Theatricality in Iris Murdoch’s novels: a corpus-based approach

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Kyiv National Linguistic University

National Technical University of Ukraine “Igor Sikorsky Kyiv Polytechnic Institute”

Theatricality in Iris Murdoch's novels: a corpus-based approach

Rarenko N.V.

Vorobyova O.P.

Abstract

This paper This paper is part of the project “Linguistics of Intermediality and the Challenges of Today: Polymodality of Mind, Intersemioticity of Text, Polylogue of Cultures” (Grant of Ministry of Education and Science of Ukraine, UkrRISTI Registration Number 0119U100934). aims to address the phenomenon of theatricality as a manifestation of intermediality in English postmodernist literary discourse, viewed from the corpus linguistic perspective. The analysed corpus comprises three novels by Iris Murdoch, a well-known Briitish and Irish postmodernist writer, namely “The Black Prince”, “Under the Net”, and “The Sea, The Sea”. As a multifaceted intermedialphenomenon, theatricality represents a variety of intracompositional intermediality manifested in literary text through explicit and implicit references to the art of theatre. Given the heterogenous nature of theatrics and theatricality, its verbal markers are deduced here according to two parameters: the scenic (concerned with the way properties of theatrical stage and space are represented both verbally and textually) and dramatic ones (accounting for verbal and textual means that render and imitate the dramatized nature of theatrical performance in literary text). Respectively, the key theatre-related words in the corpus under study are: `theatre', `theatrical', `drama', `dramatic', `scene', `stage', and `spectacle'. Using the Sketch Engine analysis tool for processing literary corpora, the most typical collocations and word-combinations with the aforementioned lemmata are elicited. Specific examples of their usage are further analyzed with the aim to demonstrate the way scenic and dramatic effects are textually amplified in Iris Murdoch's writings. The concordance Sketch Engine tool is used to analyze the distribution of theatre-related lexis in the suggested literary corpus, with a special attention given to the most frequent hits of the lemma `theatre'. The corpus-based analysis of I. Murdoch's three major novels allowed to trace and systematize verbal means of theatricality in their typical grammatical relations and distribution in context. The obtained data reveals the specificity of theatricality in the domain of postmodernist literature, providing new insights into its textual parameters.

Key words: intermediality, interphenomenon, postmodernism, theatre, theatrical, lexis, verbalization

Раренко Н.В., Воробйова О.П.

Театралізація в романах А. Мердок: корпусний підхід

Анотація

theatricalization postmodern discourse

У статті досліджено феномен театралізації як вияв інтермедіальності в англомовному постмодерністському художньому дискурсі з позицій корпусного аналізу. До корпусу текстів входять такі романи А. Мердок: “The Black Prince”, “Under the Net” та “The Sea, The Sea”. Згідно з класифікацією інтермедіальних зв'язків, театралізацію розглянуто як різновид інтракомпозиційної інтермедіальності, яку актуалізовано в художньому тексті за посередництва явних або прихованих посилань до мистецтва театру. Вербальні означники театралізації з опертям на гетерогенність театрального мистецтва проаналізовано в межах двох параметрів, зокрема сценічності (її потрактовано як акцентуацію законів театрально-сценічної дії засобами художнього тексту) та драматичності (її витлумачено як відтворення загостреної драматичної експресії, емоційності та напруженості у вербальних виявах). Відповідно до вказаних параметрів, виділено ключові слова, що маркують вияви театралізації в досліджуваних художніх текстах: `theatre', `theatrical', `drama', `dramatic', `scene', `stage' та `spectacle'. За рахунок використання платформи Sketch Engine для здійснення корпусного аналізу визначено типові колокації та словосполучення з ключовими словами на позначення театральних реалій у романах А. Мердок. Окреслено їхні актуалізацію та стилістичний потенціал у площині названих постмодерністських художніх текстів. Послуговування тією самою платформою Sketch Engine уможливило також застосувати інструментарій конкордантного аналізу - для визначення дистрибуції ключових слів та словосполучень, які маркують вияви театралізації в досліджуваному корпусі текстів.

