worldview and identification of idiostyle features of the text through the study of its specific linguistic units is becoming increasingly important. One cannot say that M. I. Tsvetaeva's creativity in this sense was overlooked in linguistic research. However, despite the fact that the study of the phenomenon of M. I. Tsvetaeva's personality and her creative heritage has been subject of numerous studies both in this country and abroad (UK, USA), there has been and still is an unabated interest in her extraordinary personality and work. The most significant of the linguistic research in Russia in our opinion are the works "Marina Tsvetaeva's Poetry: Linguistic Aspect" by L. V. Zubova, "Poet and Culture: Marina Tsvetaeva's Conceptual Sphere" by V. A. Maslova, and, undoubtedly, a multi-volume "Dictionary of Marina Tsvetaeva's Poetic Language".

Among the leading English researchers studying M.I. Tsvetaeva's creative work are editors and translators (Gleb Struve, USA, Victoria Schweizer, USA, Olga Peters Hasty, USA Robin Kemball, USA, Elaine Feinstein, England), teachers and professors from the leading universities of the world (Simon Karlinsky - professor at Berkeley University and Harvard University, Michael Makin, University of Michigan, Gerald Smith, University of Oxford, England). Basically, the works of the authors mentioned above are subject to detailed coverage of M. I. Tsvetaeva's biography, mythopoetics of her creative work and the specifics of her poetic innovation. In recent years, the attention of scholars studying the phenomenon of Marina Tsvetaeva is focused mainly on the literary analysis of her poetic heritage. Among these works are the research "A Reading of Marina Tsvetaeva's Fairy-Tale Poem" by Tora Lane, "Patterns of Transcendence. Classical Myth in Marina Tsvetaeva's Poetry of the 1920s" by Hanna Ruutu and "Marina Tsvetaeva's Life and Work in the Reception of Foreign Slavic Studies" by I. K. Tsalikova.

As part of our study on the analysis of the dramatic text by Marina Tsvetaeva, we can highlight the work of M. Makin, directed at the general analysis of the content and history of the romantic plays by M. I. Tsvetaeva, who believes that they are the most "unread" works of the poet and "... represent one of the most striking evidence of the importance of the literary source of Tsvetaeva's poetics".

Thus, even now scholars studying Tsvetaeva's creative work still have many questions that require, in particular, access to a deep study of the internal design of her texts, including drama. "The drama text, - said P. Pavie - is the quicksand the surface of which periodically and differently localizes signals that guide perception, and signals that support uncertainty and ambiguity". These signals undoubtedly include stage directions. The content of the text represents the author's conceptual picture of the world, reflecting in the linguistic form a variety of information about the world in accordance with the author's intentions. …

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