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All classical literature is in motion,sent from a shape name to the name, going fromthe task of naming again of the same thing through a newfigures (the pretentiousness of the language) to the problem of naming throughwords finally accurate, that never had a name or whatasleep in the folds of far of words, it belongs tosecrets of the soul, the impressions, born on the docking things and bodyfor which the language of the "Fifth walk"<$F refers to "Walkinglonely dreamer" Russo. See: J.-J. Rousseau. Favoritesworks, vol. III. M.,1961,p. 611.> he suddenly gained clarity.Romanticism believed that the break with the previous era,since learned to call a spade a spade. The truthI wanted the whole classicism: Hugo performedpromise Voiture<$F Voiture (1597-1648)
Canto say that organizes all classical discourse:to speak or write does not mean to make any thing orExpress yourself, don't play with the language, and go to the sovereign actnaming ways to move the language to the place where things happen andwords are connected in their common essence, that allows you to give them a name.But when this name is already expressed, the whole language that led to itor become a means of achieving it, is absorbed by this nameand is eliminated. Thus, in its deep essenceclassical discourse always tends to this limit, butthere is only removing him. It moves forward inconstant expectation of the Name. Therefore, its very possibleit is linked with rhetoric, that is, with the whole space,surrounding the name, forcing it to oscillate around whatthe name is revealing elements, or proximity, oranalogies of what it names. Shapes that the discoursecrosses provide a lag name, whichthe last point is in order for them to complete andto eliminate. Name-is the limit of the discourse. And maybe allclassical literature resides in this spacethis movement, the meaning of which-the achievement name, alwaysterrible, since it kills the ability to speak,exhausting it to the end. It is a movement commandsthe practice of the language, starting with such a restrained recognition"The Princess of Cleves"<$F novel by Ms. de Lafayette (1634-1694),published in 1678 -- Approx.ed.> to clear the blastthe violence inherent in "Juliette"<$F novel of the Marquis de Sade. --Approx.ed.>. In this work, the naming appears finallythroughout his blatant nudity, and rhetorical figureswhich had kept him crumble and becomeendless figures of desire, which, indeed,never reaching the limit, constantly moving onesconstantly repeat the names.
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