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through language, but also through "a massage" of the senses. The purpose of multimodality is exactly this, namely a stepping down of language aș the unique instrument of information and representation. This is the reason why we will label the linguistic elements aș verbal objects. În Rick Iedema's opinion (2003: 30), the disadvantage of multimodality is the fact that it does not provide a social-processual logic which should analyse the way în which material meanings mutually transform one another în
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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culture Burberry Aș we have mentioned în the beginning of our study, we are "the prisoners" of "the pictorial turn" of the 21st century. According to Schirato and Webb (2007: 66), images do not work only at the discursive and linguistic levels, they also encompass the level of the subconscious, involving besides our abstract intellectual identity, our feelings within stories and actually the whole being of the viewer. The discourse of advertising is a metonymic way of representing one's culture
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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besides the iconic function which sends to a particular object, a semiotic function of indexicality, signaling a certain social and cultural territory (tulips, pizza or pastă are the indices of the Netherlands or Italy). We might add that along with linguistic expressions, there are also objects which belong to the contextual frame of a real or ficțional world which can be interpreted, through commodity codes, aș indices of social (human or abstract) actors' powerful presence, and, automatically, aș signs of persuasion
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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10 [last names of the settlers în Devonshire, who were granted lands by King William, after the Norman conquest în 1066] layer of metasymbols berry [coat of arms, motto "Nihil sine labore" = Nothing without labour] Our starting point is the linguistic decomposition process within the respective name which coincides with the layer of metaform, both words being associated to botanical icons (grapes and seeds), the former being one of the two British native fruit names. The layer of meta-metaforms implies a
by Camelia-Mihaela Cmeciu [Corola-publishinghouse/Science/1056_a_2564]
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ales 68. 117 Heinrich Hoffmann, Der Struwwelpeter, Frankfurter Originalausgabe, f.a., "Die gar traurige Geschichte mit dem Feuerzeug", 4. 118 Ludwig, "Thesen...", 69. 119 Ibid., 74. 120 Vezi W.J.M. Bronzwaer, Tense in the Novel. An Investigation of Some Potentialities of Linguistic Criticism, Groningen, 1970, 120-121. 121 Cîteva dintre observațiile lui Hamburger din prima ediție a Logik... (1957) privind folosirea timpului în genul liric (p. 194), au fost eliminate din ediția a doua. 122 Ultimele două discuții critice, mai cuprinzătoare, din Situațiile
by Franz Karl Stanzel [Corola-publishinghouse/Science/1079_a_2587]
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unui narator, ci a unui personaj, a unei ființe umane care a cunoscut această ușă din copilărie și nu se poate abține să nu reacționeze emoțional la ea" (vezi Bronzwaer, Tense in the Novel. An Investigation of Some Potentialities of Linguistic Criticism, Groningen, 1970, 90). 219 "Tristram Shandy [...] ca roman despre imposibilitatea de a scrie un roman". Bernhard Fabian, "Laurence Sterne: Tristram Shandy", 240. 220 Karl Bühler, Sprachtheorie (1934), Stuttgart 21965, 138. 221 K. Hamburger, Logik, 107. 222 Problema deixisului în
by Franz Karl Stanzel [Corola-publishinghouse/Science/1079_a_2587]
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