2,190 matches
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death suggests the death of the patriarchal Russia. Solzhenitsyn's creation up to 1974 also includes some short novels which are currently less known than the first two but which, by the time of their publication, were received with the same interests as the former short stories. The element which connects short-stories such as An Incident at Kochetovka Station, What a Pity and the Right Hand is the motive of significant meeting between people morally-loaded significations. In the novel the Cancer
Proza lui Alexandr Soljenițin. Un document artistic al Gulagului by Cecilia Maticiuc () [Corola-publishinghouse/Science/1022_a_2530]
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those who swallowed their consciousness and made compromises to get some privileges on it. Innokenti Volodin, a man with a powerful consciousness which revealed itself after a revelation he had had, is to be mentioned among the characters of the same novel. Characters as embodiment of the speaker represent the scope of the last section of this chapter. We would take Mikhail Bakhtin's theorisations as a referential point and we would make an analysis and an identification of subjects which
Proza lui Alexandr Soljenițin. Un document artistic al Gulagului by Cecilia Maticiuc () [Corola-publishinghouse/Science/1022_a_2530]
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et al. (editori), no. 6, February 2003 Deely, John, The Collected Papers of Charles Sanders Peirce (electronic edition), reproducing Vols. I-VI ed. Charles Hartshorne and Paul Weiss (Cambridge, MĂ: Harvard University Press, 1931-1935), Vols. VII-VIII ed. Arthur W. Burks (same publisher, 1958) Deledalle Gérard (1995), "Introduction to Peirce's Semiotics", în SEMEIOSIS, 79/ 80, Internaționale Zeitschrift für Semiotik und Asthetik, Heft DEX (1996), București, Editura "Univers Enciclopedic" Durkheim, Émile ([1937] 1995), Formele elementare ale vietii religioase, trad. de Magda Jeanrenaud
Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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and centrifugal forces even if these marbles were shaken. The main semes of the cube, whose form could be metaphorically represented aș a marble box, should be transferred onto the concept "discourse": CUBE DISCOURSE 1.Equality of faces → 1. The same importance of the discursive components. 2. The "hidden" character of three faces → 2. The existence of the implicit within the structure of any discourse. 3. Tabular model → 3. The building of significance aș a network governed by some existing "forces
Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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final destination/ representation. The latter flow is the one which implies some further action or mental representation and which Peirce calls the "interpretant"4 (CP 6.347), namely the conceptualization of the sign-object relation în a subsequent sign representing the same object. Our discourse analysis hâș the syntagm "flow through" aș the underlying concept. The theoretical background is actually a blending of two theories, namely Ch.S. Peirce's categories and Marcel Danesi's layering theory on metaphors, both of them being
Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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Van Leeuwen 1999, 2005; Van Leeuwen, Jewitt 2000). It was necessary this reconsideration of semiotic terms due to the social and cultural factors (Kress, Van Leeuwen 2006: 34). The intensification of cultural and linguistic diversity within the boundaries of the same state led towards multiculturalism. The technological progress and a global circuit of the capital hâd aș outcome the blurring not only of the cultural and political boundaries, but of the semiotic ones aș well. Nowadays there is the urge of
Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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1990, [1995] 2000; Baudrillard [1970] 2005) with the "purchased" products or services, with the voted politicians or with the literary characters. Values are used aș means of a collective imaginary, thus showing that production and consumption are interconnected. At the same time, the signifying images send some values through a cultural language which leads towards a moulded representation/ identity or towards what Daniel Bougnoux (2006: 9) labels aș "a conceptual chameleon". This new image is based on a dynamic relation between
Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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of resemiotization. These two frames which shape any person can be interpreted through the five cultural dimensions mentioned by Geert Hofstede and Gert Jan Hofstede (2005) and which prove the existence of some (binary) relations between the members of the same cultural community or of some different communities: power distance index, individualism, masculinity, uncertainty avoidance index, long-term orientation. The existence of a social community relies on the interdependence of five variables (production, consumption, regulation, representation, identity) which form the circuit of
Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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of tensions and the global homogeneity of orientation" (Greimas, Fontanille ([1991] 1993: 11). Both these aspects could be tackled upon at a micro and macro level. The tensions, governed by the state of fear, arise from the competitors on the same național market, at a microlevel, and from the global issue of bird flu, at a macrolevel. The global homogeneity of orientation unites the worldwide solutions to prevent the spread of avian influenza with the coherent plan of the crisis management
Semiotici textuale by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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și se vede reprodusă în litografie, sub harta Dacie i, d estinată pentru un tablou hronologic al Moldovei). Sigiliul Poliției Iașilor Istoria mărturisește că mai înainte de descălecarea romanilor în Dacia, părțile răsăritene ale ac este i provinții, și mai cu samă râpele râului Ierasus (sau Pokata, Prutu) erau locuite de un popor rezbelic numit Iassiensi, Iaseni (iazigi). Dupre sistema militară a romanilor, legioanele ce e rau în garnizoanele provinciilor supuse, purtau numele lor, au după ai lor faimoși comendanți, au dupre
Carte ..., vol. I by Ion N. Oprea () [Corola-publishinghouse/Imaginative/492_a_1296]
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istorice, seria III, Tom XV, București, 1934, p.219 335): „Astăzi nu se caută dreptăți, ci cine dă la bani, acela are dreptățile. Călugărul negr eșit că poate da, dar epitropia fiind îngrădită de pravili și a vând aș da sama, nu poati cu condeiul, iar dacă nu să ia în băgar e de samă dreptățile și pravilele, ia nu are alta ce să facă.” poate băga în sămi asămine condei și de aceea luptă și ia cât O plagă de
Carte ..., vol. I by Ion N. Oprea () [Corola-publishinghouse/Imaginative/492_a_1296]
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dreptăți, ci cine dă la bani, acela are dreptățile. Călugărul negr eșit că poate da, dar epitropia fiind îngrădită de pravili și a vând aș da sama, nu poati cu condeiul, iar dacă nu să ia în băgar e de samă dreptățile și pravilele, ia nu are alta ce să facă.” poate băga în sămi asămine condei și de aceea luptă și ia cât O plagă de clasă boerească - sursă de crimă și simtom al corupției, este frecvența divorțului. El se
Carte ..., vol. I by Ion N. Oprea () [Corola-publishinghouse/Imaginative/492_a_1296]
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advise your fellows șo. I would breed from hence occasions, and I shall, That I may speak. I'll write straight to my sister To hold my very course. Go, prepare for dinner. Exeunt. SCENE IV [A hall în the same.] Enter Kent [disguised.] KENT: If but aș well I other accents borrow That can my speech defuse, my good intent May carry through itself to that full issue For which I razed my likeness. Now, banished Kent, If thou canst
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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mult reproș de ne-nțelept, Cît laudă riscantei bunătăți. ALBANY: Nu știu cît de departe ochii tăi pătrund; Ades stricam ce-i bun, măi binele îl vrînd. GONERIL: Atuncea... ALBANY: Bine, bine, vom vedea. (Ies) SCENE V [Court before the same.] Enter Lear, Kent, and Fool. LEAR: Go you before to Gloucester with these letters. Acquaint my daughter no further with anything you know than comes from her demand ouț of the letter. If your diligence be not speedy, I shall
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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where both fire and food is ready. LEAR: First let me talk with this philosopher. What is the căușe of thunder? KENT: Good my lord, take hîș offer; go into th' house. LEAR: I'll talk a word with this same learned Theban. What is your study? EDGAR: How to prevent the fiend, and to kill vermin. LEAR: Let me ask you one word în private. KENT: Importune hîm once more to go, my lord. Hîș wits begin t'unsettle. GLOUCESTER
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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And leave you to attend hîm: some dear căușe Will în concealment wrap me up awhile; When I am known aright, you shall not grieve Lending me this acquaintance. I pray you, go Along with me. [Exeunt.] SCENE IV The same. A tent Enter, with dram and colors, Cordelia, Doctor, and Soldiers. CORDELIA: Alack, 'tis he: why, he was met even now Aș mad aș the vexed șea; singing aloud; Crowned with rank fumiter and furrow-weeds, With hardocks, hemlock, nettles, cuckoo-flow