Корпусний підхід до аналізу романів А. Мердок дав змогу систематизувати вербальні маркери театралізації у межах типових граматичних і контекстних відношень та простежити регулярність і продуктивність їх застосування. Отримані результати сприяють розкриттю лінгвопоетологічних особливостей феномену театралізації художнього тексту, що свідчать про присутність театру як медіа в англомовному постмодерністському художньому дискурсі.

Ключові слова: інтермедіальність, театралізація, постмодернізм, сценічність, драматичність, корпусний аналіз, вербалізація.

Defining the problem and argumentation of the topicality of the consideration

Within the purview of current literary and media studies, narratives are thought to have close affinities with other arts and media, ranging from classical paintings and symphonies to contemporary visual arts and video games [20, 1]. One example of such an artistic interface is the effect of theatricality that foregrounds “the specificity of theatrical act itself” [7, 94]. It becomes particularly salient in the body of postmodernist literary works, given their overall tendency for `hybridization' [9, 506-507], i. e. blending and intermingling various genres, styles, and forms of expression. In the wake of postmodern simulacrum of reality [4, 6], imitations of the theatrical stage and performance become intrinsic facets of literary texture, saturating it with histrionics and spectacularity.

The notion of theatricality demonstrates a multitude of approaches to its definition and analysis in literature. However, its verbal manifestations have yet to be studied comprehensively, particularly with regard to postmodernist literary discourse. Vivid examples of theatricality in postmodernist writing can be found in the vast body of novels by Iris Murdoch, an Irish and British writer, well-known for her long-standing affection for theatre and drama [21, 87-88]. It is thus of great interest to delineate the ways and means theatrical conventions and features are verbally represented in her prosaic texts, namely such as The Black Prince (2019), The Sea, The Sea (1980) and Under the Net (2002).

Setting the goals and tasks of the article

Given the topicality of intermediality studies in contemporary literature, this paper aims to elicit and systematise verbal markers of theatricality in the above novels, following the procedure of corpus analysis. The aim set entails the following research tasks: 1) to bring together various approaches to defining the notion of theatricality; 2) to deduce the definition of theatricality of literary text based on the premises of intermediality theory; 3) to analyze and systematise the data of corpus-based analysis applied to theatre-related lexis in Murdoch's novels with regard to their role in representing textual theatricality.

Analysis of recent research and publications

The general theoretical and methodological framework for explicating theatricality in this research is built on the vast scope of intermediality studies accounting for manifold instances of border-crossing between arts and media [2; 23; 26]. To get a better understanding of what constitutes the intermedial nature of theatricality, we shall focus first on the approaches to defining intermedi- ality and differentiating between its forms.

А sustained interest of literary linguists in the issue of intermediality interface stems from the growing number of human artefacts and artistic forms that make use of different modalities and modes of expression [6, 36]. Based on the social semiotic theory, the process of communication and sign-making is inherently multimodal in a social context, as, for instance, in the case of visual design and writing utilized in the printed media [10, 17]. According to Kress and van Leeuwen, recent advances in semiotics, including social semiotics, are spurred on by the aforementioned tendency towards border-crossing, as “not only the cinema and the semiotically exuberant performances and videos of popular music, but also the avant-gardes of the `high culture' arts have begun to use an increasing variety of materials and to cross the boundaries between the various art, design and performance disciplines, towards multimodal Gesamtkunstwerke, multi-media events, and so on” [11, 1].

Interestingly, the dominant cases of medial interface do not only encompass contemporary digital media products but could be easily traced in traditional artistic forms, literature being no exception. In the light of this tendency, a number of researches within the realm of literary theory [2] and literary linguistics [16; 23] integrate heterogeneous interdisciplinary approaches to disclose manifestations of distinct media in literary narratives.

Given the fact that the range of media interaction is so increasingly diverse and heterogeneous, it seems sensible to utilize the term 'interphenomena' as both an established research perspective in media studies and a network of products that exist at the crossroads of media borders, for instance, intermediality, multimodality, etc. [1]. In this research theatricality as the interface between literature and theatre is regarded in terms of intermedi- ality references that occur in literary text and fit into the wide-ranging system of interphenomena amidst other arts and media.

