SUBS AND COES PT. 1

Upon re-reading my May essay TRANSITIVE AND INTRANSITIVE ENSEMBLES, I now believe that transitivity does not apply to the principle of centricity.

The word “transitive” descends from the Latin verb “to go across.” In past essays I’ve applies the term to other literary domains, such as dynamcity and phenomenality. Because there are gradations between the constituent levels within these domains. I’ve often investigated narratives in which it’s unclear as to whether a fight within a narrative “goes across” the conceptual barrier separating the subcombative from the combative, or whether a particular focal presence within a narrative goes across the conceptual barrier separating the naturalistic from the uncanny.

However, there are no comparable conceptual barriers in the domain of centricity. When I wrote the ENSEMBLES essay referenced above, I tried to apply “transitive” to characters who, though they might seem subordinate in some way to a featured character, actually participated in an ensemble with that main character, and so qualified as centric presences. My example of this was Robin, boy sidekick to Batman. Conversely, another “boy sidekick” could be “intransitive” even though that character served some of the same narrative functions as Robin to Batman, and here my example was Junior Tracy with respect to his preceptor Dick Tracy. Whereas Robin would align with the “centric will” expressed by the narrative, Junior would align with the “eccentric will,” as he existed to enhance the “centric will” incarnated only in Dick Tracy.

An author’s decisions about how much emphasis to place upon a character, or set of characters, may be made consciously, or he may proceed subconsciously, simply following other author’s templates. However, a given decision as to who gets ‘center-stage” in a given story is not constructed from the same sort of intra-textual discourses that I find in the construction of dynamicity or phenomenality. Whether the author is writing a stand-alone narrative or a serial one, each story or story-arc must keep a single focal presence, or a single ensemble of focal presences, and that is a predetermined decision, made for the sake of narrative clarity.

Within serial narratives, the ongoing composition of the centric will may change over time.  However, each change takes place within either a new story or a new story-arc. In the first few exploits of Batman, he alone incarnates the centric will of the feature. After Robin enters, the Batman and Robin team becomes an ensemble of two, still incarnating much the same centric will. Twenty years later, Batman plays a lone hand again, and then, if Robin (sometimes in the ID of Nightwing) appears, his status is that of an “eccentric” guest-star. However, when a new story presents a new Robin whom Batman must train, the ensemble-of-two is reborn as if it never left.

In contrast, the phenomenality of the BATMAN feature is built up through a discourse.  As long as Batman, with or without Robin, fights crime wearing a wild costume, this confers an element of the uncanny upon any adventure, even if the hero fights nothing but commonplace pool sharks and holdup-men. In such stories, the element of the uncanny vies with that of the naturalistic, and dominates it, satisfying the reader’s desire for a discourse in which something unreal dominates specters of the allegedly “real.” But centric will does not dominate eccentric will. The latter simply exists as a contrast to the former.

While cogitating on the possibility that centricity might be described through some better metaphor, I meditated a bit on Jung’s use of the term “superordinate.” Since this word is  defined as  “a thing that represents a superior order or category within a system of classification,” it seemed to apply to my idea of a centric will that was simply a given of the author’s whim, rather than through intra-textual discourse.

So I then meditated whether or not the different functions of “characters in an ensemble” and “characters not in an ensemble” could be related to the superordinate position of the centric will. I started playing with the terms “coordination” for the first and “subordination” for the second, and then promptly looked them up on the Net to see if anyone had made previous use of them.

As it happened, I found that the terms did have a previous usage in linguistics, albeit not one that I remember from early language classes. These terms can apply to either conjunctions or to clauses, but the clauses seem most applicable to my project.

A subordinate clause is a clause that would make no sense if taken out of the whole sentence. A coordinate clause is a clause that has meaning independent of the sentence.

It seems axiomatic that the total meaning of a given narrative can be rendered into a single sentence, since students are perpetually forced to come up with such sentences when teachers assign them to boil down a work’s “theme statement.” With that in mind, from a structural standpoint, every character, setting, or event in a narrative is not unlike a clause within the narrative’s overall “theme sentence.”

Just as it’s possible for a sentence to consist of just one clause, a narrative can have a centric will represented by just one focal presence/ clause (Batman by himself).

However, as a sentence can also consist of several clauses, the centric will can also be comprised of an ensemble of two “clauses” or more. In the latter case, the individual members of the ensemble have, at least within my analytical system, the status of “coordinated clauses.”

There are, of course, other presences within the narrative, presences that I have identified as incarnations of the “eccentric will.” Their stature is not on a par with that of any of the “coordinated clauses.” They have, as per the cited definition, no meaning when taken out of the narrative’s  “theme sentence.” Thus Junior Tracy, unlike Robin, can only be a “subordinated clause.”

What makes Robin “coordinated” and Junior Tracy “subordinated” is essentially a matter of what I’ve called *stature.” Originally I used the term in STATURE REQUIREMENTS  to denote the stature that characters in different mythoi had with respect to one another. However, in that usage as in this one, stature is a quality that can only be deduced from the author’s arrangements of the story’s focal presences, and not—as I’ll say again, hopefully for  the last time—not from intra-textual discourse.