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In this study discourse is considered as the act of communication that analyzes its internal dynamic process mediating between the intention of the author embedded in the text, the intention of the text, and various, hypothetical ways in which the receiver may orient a textual discourse. It is a phenomenological model because meaning is generated by the interplay of linguistic and non-linguistic influences. In this instance, a semiotics of multimodality in discourse can prove its efficacy as it steers the reader primarily toward "a general syntax of discursive operations" in that the "universe of signification" is seen as a "praxis rather than as a stable set of fixed forms" of modalities.
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In this chapter the author lays out a theoretical groundwork for a semiotic theory of multimodality in the Divine Comedy. The analysis is not comprehensive of all modes, but limited to key-modal forms that Dante's text authorizes in order to understand the formation of codes based on different forms of articulation and how different modes of articulation may interact with one another in a multimodal arrangement to achieve strong, functional signification in general and, where necessary, working toward the formation of new ontologies intimating human transcendence in terms of signification.
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In this study discourse is considered as the act of communication that analyzes its internal dynamic process mediating between the intention of the author embedded in the text, the intention of the text, and various, hypothetical ways in which the receiver may orient a textual discourse. It is a phenomenological model because meaning is generated by the interplay of linguistic and non-linguistic influences. In this instance, a semiotics of multimodality in discourse can prove its efficacy as it steers the reader primarily toward "a general syntax of discursive operations" in that the "universe of signification" is seen as a "praxis rather than as a stable set of fixed forms" of modalities.
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In this chapter the author lays out a theoretical groundwork for a semiotic theory of multimodality in the Divine Comedy. The analysis is not comprehensive of all modes, but limited to key-modal forms that Dante's text authorizes in order to understand the formation of codes based on different forms of articulation and how different modes of articulation may interact with one another in a multimodal arrangement to achieve strong, functional signification in general and, where necessary, working toward the formation of new ontologies intimating human transcendence in terms of signification.
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The Cambridge Critical Guide to Latin Literature offers a critical overview of work on Latin literature. Where are we? How did we get here? Where to next? Fifteen commissioned chapters, along with an extensive introduction and Mary Beard's postscript, approach these questions from a range of angles. They aim not to codify the field, but to give snapshots of the discipline from different perspectives, and to offer provocations for future development. The Critical Guide aims to stimulate reflection on how we engage with Latin literature. Texts, tools and territories are the three areas of focus. The Guide situates the study of classical Latin literature within its global context from late antiquity to Neo-Latin, moving away from an exclusive focus on the pre-200 CE corpus. It recalibrates links with adjoining disciplines (history, philosophy, material culture, linguistics, political thought, Greek), and takes a fresh look at key tools (editing, reception, intertextuality, theory).
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"The Cambridge History of the American Essay tells the rich history of a literary genre that has been essential to the formation of an American identity. The most expansive of its kind, this volume conveys the diversity and philosophical richness of American writing from the country's origins to today"--
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Offering an in-depth overview and reappraisal of the 1860s in British literature, this innovative volume features in-depth analyses from noted scholars at the tops of their fields. Covering characteristic literary genres of the 1860s (including sensation and lyric, as well as Golden Age children's literature), and topics of current and enduring interest in the field, from empire and slavery to evolution, environmental issues and economics, it incorporates drama as well as poetry and fiction, and emphasizes the history of publishing and periodicals so important to the period. Chapters are attentive to the global context, from Ireland on the stage, to Bengali literature, to Britain's muted response to the US Civil War. The Introduction gives an overview that places these individual chapters in the historical context of the 1860s, as well as the current scholarly conversation in the field.
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The IOS Annual volume 24: "Let the Tabarna, the King, Be dear to the Gods" brings forth cutting-edge studies devoted to a wide array fields and disciplines of the Middle East, from the beginning of civilization to modern times.
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