The notion of intermediality is conventionally used as an umbrella-term for various types of medial interplay, transmediality, plurimediality, and hybridization, etc. [17, 44]. Initially, the term `intermediality' was introduced by the German-Austrian scholar Aage A. Hansen-Love to signify the interplay between literature and the visual arts in Russian symbolism [3]. As opposed to the term `intertextuality' that refers to `homomedial' interconnections across texts, intermedi- ality encompasses relations between “medially different semiotic entities” [25, 253]. In terms of its forms, inter- mediality as a transgression of medial boundaries can be manifested within one media product (` intracomposi- tional intermediality') or it can extend beyond the limits of one work, involving more than one semiotic mode of expression (`extracompositional intermediality') [25, 253-254]. In the same vein, Jorgen Bruhn [5, 15] offers the term `heteromediality' to emphasize the inherently mixed nature of all media. Following W J. T. Mitchell's theory of mixed media [14], the scholar notes that “all texts, including literary texts, inevitably reflect a mixed constellation” [5, 15]. In this sense, postmodernist literature demonstrates a close affinity to other arts and media forms, with its “preference for irony, parody, generic hybridizaton and eclecticism” [8, 35]. Theatri- calization of textual features, thus, represents a prominent facet of postmodernist writing, as exemplified by the plenitude of theatrical techniques, imagery, and lexis in I. Murdoch's novels.

Methodology

Our approach to eliciting textual manifestations of theatricality stems, on the one hand, from the definition of intermediality forms within the broad field of intermediality studies, and on the other hand, from the central principles of stylistic and linguo- poetic analysis of literary text. Based on the classification of intermediality relations by the Austrian scholar Werner Wolf [24; 25; 26], theatricality is viewed as a form of intracompositional intermediality manifested in literary text through intermedial references to theatrical art regarded as a semiotically distinct medium [18, 4]. By means of these references, theatre in literary text can be addressed directly (`overt intermedial reference*, or `thematization') or indirectly (`covert intermedial reference*, or `imitation'), particularly by the use of vocabulary pertaining to the domain of theatrics and performance (ibid.).

Viewed through the prism of linguistic poetics, the category of theatricality embraces verbal and textual means of manifestation deducible at various textual levels, primarily lexical-semantic, imagistic, symbolic, narrative, and compositional. This paper suggests a new angle of theatricality studies grounded in the corpus-based analysis [12; 13; 22; Sketch Engine] of lexis in postmodernist novels. Given the heterogenous nature of theatricality and theatrical culture, the scope of theatre-related lexis has been limited to the following key words: `theatre*, `theatrical*, `drama*, `dramatic*, `scene*, `stage*, and `spectacle*. Such an analysis made it possible to trace high-frequency words and word-patterns related to the theatre domain in the text corpus comprising Murdoch's The Black Prince (2019), Under the Net (2002), and The Sea, The Sea (1980), as well as observe the key words distribution in these novels. The data helped to define the key parameters of theatricality in postmodernist literary discourse under study.

The outline of the main research material

Iris Murdoch is widely recognized for exploring and “crossing the generic borders of many literary categories (characters take it as a drama, autobiography, even a novel)” [15, n. p.]. Such a characterisation could be easily extrapolated onto the three of her major novels. The phenomena of theatricality and theatrical presence are intricately interwoven into the texture of Murdoch's novels, functioning as their central themes and settings in many of her plots.

Following the story of the retired theatrical playwright and director Charles Arrowby, The Sea, The Sea (1980) is set outside the traditional theatrical setting. While writing his memoirs in a house by the sea, the protagonist constantly reminisces about his theatrical career, along with other struggles of his lifetime. Under the Net (2002) and The Black Prince (2019) demonstrate close affinities with the world of theatrics as well. The plot of Under the Net is centered around Jake Donahue, a young aspiring writer who struggles to come to terms with Hugo Belfounder, a fictional philosopher, and produce a literary work of his own. In a series of adventurous events, the protagonist encounters the Riverside Miming Theatre where his ex-girlfriend Anna performs.