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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el. OSWALD: Would I could meet hîm, madam! I should show What party I do follow. REGAN: Fare thee well. Exeunt. SCENE VI Fields near Dover Enter Gloucester and Edgar. GLOUCESTER: When shall I come to th' top of that same hill? EDGAR: You do climb up it now. Look, how we labor. GLOUCESTER: Methinks the ground is even. EDGAR: Horrible steep. Hark, do you hear the șea? GLOUCESTER: No, truly. EDGAR: Why then your other senses grow imperfect By your
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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guard; Whose age had charms în it, whose title more, To pluck the common bosom on hîș side, And turn our impressed lances în our eyes Which do command them. With hîm I sent the Queen: My reason all the same; and they are ready (Ies Lear și Cordelia, sub escortă). EDMUND: Căpitane! Ia notă asta. (Dîndu-i o hîrtie) -Urmează-i la-nchisoare. Cu-un grad te-am avansat; dacă-mplinești Ce ți se cere-aici, iti deschizi drum Spre nalte slujbe
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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slave that was a'hanging thee. GENTLEMAN: 'Tis true, my lords, he did. LEAR: Did I not, fellow? I have seen the day, with my good biting falchion I would have made them skip: I am old now, And these same crosses spoil me. Who are you? Mine eyes are not o' th' best: I'll tell you straight. KENT: If Fortune brag of two she loved and hated, One of them we behold. LEAR: This is a dull sight. Are
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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aceste chinuri mă sleiesc. Tu cine ești? Ochii nu mi-s prea buni: îți spun îndat. KENT: Soarta pe doi de i-a iubit și i-a urît, Pe-unu-l privim acum. LEAR: Neclar se vede. Nu ești Kent? KENT: The same, Your servant Kent. Where is your servant Caius? LEAR: He's a good fellow, I can tell you that; He'll strike, and quickly too: he's dead and rotten. KENT: No, my good lord; I am the very man
by William Shakespeare [Corola-publishinghouse/Science/1030_a_2538]
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Latin verse, that is, 'the form behind form'. Under the novel form, one would surely guess the outline of theatre. In his emotion odyssey, the writer makes nothing less than endlessly multiplying those pathetic scenes, actualizing the one and the same model provided by the boulevard play. Similarly, melodrama infiltrates as a subtle code, apt to lead and feed the narrative machine; matter of factually, the novel assembles as a sum of mises en scènes of reduced dimensions. Once entered in
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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For a literary creation that encompasses more than three decades and works on a wide span of genres (namely, theatre, memoirs, short-fiction, novel), the discovery of such a production solution raises, first of all, a question of diversity. At the same time, it is clear that melodrama takes part both in the novel-construction proper, and in specific dramatic situations, framed by larger prose-frames. Actually, one can trace the same recipe either in Lovinescu's sketches or in his greater prose cycles
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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production solution raises, first of all, a question of diversity. At the same time, it is clear that melodrama takes part both in the novel-construction proper, and in specific dramatic situations, framed by larger prose-frames. Actually, one can trace the same recipe either in Lovinescu's sketches or in his greater prose cycles, as if the one and the same mat would be able to mould both literary forms. The same ground holds the texts in spite of their sensible differences
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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takes part both in the novel-construction proper, and in specific dramatic situations, framed by larger prose-frames. Actually, one can trace the same recipe either in Lovinescu's sketches or in his greater prose cycles, as if the one and the same mat would be able to mould both literary forms. The same ground holds the texts in spite of their sensible differences in matters of length or literary category. Practically, melodrama should be viewed as a constant levelling presence, which is
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]
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situations, framed by larger prose-frames. Actually, one can trace the same recipe either in Lovinescu's sketches or in his greater prose cycles, as if the one and the same mat would be able to mould both literary forms. The same ground holds the texts in spite of their sensible differences in matters of length or literary category. Practically, melodrama should be viewed as a constant levelling presence, which is apt to produce, as a species of trans-generic code, literary works
Scriitorul si umbra sa. Volumul 1 by Antonio Patraş [Corola-publishinghouse/Science/1053_a_2561]