T
he novelty of the way James C. Scott handles the language of government activity and cordial movements in Domination and the Arts of Resistance is his introduction of the hidden transcript and public transcript. Put shortly; transcript stands for a complete record of speech and non-speech acts much(prenominal) as gestures and expressions. Public military operation, in most common sense, is the performance required of those subject to elaborate and systematic forms of social subordination: the tenant to the landlord, the slave to the master, a member of a subject race to one of the preponderant race (1992: 2). Scott attributes the circumstance public transcript to the open interaction between subordinates and dominants. Thus, the performance we will mention is not the usual exchange of pleasantries at others but the one which has a strategic dimension, or as George Eliot claimed; there is no action possible without a little acting (p. 1). Action in this line summarizes Scotts discussion on how resistance indeed emerges offstage (p. 184 192: The Infra-politics of hyponym Groups).
This calls for another realm of interactions - the hidden transcript since the public transcript alone is un probably to tell the whole story rough power relations (p. 2 - 4). Turning back to the scope of theatrical imperatives in public situations, which simply require cock-a-hoop a credible performance; the lines and gestures of the libretto represented by the dominant is followed Creating this artistic analogy, Scott lays bare how the public transcript, by its nature is (ibid);
say for the hegemony of dominant discourse. It is in precisely this public domain where the effectuate of power relations are most manifest, and any compend based exclusively on the public transcript is likely to conclude that subordinate groups are willing, even enthusiastic, partners in that subordination.
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