By Dot Hutchison
Ophelia Castellan just isn't simply one other lady at Elsinore Academy. Seeing ghosts isn't really a ability prized in destiny society better halves. even if she takes her drugs, the bean sidhe beckon, reminding her of a promise to her useless mom. Now, within the wake of the Headmaster's unexpected dying, the complete academy is in turmoil, and Ophelia can not forget about the fae. specially as soon as she starts off seeing the Headmaster's ghosts—two of them—on the varsity grounds. Her in basic terms confidante is Dane, the Headmaster's grieving son. but while she offers extra of herself to him, Dane spirals towards a sad fate—dragging Ophelia, and the remainder of Elsinore, with him.
You know the way this tale ends. but even within the face of convinced dying, Ophelia has a call to make—and a promise to maintain.
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Extra resources for A Wounded Name
74. "Les fonctions du langage au theatre", Poetique, 8 (1971), 532-534. 75. , p. 535 (our translation). 76. See Anne Ubersfeld, Lire le theatre, chapter I, pp. 13-49. 77. L'ecole du spectateur, pp. 165-238. 78. Regarding this concept, see Julia Kristeva, "Le sujet en proces", Tel Quel, 52 (1972), 12-30, and 53 (1973), 1738. On the character as actant, see chapter V of this book and chapter II of Lire le theatre by Anne Ubersfeld as well as chapter II of my book Brecht en el teatro hispanoamericano contempordneo (Buenos Aires: Editorial Galerna, 1987).
This can be subdivided in the following manner: 1) deixis originating from the discourse or enunciative deixis, 2) spatial deixis, 3) temporal deixis, 4) social deixis, 5) demonstrative deixis. 63 1) Enunciative Deixis This type of discourse is central to theatre discourse, for all discursive activity is articulated from the deictics I/you which imply the integration of all the rest of the deixis involved in understanding the utterances. This inter-relationship is always performative: when a character says: "I swear", he/she performs both a locutory act and an illocutory act.
See also the above article by Alessandro Serpieri, et al, "Toward a Segmentation of the Dramatic Text", 163-200. 47. Semantics 2, p. 637. 32 48. , p. 660. 49. On theatre pragmatics, see Anne Ubersfeld, Lire le theatre. (1982), pp. 227-294. 50. , "Toward a Segmentation of the Dramatic Text", 165, and in Keir Elam, The Semiotics of Theatre and Drama, pp. 179-180. See also Marco De Marinis, "Vers une pragmatique de la communication theatrale", 71-86. 51. , "Toward a Segmentation of the Dramatic Text", 165-166.
A Wounded Name by Dot Hutchison