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for example, to the sky, to the seasons, the flora and fauna; deontic statements prescribing what to do in respect of these referents or in relation to kinship, sexuality, children, neighbors, foreigners, etc.; interrogative statements, which are included, for example, in episodes of the call (to answer the question, to select a portion of the shares), evaluative statements, etc. Criteria are here interwoven into a dense fabric, namely, fabric story, and orderly in mind the integrity that characterizes this kind of knowledge.Below we consider the third property, regarding the sharing of these stories. Their story often follows the rules that perpetuate their pragmatics. This does not mean that finding such a society assigns the role of narrator of this category by age, sex, family or professional situation. We are talking here about pragmatics folk stories, which, if I may say so, immanent. "For example, the teller Indian tribeA cursory analysis of this double pragmatic guidance shows the following: the narrator of the story-
Literarythe merits of the play in any case do not determine artistic meritgame actors and theatrical performances. And back, brilliantthe performance is deprived of any literary merits of a farce does not makethem poetic masterpieces" (P. 79). These are two different communicative spheres.Second, it clearly articulates what exactly is creativethe work of the actor, if he already has written the play with fixedwords. What then is creativity? The answer given G. Shpet,seems to us purely semiotic. "In writing the play action --the empty space that should be filled by one actor, the art of which suchby the way, not secondary, repeating some action, and the primary. --genuine creativity" (p. 78). He goes on to state, without fear of being accused oftautology: "a Theatrical stage act is the act of the actor" (P. 81). Andas for the material for such creativity, then the answer is: "the Actor createsof itself"(P. 83).
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