LEADER 05315nam 2200649 a 450 001 9910789873603321 005 20230331011004.0 010 $a1-283-42458-4 010 $a9786613424587 010 $a90-272-7838-5 035 $a(CKB)2670000000139639 035 $a(EBL)829536 035 $a(OCoLC)769344129 035 $a(SSID)ssj0000827306 035 $a(PQKBManifestationID)11450300 035 $a(PQKBTitleCode)TC0000827306 035 $a(PQKBWorkID)10829736 035 $a(PQKB)11107637 035 $a(Au-PeEL)EBL829536 035 $a(CaPaEBR)ebr10524106 035 $a(MiAaPQ)EBC829536 035 $a(EXLCZ)992670000000139639 100 $a20120207d1989 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aParis school semiotics$hI$iTheory$b[electronic resource] /$fedited by Paul Perron & Frank Collins 210 $aAmsterdam $cJ. Benjamins Pub. Co.$d1989 215 $a1 online resource (283 p.) 225 1 $aSemiotic crossroads ;$vv. 2 300 $aDescription based upon print version of record. 311 $a1-55619-040-9 311 $a90-272-1942-7 320 $aIncludes bibliographical references. 327 $aPARIS SCHOOL SEMIOTICS I. THEORY; Editorial page; Title page; Copyright page; Table of Contents; Introduction; Interfaces: The Care for a Project; Some Thoughts on this Intellectual Fare; Aspects of a Theory in Progress; NOTES; REFERENCES; I. Narrative Grammar, Actions and Passions; Greimas's Narrative Grammar; I. AT THE FUNDAMENTAL GRAMMAR LEVEL: THE FIRST STAGE OF ""NARRATIVIZATION""; Discussion; II. FROM THE FUNDAMENTAL GRAMMAR TO THE SURFACE NARRATIVE GRAMMAR: THE NARRATIVE UTTERANCE; Discussion; III. FROM THE NARRATIVE UTTERANCE TO THE NARRATIVE UNIT: ""PERFORMANCE""; Discussion 327 $aIV. THE LAST STAGE: THE PERFORMANCE SERIESDiscussion; NOTES; Prolegomenato a Theory of Action; I. INTRODUCTORY REMARKS; II. THE NARRATIVE PROGRAM AS MODEL OF REFERENCE FOR A THEORY OF THE FORMS OF ACTION; III. TOWARDS A RESTRICTED THEORY OF SIMPLE FORMS OF ACTION AND INTERACTION; IV. FROM THE ACTANTIAL LEVEL TO THE ACTORIAL LEVEL; NOTES; Toward an Anthropomorphic Narrative Topos; I. WHY THREE DIMENSIONS FOR NARRATIVE?; I.1. Empirical Reasons; I.2. Empirical reasons alone are not enough; I.3. Some Applications and Some Developments; II. DEVELOPING AN ANTHROPOMORPHIC NARRATIVE TOPOS 327 $aII.1. The Combinatory PrincipleII.2. Typology and Syntax; II.3. Overall Syntax of the thematico-narrative topos; III. APPLICATIONS; III.1. The Linguistic Manifest of the three dimensions; III.2. The Story of the Man who Set out to Learn about Fear; III.3. Aldo's Conversions in the ""Rivage des Syrtes""; IV. CONCLUSION; NOTES; II. Toward Discourse; Pragmatics and Semiotics Epistemological Observations; Pragmatics and Semiotics Some Semiotic Conditions of Interaction; NOTES; Narrativity and Discursivity Points of Reference and Problematics; I. INTRODUCTION; II. FUNDAMENTAL POSTULATES 327 $aII.1. The Principle of ImmanenceII.2. The Generative Process; II.3. The Structural Postulate; II.4. Narrative Transformation; III. NARRATTVITY RESTRICTED TO THE NARRATIVE; III.1. The Narrative Utterance; III.2. The Narrative Program; III.3.The Narrative Schema; IV. NARRATIVE EXTENDED TO DISCOURSE IN GENERAL; IV.1. The Development of Modal Structures; IV.2. The Importance of the Cognitive Dimension; IV.3. The Question of the Subject; V. SETTING INTO DISCOURSE: ENUNCIATION; V.1. The Enunciative Conception of Meaning; V.2. The Enunciative Operations; V.3. Enunciation in Semiotics 327 $aV.3.1. Setting into Discourse within the Generative TrajectoryV.3.2. The ""Narrativization of Enunciation""; V.3.3. Figurativization; VI. CONCLUSION; NOTES; Prolegomenato Modal Analysis The Enunciating Subject; I. PREDICATION; II. META-WANTING; III. THE FUNCTION OF RECOGNITION; NOTES; The Esthetic Gaze; I. FROM THE MAGNIFICENT VIEW TO THE SINGULAR IMAGE; The Reference Text; A Magnificent View; Two Verbalizations of the |Plain|; Objectivizing vs. Subjectivizing Seeing; The Conditions of Veridictory Judgment; The Denegation of Social Discourse and the Assertion of Individual Discourse 327 $aThe Singular Image 330 $aIt has often been claimed that the aim of semiotics is to establish a general theory of systems of signification. However, as Jean-Claude Coquet notes in a recent collection of essays, what distinguishes one school of semiotics from another is the initial definition given of sign. If, for certain semioticians, the sign is first of all an observable phenomenon, for the Paris School it is first of all a construct and this point of departure has crucial theoretical and practical consequences. The essays appearing in these two volumes are representative of recent work carried out by members of thi 410 0$aSemiotic crossroads ;$vv. 2. 606 $aSemiotics$zFrance 615 0$aSemiotics 676 $a001.51/0944 676 $a001.510944 701 $aPerron$b Paul$0737457 701 $aCollins$b Frank$0611845 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910789873603321 996 $aParis school semiotics$93700937 997 $aUNINA