rita mascialino the dynamic spatiality of understanding and misunderstanding

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RITA MASCIALINORITA MASCIALINO

THE THE DYNAMIC SPATIALITY DYNAMIC SPATIALITY OFOF

UNDERSTANDING UNDERSTANDING AND AND

MISUNDERSTANDINGMISUNDERSTANDING


AbstractAbstract

1.1. Scientific background of the Scientific background of the hypothesishypothesis

2.2. Hypothesis about understanding and Hypothesis about understanding and misunderstanding at linguistic levelmisunderstanding at linguistic level

3.3. Discussion of the hypothesis through Discussion of the hypothesis through the spatial analysis of two literary the spatial analysis of two literary texts of Shakespeare (texts of Shakespeare (Sonnet LXXIIISonnet LXXIII; ; King LearKing Lear, Act V, Scene III, , Act V, Scene III, Monologue)Monologue)

4.4. ConclusionsConclusions


1. Scientific background1. Scientific background - - Broad scientific backgroundBroad scientific background:: EvolutionEvolution SemioticsSemiotics Basic neurophysiologyBasic neurophysiology

- - Specific backgroundSpecific background:: Unconscious and conscious brain Unconscious and conscious brain Space processingSpace processing


2. Hypothesis about 2. Hypothesis about understanding and understanding and misunderstanding at linguistic misunderstanding at linguistic levellevel

Key concepts of the hypothesis Key concepts of the hypothesis :: “Dynamic Spatiality”; “Endospatial “Dynamic Spatiality”; “Endospatial Scheme”; Scheme”; “Exospatial scheme”; “Endoplot”; “Exospatial scheme”; “Endoplot”; “Exoplot”;“Exoplot”; “Explicit Level”; “Implicit Level”; “Explicit Level”; “Implicit Level”;Purpose: Purpose: Identification of understanding and Identification of understanding and misunderstanding through themisunderstanding through the reconstructionreconstruction of the objective spatial of the objective spatial schemes carried by language at schemes carried by language at unconscious and conscious level. unconscious and conscious level.


3. Discussion: Shakespeare’s 3. Discussion: Shakespeare’s Sonnet Sonnet LXXIII LXXIII ((last verselast verse))

Sonnet LXXIIISonnet LXXIIIThat time of year thou mayst in me behold,That time of year thou mayst in me behold,When yellow leaves, or none, do hangWhen yellow leaves, or none, do hangUpon those boughs which shake against the cold,Upon those boughs which shake against the cold,Bare ruin’d choirs, where once the sweet birds sang.Bare ruin’d choirs, where once the sweet birds sang.In me thou seest the twilight of such day,In me thou seest the twilight of such day,As after sunset fadeth in the west,As after sunset fadeth in the west,Which by and by black night doth take away, Which by and by black night doth take away, Death’s second self, that seals all up in rest.Death’s second self, that seals all up in rest.In me thou seest the glowing of such fire,In me thou seest the glowing of such fire,That on the ashes of his youth doth lie,That on the ashes of his youth doth lie,As the dead-bed whereon it must expire,As the dead-bed whereon it must expire,Consum’d with that which it was nourish’d by. Consum’d with that which it was nourish’d by. This thou perceiv’st, which makes thy love more This thou perceiv’st, which makes thy love more

strong,strong,To love that well which thou must leave ere long.To love that well which thou must leave ere long.


Double spatiality carried by the Double spatiality carried by the word “well”word “well”

adverbadverb connected to the actions connected to the actions expressed by the verb “to love” intended expressed by the verb “to love” intended in a romantic or in a sexual way;in a romantic or in a sexual way;

substantivesubstantive connected with a “water connected with a “water source” surfacing from the source” surfacing from the underground.underground.


