Social Minds in Drama. Golnaz Shams

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СКАЧАТЬ the neural information processing of our brain is similar to information processing of a computer. This sense is very controversial. Well-known sceptics of this narrow sense are Searle (see The Rediscovery of the Mind, 1992) and Damasio (see The Feeling of What Happens, 2000).

41 There are some theories that try to tackle this problem by introducing new approaches or new terms. Herman’s “Hypothetical Focalization” (2010) or Jahn’s notion of zero-focalisation may be cases in point.

42 For a more detailed account of schematic language representation, and speech and thought representation in fictional context see Fludernik 1993 (in particular chapters 5 and 8).

43 Damasio believes there are two types of emotions: primary and secondary. Primary emotions are more individual like happiness, sadness, fear and anger. Secondary emotions are more social like embarrassment, guilt, jealousy etc. (Damasio 2000: 50–3).

44 When it comes to the idea of the inseparability of thought and action, Palmer draws heavily on Wertsch’s ideas on the connection between thought and action in analysing cognition. This is explored in detail in Voices of the Mind: A Sociological Approach to Mediated Action (1991). Also related is Ohmann (1973).

45 For a more detailed explanation of the six issues Palmer explicates see his The Fictional Minds (2004:171–93).

46 See Ruth Ronen (1988), Catherine Emmott (1997) and Menakhen Perry (1979).

47 For more elaboration on Bakhtin’s ideas and especially his take on dialogism see Vice (1997).

48 The term comes from Richardson (2001).

49 Theorists who seem to have a preference towards performance are Prince (1987: 58), Poschmann (1997: 48), and Zipfel (2001).

50 Jahn (2001).

51 Vanhaesebrouck (2004), this is an online magazine, hence no pagination. See: http://www.imageandnarrative.be/inarchive/performance/vanhaesebrouck.htm

52 Fludernik (2008).

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Chapter 3 Character and Consciousness in Drama

      Abstract: This chapter examines the main parts of the playscript where characters and their consciousness are constructed. There is an obvious shift from an internalist, psychological viewpoint to an externalist, social one. The chapter begins with the existing theories of characterisation and discusses what is missing and how they can be made more compatible with a more cognitivist approach like Palmer's that also suits a genre like drama.

3.1 Character and Characterisation in Theatre Studies So Far

      As explained in the previous chapter the main objective of my approach based on Palmer’s theory is to analyse the construction of the mentality of characters within the plays of Ibsen, Wilde and Shaw, and then to trace the premises of their interaction in the social setting of their storyworld. Since drama is prototypically an unmediated genre, the consciousness construction of characters is unravelled predominantly through their dialogue and action. Palmer finds fault with the prevalent internalist approach that the more traditional theories have regarding character and characterisation. He pleads for a more externalist view and regards all aspects of the character, psychological as well as social and outward actions as important. This chapter examines three different parts of playscripts where character construction happens: a) the dialogue that normally comprises the major part of playscripts, b) the stage directions and c) the introductory/explanatory passages. I will look at the existing theories regarding characterisation, briefly review them, discuss their shortcomings and suggest what could make them more compatible with my approach for this project. I will exclusively be dealing with playscripts and not the performance aspect of the play. Finally, I will briefly state the implications of such a framework for the discussion of group formation, intermentality and collective minds in drama.

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