The Black Prince, in its turn, dwells upon Bradley Pearson, a writer, as he struggles to write the greatest book of his lifetime. Over the series of unfortunate events, his plans to produce a literary masterpiece fail to succeed. Moreover, Bradley Pearson falls in love with the daughter of his friend and literary colleague Arnold Baffin. Both his affection for the young Julian Baffin and that of writing become the two of his biggest passions. As his abnormal obsession grows stronger, Bradley Pearson constantly resorts to discussing Shakespeare's plays, particularly Hamlet. The uncanny intertextual similarities between the protagonist and the world of Shakespeare's works are gradually revealed throughout the text.

Theatrical presence in these novels appears evident not only in the context of plot development; it also functions as a salient facet of literary texture, encompassing its verbal, imagistic, narrative, and compositional dimensions. To objectify the way theatricality is verbally manifested in the aforementioned novels we shall further resort to the corpus linguistic analysis that, presumably, shows the way theatre-related lexis is grammatically and contextually distributed in postmodernist literary text. Using the Sketch Engine analysis tool to the corpus of I. Murdoch's novels, we will first identify the most typical (strong) collocations and word-combinations with the lemmata `theatre*, `theatrical*, `drama*, `dramatic*, `scene*, `stage*, and `spectacle*, listed below in the order from the most typical to the least typical collocations.in each column (see Table 1).

The data retrievable with the help of corpus analysis contribute to the identification of theatricality in terms of key words and lexico-grammatical patterns shared across postmodernist literary texts under analysis. It points to the most typical collocates of the word `theatre' and other key words, allowing us to elicit their grammatical and collocational behaviour in a systematic way. Given the collocates provided in Table 1, the nouns `theatre*, `drama*, `scene*, `stage*, and `spectacle* enter a greater range of grammatical relations as compared to the adjectives `theatrical* and `dramatic*, thus serving as the subject, noun modifier, etc. Respectively, the least number of collocates is observed among prepositional phrases for each lemma in question. From the point of view of frequency counts and collocation patterns, theatricality is thus typically verbalized by the notional parts of speech rather than functional; evidently, the prevalence of notional words (adjectives, nouns, verbs) externalizes various characteristics of theatrics and theatricality (e.g., “endless spectacle”, “dramatic sense”. etc.). An important point is that theatricality (“theatre”, “theatrical”) can be manifested by a variety of lexical items related to the semantic field “Theatre”, amplifying the scenic (“scene”, “stage”, “spectacle”) and dramatic (“drama”, “dramatic”) features of theatre in the literary texts under study.

So, scenic effects related to the phenomenon of theatricality are textually rendered in terms of theatrical scenery in Murdoch's Under the Net. Attempting to find his ex-girlfriend Anna, the protagonist, Jake Donahue, describes a captivating theatrical scene at the Riverside Miming Theatre: “I was in the gallery of a tiny theatre. The gallery, sloping and foreshortened, seemed to give immediately onto the stage; and on the stage were a number of actors, moving silently to andfro, and wearing masks which they kept turned toward the auditorium. These masks were a little larger than life, and this fact accounted for the extraordinary impression of closeness which I had received when I first opened the door. My perceptual field now adjusted itself, and I looked with fascinated interest and surprise upon the strange scene” (3, 40).

In this fragment, the description of theatrics brings to the foreground the effect of scenic presence - the scene

Table 1. Collocations and word-combinations with the `theatre' lemma in Iris Murdoch's novels

Table 2. Concordance distribution of lemma `theatre sentence

Conclusions and directions for further research

The corpus-based approach to Iris Murdoch's novels viewed from the intermediality perspective allowed to identify which theatre-related lexical units are predominantly used to verbalize the phenomenon of theatricality in postmodernist literary text, as well as to spot the typical grammatical relations they tend to enter, thus determining their distribution in context. The results obtained suggest that textual theatricality is multifaceted, since its verbal means of manifestation encompass a wide range of key words related to the semantic field “Theatre”. The statistical study of such verbal markers in literary corpora points to the most typical words and word-patterns in particular grammatical and contextual surroundings. Processing the results of the research allows to get a deeper insight into the notion of theatricality in terms of its scenic and the dramatic parameters. A further study on the topic brought up in this paper could be undertaken to identify and systematise textual manifestations of the carnivalesque as another parameter through which theatricality can be embodied in postmodernist literary discourse.

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