Transcript File - annabellelukin

THE MEDIUM, THE CHANNEL AND THE MESSAGE:
TECHNOLOGIES OF MIND AND MATTER IN THE
CURRENT MEANING OF MODE
David G. Butt
Associate Professor
Centre for Language in Social Life
Macquarie University
J.R. Firth. A Synopsis of Linguistic Theory, 1930-1955
Studies in Linguistic Analysis. Blackwell, Oxford 1957/62.
‘Every scientific discipline must necessarily develop a
special language adapted to its nature, and that
development represents an essential part of scientific
work.’
[and following]
… To be really alive you must feel this active personal
interest in what is going on, and your speech must
serve your natural familiarity with your
surroundings.
… The voice of man is one component in a whole
postural scheme …
Our ears are actively interested in what is going on.
THE MATRIX OF EXPERIENCE:
firstly, the interior relations connected with the text itself;
second, the main set of situational relations(a) the interior relations with the context of situation;
(b) analytic relations set up between parts
of the text … and special constituents, items, objects, persons or events
within the situation.
RENEWAL OF CONNECTION:
… in renewal of connection … an observable
and justifiable grouped set of events in the run
of experience.
… Instances of such context of situation are
attested by experience.
EFFECTIVE OBSERVABLE
RESULTS:
Some might prefer to characterize situations by
attempting a description of speech and
language functions with reference to their
effective observable results, and perhaps also
with a reference to a linguistically centred social
analysis.
CULTURAL MATRIX OF THE
TEXTS:
… Notional terms are permissible at this level. …
The abstraction here called context of situation
does not deal with mere ‘sense’ or with
thoughts. It is not a description of the
environment. It is a set of categories in ordered
relations abstracted from the life of man in the
flux of events, from personality in society.
Every analysis of any particular language must of
necessity determine the values of the ad hoc
categories to which traditional names are given. …
… The exponents of prosodic and of grammatical
categories may be continuous or discontinuous,
discrete or cumulative. The general idea underlying
such analyses is the mutual expectancy of the parts
and the whole, rather than a unidirectional sequence
of successive linear segments.
MIND IN SOCIETY
The internalization of cultural forms of behaviour involves the
reconstruction of psychological activities on the basis of sign
operations. Psychological processes as they appear in
animals actually cease to exist: they are incorporated into this
system of behaviour and are culturally reconstituted and
developed to form a new psychological entity. The use of
external signs is also radically reconstructed. The
developmental changes in sign operations are akin to those
that occur in language. Aspects of external or communicative
speech, as well as ego-centric speech, turn ‘inward’ to
become the basis of inner speech.
The internalization of socially rooted and historically
developed activities is the distinguishing feature of human
psychology, the basis of the qualitative leap from animal to
human psychology. (Vygotsky 1978: 57)
BUTT 2003; BASED
ON HASAN 1985
ROLE OF LANGUAGE
(BUTT 2003)
ROLE OF LANGUAGE
ROLE OF LANGUAGE
CHANNEL (BUTT 2003)
CHANNEL:
MEDIUM
THE CHAMBER PLAYS
FROM MORGAN, MARGERY. (1985). AUGUST
STRINDBERG.
The final development in Strindberg’s art as a dramatist came about in the group of plays he
wrote specifically for the repertoires of this Intimate Theatre: Storm, The Burned House, Ghost
Sonata, The Pelican and a Christmas piece, The Black Glove. In calling them chamber plays, he
associated his and Falck’s theatre project with Max Reinhardt’s contemporary opening of the
Kammerspielhaus (chamber playhouse) in Berlin, as well as suggesting that these works have a
dramatic equivalence to chamber music. Although only Ghost Sonata declares in its title the
symbolist cultivation of musical form, Strindberg referred to the whole group as his late sonatas,
perhaps inviting comparison with those of Beethoven.
In some respects they are more obviously designed for a repertory company than for a studio
theatre. They call for unexpectedly large casts, despite their otherwise concentrated quality, and
require careful direction of the whole rather than a focus on one or two star roles. Furthermore,
their settings offer problems for a small stage which demand imaginative solutions; indeed, they
were hardly solved at Intiman, though hindsight persuaded Strindberg that radically simplified
staging might hold the answer. One of his declared intentions, at the opening of the little theatre,
was to challenge the substitution of length for intensity in the fashionable programmes of the
day. (He was sympathetic to the good bourgeois couples who wanted to get home to bed at a
reasonable hour.) The chamber plays are shorter than the usual three-act play, but sufficiently
demanding of audience attention and response to occupy the whole of an evening’s bill without
short-changing their patrons. To the actors in the company he explained his concept of a drama
constructed on the basis of a single strong theme, which the playwright could choose to treat in
any way he wished, without regard for theatrical custom and convention, but only for a unity of
form and style with his central idea.
In clauses …
1.1
The final development in Strindberg’s art as a dramatist came about in the group of plays [[he wrote specifically for the repertoires of this Intimate Theatre:]] Storm, The
Burned House, Ghost Sonata, The Pelican and a Christmas piece, The Black Glove.
2.1
In calling them chamber plays,
2.2
he associated his and Falck’s theatre project with Max Reinhardt’s contemporary opening of the Kammerspielhaus (chamber playhouse) in Berlin,
2.3
as well as suggesting
2.4
that these works have a dramatic equivalence to chamber music.
3.1
Although only Ghost Sonata declares in its title the symbolist cultivation of musical form,
3.2
Strindberg referred to the whole group as his late sonatas,
3.3
perhaps inviting comparison with those of Beethoven.
4.1
In some respects they are more obviously designed for a repertory company than for a studio theatre.
5.1
They call for unexpectedly large casts, despite their otherwise concentrated quality,
5.2
and ^THEY require careful direction of the whole rather than a focus on one or two star roles.
6.1
Furthermore, their settings offer problems for a small stage [[which demand imaginative solutions;]]
6.2
indeed, they were hardly solved at Intiman,
6.3
though hindsight persuaded Strindberg
6.4
that radically simplified staging might hold the answer.
7.1
One of his declared intentions, at the opening of the little theatre, was [[to challenge the substitution of length for intensity in the fashionable programmes of the day.]]
8.1
(He was sympathetic to the good bourgeois couples [[who wanted to get home to bed at a reasonable hour]].)
9.1
The chamber plays are shorter than the usual three-act play,
9.2
but ^THEY ^ARE sufficiently demanding of audience attention and response to occupy the whole of an evening’s bill without short-changing their patrons.
10.1
To the actors in the company he explained his concept of a drama constructed on the basis of a single strong theme,
10.2
which the playwright could choose to treat in any way [[he wished]], without regard for theatrical custom and convention, but only for a unity of form and style with his
central idea.
SHAPE OF COHESIVE
CHAINS (CHAMBER PLAYS)