Interpretation of Shakespeare’s Interpretation of Shakespeare’s Sonnet LXXIII Sonnet LXXIII according to the dynamic spatiality carried by according to the dynamic spatiality carried by

the substantiv “well”the substantiv “well” endo - exospatial scheme

Ist QuatrainGoal directed motionof the protagonist

(metaphoric level)hanging leaves

IInd QuatrainGoal directed motionof the protagonist

(metaphoric level)setting sun

IIIrd QuatrainGoal directed motionof the protagonist

(metaphoric level)expiring fire

Last DistichGoal directed motionof the protagonist

(metaphoric level)well


Spatial schemes concerning the protagonist in Spatial schemes concerning the protagonist in Shakespeare’s Shakespeare’s Sonnet LXXIIISonnet LXXIII

QuatrainsExplicit level : :1. Relevant verbs concerning the “exoplot” 1. Relevant verbs concerning the “exoplot” (plot built by the (plot built by the

“exospatial schemes” carried by actions expressed by verbs)“exospatial schemes” carried by actions expressed by verbs): : to to hanghang (hanging leaves), (hanging leaves), to fade-to setto fade-to set (fading sunset), (fading sunset), to expireto expire (expiring fire); (expiring fire);

Implicit levelImplicit level : :2. Relevant motions concerning the “endoplot” 2. Relevant motions concerning the “endoplot” (plot built by (plot built by

the “endospatial schemes” carried by the motions underlying the the “endospatial schemes” carried by the motions underlying the actions expressed by verbs)actions expressed by verbs): downward motions ;: downward motions ;

DistichExplicit level ::1. None ; 1. None ; Implicit levelImplicit level : :2. Relevant actions concerning the “exoplot”: to go down 2. Relevant actions concerning the “exoplot”: to go down

and penetrate into the underground, to surface ;and penetrate into the underground, to surface ;3. Relevant motions concerning the “endoplot”: downward 3. Relevant motions concerning the “endoplot”: downward

and upward motions. and upward motions.


Concrete and metaphoric spatiality of the Concrete and metaphoric spatiality of the “well” as an underground water source“well” as an underground water source

1.1. General concrete spatiality:General concrete spatiality: a well springs a well springs from a deep and invisible underground up to from a deep and invisible underground up to the a visible soil, purifying and nourishing the a visible soil, purifying and nourishing nature, animals, humans included;nature, animals, humans included;

2.2. General metaphoric spatiality:General metaphoric spatiality: a metaphoric a metaphoric well refers to something metaphorically well refers to something metaphorically going up from a metaphoric and invisible going up from a metaphoric and invisible depth and flowing everywhere on a visible depth and flowing everywhere on a visible surface, purifying and nourishing on a surface, purifying and nourishing on a metaphoric level. metaphoric level.


Metaphoric meaning of the spatiality intrinsic to the Metaphoric meaning of the spatiality intrinsic to the “well” as a water source in the “well” as a water source in the Sonnet LXXIII

PoetryPoetry, which, which pre-eminentlypre-eminently arises from the arises from the psychological deep or unconscious-(invisible) psychological deep or unconscious-(invisible) spatiality carried by the superficial or conscious-spatiality carried by the superficial or conscious-(visible) spatiality carried by language, purifying (visible) spatiality carried by language, purifying and revitalizing the neuronal circuits of the human and revitalizing the neuronal circuits of the human CNS and personality through the catharsis; CNS and personality through the catharsis;

PoetPoet, who lives after death in his poetry., who lives after death in his poetry.

Why poetry in the context?Why poetry in the context? The protagonist speaks in the first quatrain about choirs The protagonist speaks in the first quatrain about choirs

and once singing birds; the spatiality of the verb “to and once singing birds; the spatiality of the verb “to sing” commonly matches with that of poetry; sing” commonly matches with that of poetry;

There is a parallelism between the underground source There is a parallelism between the underground source generally consisting in a pure water, and the main generally consisting in a pure water, and the main function of poetry, which is a cathartic or purifying function of poetry, which is a cathartic or purifying one.one.


