Metadiscurs şi marginalitate la Sarah Kane şi Angélica Liddell
Metadiscourse and Marginality in Sarah Kane’s and Angélica Liddell’s Work

Summary/Abstract: This article explores the meta-discursive techniques employed throughout three dramatic texts: Crave (1998) and 4:48 Psychosis (1999) by Sarah Kane, as well as The House of Strength (2010) by Angélica Liddell. Using the concept of metadiscourse as a form of discourse through which the characters reflect upon their own speech act, we have identified in the three plays both the technical elements characteristic of meta-discourse and the aesthetic and social implications thus highlighted. Sarah Kane and Angélica Liddell confront the reader with radical characters, mostly feminine and often affected by violence. It is thus within the scope of our essay to stress how mental illness and gender or social marginalization specific of the characters in the plays create a type of meta-discourse generated by the obsessive multiplication of the dramatic voices and by the ruthless dissection of their own identities. In this context, our conceptual framework brings into focus the theories of Deleuze and Guattari (1980) related to language, as well as the notion of “poetics of love” proposed by Margaret E. Toye (2010) in order to claim the necessity of an autonomous feminine aesthetic speech, resulting from the interference of the ethical and erotic experience in a contemporary paradigm.

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