El silencio, estrategia pragmática en las películas Robin de los bosques, Casablanca y Alma en suplicio de Michael Curtiz

Abstract

GOALS- Silence is a pragmatic strategy in discourse, forming part of social activity, and that has an intention and communicates. Verbal communication and non-verbal communication are two aspects of language in human activity where silence is a segment (Poyatos 1994), which has purposes according to the intention of communication. Silence is an extralinguistic resource in linguistic activity that cannot be alien to the future of linguistics (Rosa Mateu 2011). In this sense, silence as a pragmatic strategy is part of linguistic competence, which provides information, communicates and has pragmatic functions (Camargo and Méndez 20016). We analyze the pragmatic strategy silence, through observation, in the dialogues of the characters from three selected films by Michael Curtiz, such as: Robin de los bosques, Casablanca and Alma en suplicio. The cinema allows us to study the conversation of the characters, their statements and their actions. The speeches of the characters are not natural non-verbal communication, but are a representation of natural non-verbal communication. Theater and cinema use speech in an artistic way to represent stories, dramas, comedies (Calsamiglia and Tusón 2016). Therefore, we study silence, a pragmatic strategy, in the textual model of film dialogue, in filmic orality (Elena Méndez-García de Paredes 2019). The silences, in the images of the cinema, activate the listenability with noises, with words and with music ( Frisón 2015). And, we have applied, as a fundamental unit of analysis, the model that is based on the description of the communicative event, which integrates the verbal and the non-verbal, starting from the components of the communicative event of Hymes (1972), which is known by SPEAKING name. Also, we have applied the prototype of silent acts in non-verbal communication, with its pragmatic functions, such as: discursive silences, structuring silences, epistemological and psychological silences, and normative silences. These four types of silences have been collected from the spontaneous conversations of four young people, during the sixty minutes of conversation, from the Val.Es.Co. (Camargo Fernández and Mendez Guerrero 2013). And also, we have applied the classification of non-verbal signs, which are nocio-functional (Cestero Mancera 1999), which can be: for social use, for structuring use and for communicative use. METHODOLOGY- The methodology of the thesis project has been qualitative and the scientific discipline for its analysis has been pragmatic. We have studied the theoretical framework of silence as a pragmatic strategy, to apply it in the linguistic acts of the film characters of the three selected films by Michael Curtiz, such as: Robin de los bosques, Casablanca and Alma en suplicio . RESULTS- The result has been to observe the prototype of silences by Camargo Fernández and Méndez Guerreo (2013, 2014), which are represented in the dialogues of the characters in the three films, forming part of the cinematographic language, and which have been directed by Michael Curtiz, artistically and masterfully, expressing information and communication that the viewer receives. Silence, a pragmatic strategy, in the cinema, is a sign that has meaning in the exchange of turns between the characters, when they talk and interact within a context, a communicative role, a social relationship, the cultural environment, etc. And, furthermore, we have observed, as Michael Curtiz has expressed, in his scenes, non-verbal acts, such as kinesics, paralinguistics and proxemics, which have great functionality in communicative interaction. In this sense, we have applied the classification of signs, which are nocio-functional (Cestero Mancera 1999). These non-verbal signs can be for social use, for structuring use, and also for communicative use.