Spatial schemes concerning the beloved Spatial schemes concerning the beloved in the distich of the in the distich of the Sonnet LXXIIISonnet LXXIII

DistichDistichExplicit levelExplicit level : :1. Relevant verbs concerning the “exoplot”: 1. Relevant verbs concerning the “exoplot”: to to

leaveleave (to leave in a short time and for ever the (to leave in a short time and for ever the well which will perpetually spread on the soil);well which will perpetually spread on the soil);

Implicit level Implicit level ::2. Relevant verbs concerning the “exoplot”: to go 2. Relevant verbs concerning the “exoplot”: to go

away, to go down and penetrate into the away, to go down and penetrate into the underground and to stay there without surfacing;underground and to stay there without surfacing;

3. Relevant motions concerning the “endoplot”: 3. Relevant motions concerning the “endoplot”: separation motions, downward motions, no separation motions, downward motions, no upward motions. upward motions.


Spatiality concerning the Spatiality concerning the protagonist and the beloved in the protagonist and the beloved in the

last verse of the last verse of the Sonnet LXXIIISonnet LXXIII

1.1. The protagonist will persist for ever, The protagonist will persist for ever, because he has not only the short because he has not only the short spatiality of a biological life, but also has spatiality of a biological life, but also has poetry’s spatiality which can overcome poetry’s spatiality which can overcome the short length of a biological life;the short length of a biological life;

2.2. The beloved will not persist for ever, The beloved will not persist for ever, because he has only the short spatiality because he has only the short spatiality of a biological life. of a biological life.


Global dynamic spatiality Global dynamic spatiality concerningconcerning the intention of the the intention of the

protagonistprotagonist The endo- and exospatial schemes The endo- and exospatial schemes

concerning the unconscious and concerning the unconscious and conscious goal directed actions and conscious goal directed actions and motions, or the motivation and motions, or the motivation and intention of the protagonist, show a intention of the protagonist, show a final upward direction achieved final upward direction achieved through and after a downward one, through and after a downward one, i.e., a final victory after an i.e., a final victory after an intermediate defeat.intermediate defeat.


The misunderstanding about the double The misunderstanding about the double spatiality of “well” in the Sonnett spatiality of “well” in the Sonnett

LXXIIILXXIII

Thanks to the double spatiality of “well” as Thanks to the double spatiality of “well” as an adverb and a substantive, one an adverb and a substantive, one straightaway understands “well” in the straightaway understands “well” in the commonest way, i.e., only as an adverb commonest way, i.e., only as an adverb connected with “to love” romantically connected with “to love” romantically intended, in the sense that the beloved intended, in the sense that the beloved should hasten to well love a protagonist should hasten to well love a protagonist that is going to die; thereafter, one does that is going to die; thereafter, one does not perceive the presence of the sexual not perceive the presence of the sexual request and the presence of the request and the presence of the substantive.substantive.


Motivation/results of the misunderstanding Motivation/results of the misunderstanding built by Shakespeare about the double built by Shakespeare about the double

spatiality of “well”spatiality of “well” as anas an adverb adverb : : Disguised introduction of a sexual atmosphere through the Disguised introduction of a sexual atmosphere through the

confusing spatiality intrinsic to the syntagm “to love well ” confusing spatiality intrinsic to the syntagm “to love well ” or “to well love”, interpretable in a romantic and sexual or “to well love”, interpretable in a romantic and sexual direction;direction;

as aas a substantiv substantiv : : DisguisedDisguised introduction of a scorn on the beloved through the introduction of a scorn on the beloved through the

confusing spatiality of the pronouns “that-which”, confusing spatiality of the pronouns “that-which”, mistakenly interpretable as connected with the dying mistakenly interpretable as connected with the dying protagonist, but correctly connected only with “well” as a protagonist, but correctly connected only with “well” as a water source (the grammatically possible connection with water source (the grammatically possible connection with the yellow leaves etc. is semantically absurd), so that the the yellow leaves etc. is semantically absurd), so that the beloved, who apparently neglects or refuses the protagonist, beloved, who apparently neglects or refuses the protagonist, is that who will soon lose the possibility of enjoying not only is that who will soon lose the possibility of enjoying not only the protagonist, but also, and first of all, poetry because he the protagonist, but also, and first of all, poetry because he will die for ever, whereas the neglected protagonist will live will die for ever, whereas the neglected protagonist will live for ever as a poet; for ever as a poet;

