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Others see it as a design in diachronic terms, structural operators, which, they thought, in fact constitute knowledge, appearing thus in the game75. Still others give this "economic" in the Freudian sense - the interpretation76. Here we will focus only on the narrative form. The story is the best in more ways than the form of such knowledge.First of all, people's stories tell themselves about what can be called positive or negative entities (Bildungen), i.e., successes or failures that are crowned heroes and or give legitimacy to public institutions (the function of myths), or offer positive or negative model (happy or unhappy heroes) of integration into established institutions (legends and tales). Thus, the stories allow, on the one hand, to determine the criteria of competence inherent in the society in which they are told, and on the other to assess with these criteria, the results that it achieves Further, narrative form, unlike the developed forms of discourse of knowledge, admits within itself the multiplicity of language games. So, in the story can be found in the set of denotative statements, pertinent-
Worried that his family still doesn't know if he's alive -- wedecided to write to You with great request of correspondence, onurgent investigation of the case of G. G. Shpet and, if possible, on a fullrehabilitation it". In a situation when the country lived under the slogan "the Authorities are not mistaken" isthe letter was the thing to do. In his "Theatre as art" G. Shpet separates theatrethe action from the other and defines it: "certainly some conditional,symbolic action is a sign of something and not the actual somethingproduced, and not a simple copy -- bezsmertna,technically, photographically accurate, -- reproducing reality.The problem with this conventionality , and is actually the problem of the theatre" (ShpetG. The art of acting // Questions of philosophy. - 1988. - No 11. P. 77). The following problem consists in how to complete thisconditionality, i.e. what is the role of the actor. Why she is creative, ifeverything seems to be set to text? First, G. Shpet see the full differencethe functioning of the writer and the actor that produce different worlds. Itproves it, giving a basic example.
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