GRAFOSTILEMSKI POSTUPCI U SRPSKOJ POSTDRAMI

Abstract

as the written realization of language is considered secondary in comparison to the oral one, the linguistic studies of graphological markedness in serbian literary works are quite rare. in the age of printing, digital and visual technologies advancement the disregard of this research type seems unjustified, especially bearing in mind the fact that both common readers and experts observe the great number of works in the written form. however, “the graphological twist” has become obvious even in plays, probably the only literary form not intended to be merely read. The aim of this paper is to present, classify and describe graphostylemic techniques of the genre in which they are least expected. The examined playwright is not concerned with linguistic rules, but the attempt to put forward her personal views on communication, contemporary drama in general and the new ways of “reading” dramatic text. The qualitative linguostylistic analysis of two paradigmatic examples from serbian postdramatic plays has been performed and the results deal with the most obvious graphological deviations in drama, determined by the subgenre. page layout, uppercase and italics serve several different purposes, thoroughly explained in the central part of the paper. T he final part covers the effects of the typographic, punctuational and spelling markedness and the roles they play in overall artistic value.