Disguised expression of Shakespeare’s selfawareness of his Disguised expression of Shakespeare’s selfawareness of his being a poet and awareness of the importance of poetry for being a poet and awareness of the importance of poetry for humanity.humanity.


Main misunderstandings intrinsic Main misunderstandings intrinsic to the traditional interpretation of to the traditional interpretation of

Shakespeare’s Shakespeare’s Sonnet LXXIIISonnet LXXIII Misunderstanding about the motions Misunderstanding about the motions

downward into the underground;downward into the underground; Misunderstanding about the motion upward to Misunderstanding about the motion upward to

the surface;the surface; Misunderstanding about the parallel Misunderstanding about the parallel

symbolism ‘purifying water/poetry’; symbolism ‘purifying water/poetry’; Misunderstanding about the misunderstanding Misunderstanding about the misunderstanding

built by Shakespeare;built by Shakespeare; Misunderstanding about the selfawareness of Misunderstanding about the selfawareness of

Shakespeare as a poet and about his awareness Shakespeare as a poet and about his awareness of the relevance of poetry for humanity.of the relevance of poetry for humanity.

Misunderstanding about the deep structures of Misunderstanding about the deep structures of Shakespeare’s text.Shakespeare’s text.


3. Discussion: 3. Discussion: King Lear’sKing Lear’s MonologueMonologue ( (ShakespeareShakespeare, King , King

LearLear, Act V, Scene III, Act V, Scene III))LearLear: No, no, no, no! Come, let’s away to prison;: No, no, no, no! Come, let’s away to prison;We two alone, will sing like birds i’ the cage:We two alone, will sing like birds i’ the cage:When thou dost ask me blessing, I’ll kneel down,When thou dost ask me blessing, I’ll kneel down,And ask of thee forgiveness : so we’ll live,And ask of thee forgiveness : so we’ll live,And pray, and sing, and tell old tales, and laughAnd pray, and sing, and tell old tales, and laughAt gilded butterflies, and hear poor roguesAt gilded butterflies, and hear poor roguesTalk of court news; and we’ll talk with them too,Talk of court news; and we’ll talk with them too,Who loses and who wins; who’s in and who’s out;Who loses and who wins; who’s in and who’s out;And take upon’s the mistery of things,And take upon’s the mistery of things,As we were God’s spies : As we were God’s spies : and we’ll wear out,and we’ll wear out,In a wall’d prison,In a wall’d prison, packs and sets of great ones, packs and sets of great ones,That ebb and flow by the moon.That ebb and flow by the moon.


endo- exospatial schemeendo- exospatial scheme

Concrete and potential (concrete level)Concrete and potential (concrete level)motions of the protagonist prison as a room with four walls motions of the protagonist prison as a room with four walls concerning the prison and a door to go in and outconcerning the prison and a door to go in and out

Concrete and potential (concrete level)Concrete and potential (concrete level)motions of the protagonist prison as a room with a walled up motions of the protagonist prison as a room with a walled up doordoorconcerning the prison and no possibility to go outconcerning the prison and no possibility to go out

Concrete and potential (concrete and metaphorical level)Concrete and potential (concrete and metaphorical level)motions of the protagonistmotions of the protagonistcncerning the prison prison as a walled up burial nichecncerning the prison prison as a walled up burial niche

