LEADER 05421nam 2200697 a 450 001 9910968671203321 005 20240516095049.0 010 $a1-283-42457-6 010 $a9786613424570 010 $a90-272-7837-7 024 7 $a10.1075/sc.3 035 $a(CKB)2670000000139640 035 $a(EBL)829537 035 $a(OCoLC)769344130 035 $a(SSID)ssj0000827308 035 $a(PQKBManifestationID)11932166 035 $a(PQKBTitleCode)TC0000827308 035 $a(PQKBWorkID)10820664 035 $a(PQKB)10525671 035 $a(Au-PeEL)EBL829537 035 $a(CaPaEBR)ebr10524116 035 $a(DE-B1597)719411 035 $a(DE-B1597)9789027278371 035 $a(MiAaPQ)EBC829537 035 $a(EXLCZ)992670000000139640 100 $a20120207d1989 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 00$aParis school semiotics$hII$iPractice /$fedited by Paul Perron & Frank Collins 205 $a1st ed. 210 $aAmsterdam $cJ. Benjamins Pub. Co.$d1989 215 $a1 online resource (241 p.) 225 1 $aSemiotic crossroads ;$vv. 3 300 $aDescription based upon print version of record. 311 08$a1-55619-041-7 311 08$a90-272-1943-5 320 $aIncludes bibliographical references. 327 $aPARIS SCHOOL SEMIOTICS II. PRACTICE; Title page; Editorial page; Copyright page; Table of contents; Introduction; NOTES; Basil Soup or the Construction of an Object of Value; I. THE CULINARY RECIPE; II. OBJECT AND VALUE; III. THE STRATEGIC ARRANGEMENT; III.1. The Vegetable Soup; III.2. The Basil Sauce (Pistou); III.3. The Programming; IV. SOME CONCLUSIONS; NOTE; Linguistic Meaning and Re-Interpretation. The Work, by Tom Pickard; INTRODUCTION; I. TEXTUAL STRUCTURES; 1. Preliminary Observations; 2. Groupings and Relationships; 3. Remarks; II. SEMIO-NARRATTVE STRUCTURES 327 $a1. Marks and Form of Narrativity2. The Predicative Analysis; 3. The Transformational Analysis; 4. Narrativization; III. DISCURSIVE STRUCTURES; 1. Actorialization; 2. Enunciation/Veridiction; 3. Figurativization; 4. Manipulation; IV. RE-INTERPRETATION AND EXEGESIS; 1. Primary meaning: and after?; 2. Referenciation; 1. (Re-)contextualization; 2. Conflicts of values; 3. Symbolicity; 1. The psychoanalytical hypothesis; 2. A metalinguistic reading; NOTES; The Function of Admiration in the Esthetic of the XVIIth Century. The ""Roman charity"" scene in Poussin's La Manne; I. METHOD - OBJECT OF STUDY 327 $aI.1. Uttered enunciation - a point of access to the estheticI.2. ""Roman charity""; I.3. Philological digression; II. ADMIRATION; II.1. ""Admiration"" according to Descartes and Malebranche; II.2. A passion sequence: curiosity - ""admiration"" - consideration; III. TOWARD A NARRATIVE ANALYSIS OF ENUNCIATION; III.1. ""Admiration"" in Enunciative Strategy; III.2. A Rhetoric of Manipulation; III.3. Human charity - divine charity; III.4. Man-hu: what is that?; III.5. The story given by the enunciative process: the marvel - the miracle - the mystery; III.6. Classical esthetics - Baroque esthetics 327 $aAPPENDIXEXTERNA; NOTES; REFERENCES; Sources; Studies; The Semiotics of the Plastic Arts and the Language of Advertising. Analysis of an Advertisement from the Campaign to Launch the ""News"" Brand Cigarette; I. INTRODUCTORY NOTE; II. ANALYSIS OF THE ADVERTISEMENTS SIGNIFIER; III. A STUDY OF THE SIGNIFIED OF THE ADVERTISEMENT; IV. THE PLASTIC DIMENSION AND THE SEMI-SYMBOLIC SYSTEM; V. THE OTHER ADVERTISEMENTS OF THE CAMPAIGN; VI. CONCLUSION; Public Opinion and its Spokesmen; I. A SEMIOTTC OBJECT; II. ADRAMATURGY; II.1. ""Public Opinion"" and ""Political Class""; II.2. The Public 327 $aII.3. The Sharing of CompetenciesIII. WHAT IS THE USE OF OPINION?; III.1. A Polyvalent Operator; III.2. The Problematics of the Narrator; III.3. Qualitative and Quantitative Points of View; IV. IDEOLOGICAL VARIATIONS; IV.1. Following Public Opinion; IV.2. Defying Opinion; IV.3. Deceiving Public Opinion; IV.4. Facing Opinion; V. A FUNCTIONAL SPECTACLE; V.1. The Authorized Enunciator; V.2. The Normalized Enunciatee; NOTES; On Demonstration. An Analysis of the Actantial Structure of Causing-to-Believe; I. INTRODUCTION; II. THE REALIZED PERFORMANCE; II.1. Global Segmentation 327 $aII.2. The Circulating Object 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. 3. 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 $a9910968671203321 996 $aParis school semiotics$94374588 997 $aUNINA