The Mentality of Scenic Representation of the Painting in Waciny Laredj’s Layliyāt Ramāda

Abstract

The poetics of novelistic language has taken the mentality of cognitive representation as a foundational premise, whose ramifications contemporary Algerian fiction has articulated through a sharp perceptual consciousness. Within this framework, knowledge is organised around the structural polarities of the self, in accordance with sensory complexities related to totalities. These complexities simulate configurations of disclosure through a deliberate selectivity that investigates singularity and compelling intuitive practices within a synchronic mode of description. Such description encompasses activated incantatory patterns whose persuasive force nourishes the scene representationally, through a performative language in which echoes become intertwined as forms of presence, reverberating repeatedly within the hollows of the self as it seeks evidence of its own fracture through a voice that restrains its fragmentation and is guided towards possible meanings by the symbolism of iconic language. In this way, the self conceals its resistance through condensation and containment within textual sequences. The aesthetic imprints of these sequences are reflected through an effect that draws the unattainable into the linearity of grammatology, the science of writing, which casts its shadow over the sign and the principle of fixed centrality. The sign thus moves from the metaphysical to the visible, transcending the fragile considerations of spectrality and the marginality of the transient visible. It thereby brings entities together within a spectral oscillation capable of establishing a visual mode of communication in which relations reverberate inversely and contradictions move through epistemological labyrinths of correspondence. The state of loss here is therefore a form of wandering that establishes the elements of absence within an identity-bound captivity, borrowing its descriptive configuration from unlimited plural forms of otherness that destabilise the associated singularity once the manifestations of difference are acknowledged. Signifying language establishes the grounds of its consciousness by legitimising its representation within novelistic discourse, insofar as it constitutes a reflective substitution that insistently affects the formal configuration of the text. The painting itself performatively organises this tendency, as the novelistic work is marked by a communicative language that establishes a pragmatic textual aesthetic and sustains the text's structural axis. This study examines the mentality of the painting's scenic representation in Waciny Laredj’s Layliyāt Ramāda. Such representation constitutes a dialogic tendency that explores the scenic deployment of iconic language, guided by the semiotics of the visible and by its tense reverberation, which provokes questioning. This is investigated through a hermeneutic approach whose dramatic orientation brings the conflicts generated by the changing visible into focus, through a performative procedure that draws upon the pragmatics of analysis in order to reveal the functional significance of the painting’s possible indicators. The features of the painting are textually constituted within an intermedial trajectory that derives its energy from the art of painting, a visual art shaped by the gnosis of presence and embodied through signs of linguistic insight. This linguistic insight is guided by a chromatic mask that resists effacement and exclusion through textual certitude. Within this configuration, the brush is present through a dialectical aesthetic consciousness, while remaining procedurally concealed within the folds of the text; it consequently becomes connected to the unruly absent and to the movement of the referential trace through both illusion and embodiment.