Dynamic spatiality of the protagonist Dynamic spatiality of the protagonist according to the “wall’d prison” according to the “wall’d prison”

(second-last verse)(second-last verse)


The verb “to wear out” in the The verb “to wear out” in the traditional interpretation of the traditional interpretation of the

MonologueMonologue

traditional interpretation of the verb “to traditional interpretation of the verb “to wear out”:wear out”:

to cancel the great ones from the to cancel the great ones from the memory, i.e., to forget themmemory, i.e., to forget them


Falsification of the spatiality intrinsic to the Falsification of the spatiality intrinsic to the verb “to wear out” as “to forget”verb “to wear out” as “to forget”

Basic spatiality intrinsic to the verb “to forget”Basic spatiality intrinsic to the verb “to forget”: : removing of reality and dislocating it to a place where removing of reality and dislocating it to a place where one does not perceive it consciously. one does not perceive it consciously.

Falsification :Falsification : - - the the spatialityspatiality intrinsic to the invitation of Lear towards intrinsic to the invitation of Lear towards

Cordelia is that of a grandeur; a grandeur aimed to Cordelia is that of a grandeur; a grandeur aimed to achieve a forgetting of the great ones would be achieve a forgetting of the great ones would be absurd ; absurd ;

-- the the spatialityspatiality intrinsic to the uttering of “: and we’ll intrinsic to the uttering of “: and we’ll wear out” is that of an emphasized counterattack after wear out” is that of an emphasized counterattack after a big defeat inflicted by the great ones; a so strongly a big defeat inflicted by the great ones; a so strongly emphasized counterattack against the great ones emphasized counterattack against the great ones aimed to achieve a forgetting of the great ones, would aimed to achieve a forgetting of the great ones, would be absurd; be absurd;

- - the the spatialityspatiality intrinsic to the laughing at the great ones intrinsic to the laughing at the great ones (the gilded butterflies) excludes the removing of the (the gilded butterflies) excludes the removing of the persons laughed at from the memory; further, a persons laughed at from the memory; further, a grandeur aimed to achieve the possibility of laughing grandeur aimed to achieve the possibility of laughing at the great ones in a walled prison would be absurd. at the great ones in a walled prison would be absurd.


Meaning of the verb “to wear out” in Meaning of the verb “to wear out” in the the Sonnet LXXIIISonnet LXXIII according to its according to its

dynamic spatialitydynamic spatialitySpatiality of the verb “to wear out” in the Spatiality of the verb “to wear out” in the

context: context: opposition to the spatiality of the verbs “to ebb opposition to the spatiality of the verbs “to ebb

and flow” concerning the great ones: While and flow” concerning the great ones: While these go up and down, suddenly appearing these go up and down, suddenly appearing and soon vanishing, Lear and Cordelia will and soon vanishing, Lear and Cordelia will keep their position unaltered keep their position unaltered (they are dead in a (they are dead in a walled up prison/burial niche)walled up prison/burial niche), and by doing this, they , and by doing this, they will persist and continue living for ever will persist and continue living for ever (see (see preceding parallel form “: so we’ll live” in the fourth verse)preceding parallel form “: so we’ll live” in the fourth verse), , so defeating and overcoming the great ones so defeating and overcoming the great ones who do not keep their position. who do not keep their position.


Metaphoric spatiality of the protagonists in Metaphoric spatiality of the protagonists in the prison/burial nichethe prison/burial niche

How can the protagonists continue living for ever How can the protagonists continue living for ever while dead?while dead?

