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lady competence, just because he was once her listener. Today's audiences through this hearing gets in the potency of the same opportunity. About the story, it said that it is retold (even if its narrative effectiveness to a great extent fictitious) and retold "eternally", his hero, also an Indian of cashinahua, was at one time a hearer, then it may be the narrator of this story. By virtue of such similarities, the provisions of the current narrator may then become the hero of the story, as they became Elder. P1A case, he is already a hero, as has the name that he reports at the end of his narrative, and which was given to him in accordance with the canonical story, legitimizing the distribution of patronymes [patronymic] cashinahua.The pragmatic rule illustrated by this example of course does not apply to all cases79. But it shows one of the signs of the recognized properties of traditional knowledge: the narrative "posts" (sender, recipient, character) are distributed in such a way that the right to occupy one of them is the post of the sender is based on a twofold fact: that [such individual] previously held another post - receiver, and what about it - thanks to the name he bears - already mentioned in the story, i.e. the fact to be placed in the position of dieticheskoe (diegetique) Knowledge that is transmitted these narratives-
This objection contains the essence of symbolic theatre. Here wecan again refer to the very important statement of G. Shpet:"The action stage must not be carried out ascommitteda valid action, and as if it it is finished, becauseaesthetic reality is the reality detached and not"natural" and pragmatic" (P. 88). Accordingly, the time andthe space of the theater are fictitious, imaginary. The role of Convention inthis is such that a lie would be a real space image on the stage --rooms, square. It is this formality and requires to the theatre of hisliterature, its music, its painting, for they here must be different.Thus a special communication channel generates its own funds.
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