He describes intertextuality as interaction among discourses, in particular axiological interaction. Turning to his examples, Fontanille reads Char as a reader of the Presocratics especially Heraclitus, Anaximander, and Anaxagoras by way of Heidegger , particularly as concerns the natural world. In this context, the natural world is constituted semiotically around the four elements of earth, air, fire, and water. Fontanille notes that any semiotics, whether philosophical or semio-linguistic, implies a phenomenological dimension, according to how much of a role they accord to perception and to sensibility He then maps presence onto the two dimensions of apprehension and intent.
Anyone seeking a clear, comprehensive overview of narrative semiotics should begin with this book. It could be described as a manual or handbook or even a textbook. It blends a historical perspective with an emphasis on recent research. The book offers a clear, thorough exposition; numerous examples drawn from sports, cooking, and literature; a balance of introductory overview and detailed analysis; figures that graphically represent the ideas expressed; and suggestions for further reading at the end of each chapter. The book has gone into a second edition in France; it has appeared in Spanish and English translation; a Brazilian translation is due out in As a textbook of sorts, this book synthesizes the work of several theorists rather than offering one single linear argument.
He quickly affirms the centrality of the body and of perception in the signifying process, explaining that there are two planes of language—an interior plane, which belongs to the order of content, and an exterior plane, which belongs to the order of expression—united by the perceiving body that takes position in the world of meaning. This arrangement gives us interoception the interior plane , exteroception the exterior plane , and proprioception the role of the body. Here, again, Fontanille affirms that the body participates in both domains, in both planes of language. Schemas of tension combine to form canonical schemas.
One prime example of the latter is the prototypical quest schema. Put another way, discourse schematizes experiences and representations, making them meaningful and enabling us to share them with others. Here, Fontanille points out that a certain modal identity can even be what is at stake in a narrative quest— or, in other words, a quest for identity. The corresponding logics are: They should not be understood as separate entities; rather, they function together, as three points of view on the same faculty of language.
This chapter hearkens back to the passional schema that Greimas and Fontanille laid out in The Semiotics of Passions. Fontanille reminds us here of the influence of phenomenology. The act of enunciation is the motor driving discourse.
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It would be difficult to overestimate the importance of the subject of enunciation. The book is divided into an introduction, three major parts, and a conclusion. Within each of these major parts, the book is divided into a large number of sections and subsections, each only one or two pages in length. Fontanille remarks that the body came to prominence in French semiotic theory in the s with the advent of the theory of the passions. The task in the wake of this development is to determine the relationship between the semiotic theory of action and the semiotics of passions.
Fontanille disagrees with the point of view that the semiotic theory of action was rational and well-formed, while the semiotics of passions was all about ruptures and dysfunction. If this were the case, then the semiotics of action would suffice. Fontanille argues, on the contrary, that it is the semiotics of passions that gives access to the more general model.
From this point of view, the semiotics of action is just one particular perspective within the broader theory of passions. Thus we are called to completely rethink the organization of semiotic theory, and in particular to rethink the place of the body in semiosis. The body is truly at the center of semiosis, because the body is indispensable to the operation that unites the two planes of language. Fontanille acknowledges that there is a recurrent ambivalence surrounding the semiotic approach to the body. On the one hand, the body functions as substratum of semiosis, and on the other hand, the body functions as a semiotic figure.
Fontanille cautions us not to adopt a simplistic dichotomy of underlying structure versus surface form, but rather to remember that these two dimensions are tightly interconnected. It looks at the effects of this body on semiosis and on the instances of discourse that take it up, as well as on the theory of the act and of action, of which it is the operator.
Sémiotique : Dictionnaire raisonné de la théorie du langage (HU Linguistique) (French Edition)
Fontanille focuses here on the phenomenon of lapsus, or lapse. In other words, this is a semiotics that recovers the meaning of lapses and errors. The chapter starts with a question: Fontanille asserts that lapses escape discursive programming. Despite being unpredictable, lapses still arise from preconditions of signification susceptible to being described. Thus, Fontanille concludes, we can use the same interpretive tools to describe lapses as we use to describe other facets of the production of discourse.
The lapse is particularly interesting because it offers us ways to reexamine the theory of the instance of enunciation. In a classical Greimassian move, Fontanille affirms the limits of traditional approaches to the phenomenon in question here, the lapse in order to set up his own analysis. Fontanille notes that Godard is known for his cinematic meta-reflections on pictorial aesthetics and cinematography. This lapse , which occurs in a scene in which fellow-workers are gathered in the home of Isabelle, the factory worker threatened with being fired, often, according to Fontanille, causes laughter on the part of the spectators.
Sound and image do not correlate. At times they even contradict one another. Basically, Fontanille is interested here in all sorts of configurations that fall outside of canonical discourse, ranging from the lapse or slip to mumbling or even to delirium.
Fontanille classes the lapse as one of several types of corporeal accidents. These accidents, according to him, reveal another form of life, another semiotic universe and another system of values. The Greimassian approach uses a generative semiotic model of the constitution of meaning in discourse. These articles, many of which contain several sections by various authors, extend, modify or even contest earlier facets of the theory. The aspectualities were part of a gradual shift away from structures and toward operations or acts, away from discrete oppositions and toward gradual differences.
Fontanille addresses four key themes, which have appeared in all of his subsequent works to varying degrees: The basic argument is that Claudel takes up the metaphor of the clock and transforms it into a meta-semiotic model, that of the body-machine. Fontanille establishes a typology of the sensible body, based upon the contrast between the body proper Soi, Corps propre and the flesh Moi, Chair.
He shows that it is no longer simply a question of integrating the body into semiotic theory, but rather of asking how bodies themselves can function as signs, how they can become figures, texts, images, objects of meaning. Available for download now. Only 1 left in stock - order soon. Tautos atminties beieskant ; Apie dievus ir zmones. Out of Print--Limited Availability. Is arti ir is toli: Provide feedback about this page. There's a problem loading this menu right now. Get fast, free shipping with Amazon Prime. Get to Know Us. English Choose a language for shopping.
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