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However, this hypothesis about the institution is still too "heavy": it comes from "real" vision of what instituion. Today we know that the border, which puts the institution of the potential of the language in the "case" was never installed (even when formally it is available63). In this sense, it follows, we think, to consider modern institutions of knowledge.
"what is given and what seems tountested Explorer content, it is permissible in the more complexa system of forms and juxtaposition of forms, the deeper he delves into this content.This is the progress of science, allowing each content in the system of forms and each"subject" -- in the system of relations, is the progress of poetry. The measure of content,filling in this form, there is a definition of the level to which it has penetrated ourthe analysis" (P. 425). Bringing this view to its logical conclusion, G. Shpet , even saidthe following: "Poetics -- not aesthetics and not part and not the head of aesthetics. Innot all are aware. Poetics as little decideaesthetic problems, like syntax and logic. Poetics isdiscipline with technical. (...) The poetics needs to be teaching onsensual and internal forms (poetic) words (language), regardless ofalso, aesthetic or not" (P. 410). It's not really accepted pointof view, but it puts points over "i". She continues in-depthunderstanding of the structure of words, peculiar to G. Shpet. Speaking about the character of G. Shpet separates it from allegory."Allegory -- rational, "smyslenno", ploskonka. Symbol --creatively-prorochestvo and endless-endless. Allegory -- teosofia,character -- mysterious. At least completely arbitrary, a symbol is a sign in the sense"words" as a sign of other words, right (or metaphorically) calling a "thing"(process characteristic effects). Therefore, the symbol is sui generissuppositio. Therefore, the word, from the other end, is the prototype of all art.So is its structure -- exhaustively complete and is the type of allthe aesthetic of the subject.
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