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enough to activate the common frame «walking his own pet». Thus no ambiguity arises. |
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13. See van Dijk (1976b:50) for a description of tentative attributions of topics. There is a probabilistic strategy with provisional topics. Sometimes, on the contrary, the topic is made explicit by expressions such as /The crucial point is . . ./, and so on (topic markers). For genres as topics see Culler (1975, ch. 7). |
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14. See Greimas (1973:170) and his notion of 'parcours figuratif'. See also Grupe d'Entrevernes (1977:24) and van Dijk (1975) on 'key words'. |
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15. The concept of isotopy goes far beyond the level of discoursive structures. It is possible to establish isotopies at every textual level. See Kerbrat-Orecchioni (1976) for a classification of semantic, phonetic, prosodic, stylistic, 'énonciative', rhetorical, presuppositional, syntactic, narrative isotopies. |
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16. For a first survey of the question, see Erlich (1954). |
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17. See, for example, the analysis of Roussel's Nouvelles Impressions d'Afrique given by Kristeva (1970:73ff). |
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18. See Kristeva (1969, 1970). See also the notion of proairetic code in Barthes (1970). |
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19. Besides, there is a third false request for cooperation. In this third situation the sender gives false clues to the addressee so as to excite his will for cooperation, pulling (or pushing) him along the wrong way and leaving him to go on until he reaches a point of no return. Here none of the reader's expectations happens to be validated by the final state of the story, but the reader has gone too far to obliterate his excess of cooperation and the other story he has developed. But at this point, instead of limiting himself to disproving the reader's choices, the author titillates the reader's false story even more, as though there were something true in it, notwithstanding the straight refusal that the text has opposed to the reader's forecasts. Such a story would have a pragmatic unhappy end, but it would represent a text about the pragmatic procedures in text generation and interpretation. Such is Un drame bien parisien, analyzed in Chapter 8. |
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20. That he was sleeping in a room (the previous sequences say only that he was sleeping in a brothel) is made clear by the common frame «sleeping in a brothel». The suspicion that he was the janitor and not a customer is already excluded by another common frame, since it has been previously said that the action takes place in the late morning. |
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21. In Theory (3.6) I developed a typology of modes of sign production. Since to interpret a text means to actualize its content starting from its expression, it would be interesting to ascertain which modes of production are implemented at the various boxes of Figure 0.3. Such a question goes beyond the boundaries of the present discussion, but one can say that in actualizing the various interpretative levels all the modes listed in Table 39 of Theory are, in principle, encompassed. Dealing with a verbal text, one is mainly concerned with replicas of combinational units, but in box 3, at the linear manifestation, many programmed stimuli and pseudocombinational units can be found, both at the grammatological level and at the level of its phonetic actualization. When looking for key words so as tentatively to outline textual topics, the reader deals |
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