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hardly related to some functions of utterance and thus represents, at once, and what you need to say to be heard, and what you need to listen to get the ability to speak, and what you need to play (on the stage diegetically reality)to be able to create a piece of the story.Language acts81 typical of this kind of knowledge, therefore, are not only those who speak, but those to whom it is addressed, and third person referred to. The knowledge generated in this design, it may seem "small" compared to so-called "developed" knowledge. It allows you to clearly see how the tradition of stories is at the same time, the tradition of the criteria that define a triple competence - the ability to speak, listen and do - where there are relations within the community itself and with its surroundings. It is through stories passed a set of pragmatic rules constituting the social bond.A fourth aspect of narrative knowledge deserves careful consideration. We are talking about his influence on the pace. Narrative form follows a certain rhythm, it is a synthesis of meters, smashing the pace at correct periods and of accent modifying the length and amplitude of some
G. Shpet and life was theatre. Andrew White says inhis book, "Never it was impossible to tell where he's joking, where -- seriously:in front of a green table; or a bottle of wine in three hours of the night; academicSPECT was -- one; of SPECT drinking comrade -- other; sometimes we were thinking: the second is the sly intelligence of the first; sometimes it's back: SPECT, causingyou kick with, there is the attempt of each villaci you from meetings toan intimate conversation. None of the philosophers were not friends with us as he; and no oneheld on with such caution towards us in academic performances"(White A. Between the two revolutions. -- M., 1990. P. 274). A. Whitecites as example the following case: "again, returning with mea cab at three in the morning on the deserted streets, he suddenly jumped out ofthe cab crept like a cat, to the old horodowich, snatched from hisholster the gun (in those years the police was armed) and jokingly threatenedhim, scaring the old man; then returned the revolver to the ruble; well thathe came on a harmless policeman, delighted ruble; shortly beforethis kind of joke is this type of pay life" (P. 278-279). We have not mentioned one more important direction of work of G. Shpet.This two-volume edition of "memoirs of the Pickwick club", where the second volumeis a surprisingly interesting comment, revealingCharles Dickens described life in the mass of details.
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