Comment le temps-espace pictural se manifeste dans le texte dramatique : comment le pictural se manifeste dans le temps-espace dramatique : exemple de Maurice Maeterlinck, Émile Verhaeren et Michel de Ghelderod

Zdrojový dokument: Études romanes de Brno. 2011, roč. 32, č. 1, s. [121]-128
  • ISSN
    1803-7399 (print)
    2336-4416 (online)
Type: Článek
Licence: Neurčená licence
The objective of this paper is the analysis of the "pictorial" character of time and space in a work of drama conducted from a double perspective: through the analysis of spatial and temporal conditions which have to be fulfilled in the construction of the world presented for pictoriality to appear in the work, and on the other hand, through the examinations of the changes in the time and space of that world marked by pictoriality. In the light of the analysis, pictoriality in the text is accomplished through the use of a significant number of markers, identified by Liliane Louvel, which create in the text a strategic place of the description of the space and produce the effect of focusing. The character of focalisateur is also necessary in the text for seeing to be verbalized as speaking. Déictiques play an important role in the description of the space, while the passive voice, present and past participles and the verb to be organize the time. Pictoriality can also be manifested on the level of the graphic composition of the text: in the organization of the paragraph, spaces or titles. The impact of pictoriality on time and space can be observed in the doubling or parallelism of these two categories. Doubling (of space as well as time) is signaled by the appearance of ekphrasis, the split of the space – when the image in question is in the virtual space, or the split of the space to a lesser degree, when the image is in the background of the actual space of the world presented. Finally, it is possible to identify a fusion of the space and time of the world presented on the one hand and the image which is a visual expression of this world on the other, when the play takes the form of a living ekphrasis, especially in the case of the latter highlighting the space and time through the effect of embedding.
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