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We chose this example because of the pragmatic "label" surrounding the transmission of stories and whose anthropology diligently transmitted to us. See: Clasters P. Le grand Parler. Mythes et chants sacres des Indiens Guarani. Paris: Seuil, 1974. 80 About narratology, which introduces the analysis of the pragmatic dimension, see Tr.Well.Geneta: Genette G. Figures III. Paris: Seuil, 1972.
here we come to the main differences, on the one hand,delimited text from an actor, on the other, giving the work a trulycreative assessment. "The text just a little, in the strict sense, the material of the actor,like "the sitter" -- material painter... Your material actorputs creative formation, when he turns to his voice,intonation, recitation, gesture, facial expressions, figure, word, to his "mask-face"(persona)" (P. 85). He further traces the types of becoming a hero in the case of literature andthe case of the theatre. The Central difference of the image of the reader and viewerhe sees the following: in a literary work it is possible to obtain the image of a heroto the middle or the end of the novel, in the drama the actor obliged immediately to giveimage as a whole. By the way, this is another difficulty of the work of the actor andaccordingly -- its creative. G. Shpet removes another typical objection, which States thatthe actor just imitates life situation, therefore, does notcan be creativity. No, says G. Shpet, actor "conditionallydepicts the character, not copy of any validsubject. He creates imaginary persons themselves. The writer not onlythis does not, and does not help him in this" (p. 86). Noteemerged even protivopolojnosti work of both, which certainlynot correspond to the typical idea of the role of the actor as successorthe work of the writer.
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