LEADER 05493nam 2200637 a 450 001 9910823946203321 005 20230504231943.0 010 $a1-283-42460-6 010 $a9786613424600 010 $a90-272-7864-4 035 $a(CKB)2670000000139631 035 $a(EBL)829527 035 $a(OCoLC)769344121 035 $a(SSID)ssj0000827303 035 $a(PQKBManifestationID)11473853 035 $a(PQKBTitleCode)TC0000827303 035 $a(PQKBWorkID)10820663 035 $a(PQKB)10175448 035 $a(MiAaPQ)EBC829527 035 $a(Au-PeEL)EBL829527 035 $a(CaPaEBR)ebr10524109 035 $a(EXLCZ)992670000000139631 100 $a19880315d1988 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aMaupassant $ethe semiotics of text : practical exercises /$fAlgirdas Julien Greimas ; translated by Paul Perron 210 1$aAmsterdam :$cJ. Benjamins Pub. Co.,$d1988. 215 $a1 online resource (xxxiv, 258 pages) $cillustrations 225 1 $aSemiotic crossroads ;$vv. 1 300 $aTranslation of: Maupassant : la se?miotique du texte. 300 $aIncludes the unabridged text of Two friends. 311 0 $a1-55619-039-5 311 0 $a90-272-1941-9 320 $aIncludes bibliographical references (p. xxi-xxii) and index. 327 $aMAUPASSANT The Semiotics of Text Practical Exercises; Editorial page; Title page; Copyright page; Table of contents; INTRODUCTION; NOTES; REFERENCES; FOREWORD; TWO FRIENDS; SEQUENCE I. PARIS; I. TEXTUAL ORGANIZATION; 1. Spatial and Temporal Disjunctions; 1.1. Temporality; 1.2. Spatiality; 2. Actorial Disjunction; II. THE FIRST SENTENCE; 1. Thematic Roles; 2. Aspectual Structures; 3. A Logic of Approximations; III. THE SECOND SENTENCE; 1. The Discoursive Isotopy; 2. SpatialRepresentation; 3. Semantic Explicitation; 4. Axiological Investments; IV. THE THIRD SENTENCE 327 $a1. The Spatial Figure of Paris; 2. Toward the Abolition of Meaning; V. FINAL REMARKS; SEQUENCE II. FRIENDSHIP; I. THE SEQUENCE AND ITS CONTEXT; 1. Intercalation; 1.1. Disengagement; 1.2. Engagement; 2. The Linearity of Discourse; 2.1. The Cognitive Dimension and its Figurativization; 2.2. The Actorial Isotopy of Discourse; 2.3. Anaphorization and Cataphorization; II. THE INTERNAL ORGANIZATION OF THE SEQUENCE; 1. Paradigmatic Organization; 1.1. The Demarcators; 1.2. Segmentation; 1.3. Symmetries and Dissymmetries; 2. Syntagmatic Organization; 2.1. Doing and Being; 2.2. Doing; 2.3. The Pivot 327 $a2.4. Being; III. EUPHORIC DOING; 1. The Discoursive Program; 2. The Valorization of the Program; 3. The Installation of the Dual Actant; IV. THE FIGURATIVE UNIVERSE OF VALUES; 1. The Identification of Values; 2. The Transfigurations of the Sun; 3. Aquatic Mist; 4. Celestial Mist; 5. Solar Blood; 6. The Seeming of the Sky; 7. The Semiotic Square; V. ACTANTIAL DISTRIBUTION; SEQUENCE III. THE PROMENADE; I. THE STATUS AND THE ORGANIZATION OF THE SEQUENCE; 1. The Spatio-temporal Frame; 2. The Promenade; 3. Walking and Halting; II. THE ADVENT OF THE EVENT; 1. Temporalization and Aspectualization 327 $a2. The Focalization of the Actor-Subject; 3. Triggering of Narration; III. RECONSTITUTING THE ACTANT; 1. Recognition; 2. The Reunion; 3. The Virtualization and the Actualization of Contents; 4. The Institution of Illusion; IV. THE COMPETENCE OF THE SUBJECT; 1. The Actualization of Wanting-to-do; 2. An Illusory Being-able-to-do; 3. The Tricksters; 4. The Two Figures of the Trickster; 5. The Non-Sender; 6. The Act; SEQUENCE IV. THE QUEST; I. PROVISIONAL SEGMENTATION; II. FAMILIAR SPACE; 1. The Pass; 2. The Spatial Organization of the Narrative; 2.1. The Crossing; 2.2. The Space of Folktale 327 $a2.3. Spatial Engagement and Disengagement; 2.4. Uttered Space; III. TOPICAL SPACE; 1. New Segmentation; 2. The Interpretive Halt; 2.1. The Exploration of Topical Space; 2.2. Interpretive Doing; 2.2.1. Variations of the Isotopies; 2.2.2. The Fiduciary Relation; 2.2.3. The Actualization of the Antactant; 2.3. The Social Anti-sender; 2.4. The Qualifying Test; 2.4.1. Anxiety; 2.4.2. Cheeky Humor; 2.4.3. Hesitation; 3. Persuasive Displacement; 3.1. The Pragmatic Program; 3.2. The Cognitive Program; SEQUENCE V. PEACE; I. PROBLEMS OF SEGMENTATION; II. THE CONSTRUCTION OF COGNITIVE SPACE; 1. The Quest for Solitude 330 $aTranslated by Paul Perron; Maupassant's short story, "Two Friends", is examined in order to test methodological tools and to hone them for their application in the analysis of narrative discourse, starting from the oral tale (Propp) and ending with the written tale instituted as literary genre. Complex procedures of textual production are identified: among which entire sequences as well as the "evenemential" level of narrative fade away in favor of its cognitive dimension. This semiotic investigation is accompanied by a challenge to certain conventions of literary criticism: dialogue, the locus 410 0$aSemiotic crossroads ;$v1. 606 $aSemiotics and literature$zFrance 615 0$aSemiotics and literature 676 $a843/.8 700 $aGreimas$b Algirdas Julien$0156484 701 2$aMaupassant$b Guy de$f1850-1893.$0157925 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910823946203321 996 $aMaupassant$94046974 997 $aUNINA