- As poet and poetry;- As poet and poetry; Spatiality of Shakespeare/Lear as one who sings Spatiality of Shakespeare/Lear as one who sings

and tells old tales in the walled prison, i.e., and tells old tales in the walled prison, i.e., spatiality of the spatiality of the poetpoet since poets sing and tell since poets sing and tell stories;stories;

Spatiality of Cordelia as one who sings in the Spatiality of Cordelia as one who sings in the walled prison with the protagonist, i. e., walled prison with the protagonist, i. e., spatiality of spatiality of poetrypoetry as a as a daughterdaughter created by created by Shakespeare/Lear; as a Shakespeare/Lear; as a bridebride solemnly and solemnly and passionately called by Shakespeare/Lear with passionately called by Shakespeare/Lear with stretched arm and hand;stretched arm and hand;

Spatiality of both poet and poetry as Spatiality of both poet and poetry as companions who will persist as such, i.e., will companions who will persist as such, i.e., will live longer than the great ones.live longer than the great ones.


Falsification of Freud’s Falsification of Freud’s interpretation of interpretation of King LearKing Lear

through the identification of its through the identification of its spatialityspatiality Freud’s interpretation:Freud’s interpretation: Cordelia personifies death and Cordelia personifies death and

has been chosen by Lear because he wants to die or is has been chosen by Lear because he wants to die or is going to die. going to die.

Falsification Falsification : : Death has a masculin spatiality in English and in Death has a masculin spatiality in English and in

German, therefore Freud is obliged to speak of German, therefore Freud is obliged to speak of Cordelia not directly as the death, but as the Cordelia not directly as the death, but as the TodesgöttinTodesgöttin, or death goddess, feminin, i.e., he , or death goddess, feminin, i.e., he consciously and arbitrarily changes the gender of consciously and arbitrarily changes the gender of death for him to support his subjective interpretation;death for him to support his subjective interpretation;

Death as Death as TodesgöttinTodesgöttin cannot have the spatiality of a cannot have the spatiality of a daughter for Shakespeare/Lear because no goddess daughter for Shakespeare/Lear because no goddess can come out of a human or be generated by a human, can come out of a human or be generated by a human, i.e., Lear cannot have created as a father a death i.e., Lear cannot have created as a father a death goddess either concretely or metaphorically, which goddess either concretely or metaphorically, which would be absurd.would be absurd.


Main misunderstandings intrinsic Main misunderstandings intrinsic to the traditional interpretation of to the traditional interpretation of

Lear’s Lear’s MonologueMonologue

- Misunderstanding about the spatiality of the - Misunderstanding about the spatiality of the “wall’d prison”;“wall’d prison”;

-Misunderstanding about the spatiality of -Misunderstanding about the spatiality of Cordelia’s nature; Cordelia’s nature;

- Misunderstanding about the spatiality of the - Misunderstanding about the spatiality of the syntagm “and we’ll wear out”;syntagm “and we’ll wear out”;

- Misunderstanding about the selfawareness of - Misunderstanding about the selfawareness of Shakespeare as a poet and about his Shakespeare as a poet and about his awareness of the power of poetry.awareness of the power of poetry.


ConclusionsConclusions The hypothesis outlined in this presentation The hypothesis outlined in this presentation

aims to provide language analysis with an aims to provide language analysis with an objective basis, being space processing an objective basis, being space processing an unfailing and objective basis for the unfailing and objective basis for the construction of meaning. construction of meaning.

Through the identification of the Dynamic Through the identification of the Dynamic Spatiality or whole of Endo- and Exospatial Spatiality or whole of Endo- and Exospatial Schemes concerning motions and actions at Schemes concerning motions and actions at a conscious and unconscious, an explicit a conscious and unconscious, an explicit and implicit level, it is possible to go out of and implicit level, it is possible to go out of subjectivity and misunderstanding in subjectivity and misunderstanding in interpreting the meaning of language. interpreting the meaning of language. Psychoanalysis itself can get through the Psychoanalysis itself can get through the falsifications produced by the identification falsifications produced by the identification of Dynamic Spatiality that objectivity which of Dynamic Spatiality that objectivity which it lacks when it interprets language, works it lacks when it interprets language, works of art and specifically literature. of art and specifically literature.

rita mascialino the dynamic spatiality of understanding and misunderstanding

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