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Paris School Semiotics : Volume II: Practice.
It 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 se...
| Clasificación: | Libro Electrónico |
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| Autor principal: | |
| Otros Autores: | |
| Formato: | Electrónico eBook |
| Idioma: | Inglés |
| Publicado: |
Amsterdam :
John Benjamins Publishing Company,
1989.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 245 | 1 | 0 | |a Paris School Semiotics : |b Volume II: Practice. |
| 260 | |a Amsterdam : |b John Benjamins Publishing Company, |c 1989. | ||
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| 505 | 0 | |a PARIS 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. | |
| 505 | 8 | |a 1. 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. | |
| 505 | 8 | |a I.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. | |
| 505 | 8 | |a APPENDIXEXTERNA; 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. | |
| 505 | 8 | |a II. 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. | |
| 500 | |a II. 2. The Circulating Object. | ||
| 520 | |a It 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. | ||
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