Maupassant: the Semiotics of Text

1. Introduction; 2. Foreword; 3. Two Friends (unabridged text); 4. Sequence I: Paris; 5. I. Textual organization; 6. 1. Spatial and Temporal Disjunctions; 7. 2. Actorial Disjunction; 8. II. The First Sentence; 9. 1. Thematic Roles; 10. 2. Aspectual Structures; 11. 3. A Logic of Approximations; 12. III. The Second Sentence; 13. 1. The Discoursive Isotopy; 14. 2. Spatial Representation; 15. 3. Semantic Explicitation; 16. 4. Axiological Investments; 17. IV. The Third Sentence; 18. 1. The Spatial Figure of Paris; 19. 2. Toward the Abolition of Meaning; 20. V. Final Remarks; 21. Sequence II: Friendship; 22. I. The Sequence and its Context; 23. 1. Intercalation; 24. 2. The Linearity of Discourse; 25. II. The Internal Organization of the Sequence; 26. 1. Paradigmatic Organization; 27. 2. Syntagmatic Organization; 28. III. Euphoric Doing; 29. 1. The Discoursive Program; 30. 2. The Valorization of the Program; 31. 3. The Installation of the Dual Actant; 32. IV. The Figurative Universe of Values; 33. 1. The Identification of Values; 34. 2. The Transfigurations of the Sun; 35. 3. Aquatic Mist; 36. 4. Celestial Mist; 37. 5. Solar Blood; 38. 6. The Seeming of the Sky; 39. 7. The Semiotic Square; 40. V. Actantial Distribution; 41. Sequence III: The Promenade; 42. I. The Status and the Organization of the Sequence; 43. 1. The Spatio-temporal Frame; 44. 2. The Promenade; 45. 3. Walking and Halting; 46. II. The Advent of the Event; 47. 1. Temporalization and Aspectualization; 48. 2. The Focalization of the Actor-Subject; 49. 3. Triggering of Narration; 50. III. Reconstituting the Actant; 51. 1. Recognition; 52. 2. The Reunion; 53. 3. The Virtualization and the Actualization of Contents; 54. 4. The Institution of Illusion; 55. IV. The Competence of the Subject; 56. 1. The Actualization of Wanting-to-do; 57. 2. An Illusory Being-able-to-do; 58. 3. The Tricksters; 59. 4. The Two Figures of the Trickster; 60. 5. The Non-Sender; 61. 6. The Act; 62. Sequence IV: The Quest; 63. I. Provisional Segmentation; 64. II. Familiar Space; 65. 1. The Pass; 66. 2. The Spatial Organization of the Narrative; 67. III. Topical Space; 68. 1. New Segmentation; 69. 2. The Interpretive Halt; 70. 3. Persuasive Displacement; 71. Sequence V: Peace; 72. I. Problems of Segmentation; 73. II. The Construction of Cognitive Space; 74. 1. The Quest for Solitude; 75. 2. The Absence of the Anti-subject; 76. III. The Performance of the Hero; 77. 1. Textual and Narrative Analysis; 78. 2. Semantic Analysis; 79. Sequence VI: War; 80. I. Textual Organization; 81. II. Mount Valerian; 82. 1. Sound and Silence; 83. 2. The Anthropomorphic Figure; 84. 3. The Sociolectal Universe and the Ideolectal Universe; 85. 4. Deadly Doing; 86. III. Death and Liberty; 87. 1. Segmentation; 88. 2. "That's even worse than animals"; 89. 3. Nature and Culture; 90. 4. The Social Proto-sender; 91. 5. "One would never be free"; 92. 6. The Narrative Pivot; 93. 7. The Presence of Death; 94. Sequence VII: The Capture; 95. I. Textual Organization; 96. 1. The Frame of the Sequence; 97. 2. Internal Articulation; 98. II. The Pragmatic Dimension; 99. 1. The Anti-subject's Narrative Program; 100. 2. Objects of Value: O2; 101. 3. Objects of Value: O1; 102. 4. The Subject of Doing and the Subject of Being; 103. 5. The Structure of the Anti-subject; 104. III. The Cognitive Dimension; 105. 1. "Point of View"; 106. 2. Dual Recognition; 107. 3. Speaking; 108. Sequence VIII: Reinterpretation; 109. I. Textual Organization; 110. 1. The Frame of the Sequence; 111. 2. Internal Articulation; 112. II. The Establishment of Discourse; 113. 1. Rhetorical Procedures; 114. 2. Setting up the Enunciation; 115. III. Second Degree Discourse; 116. 1. A Counter-reading; 117. 2. The Reading of S1's NP; 118. 3. Interpretation and the Canon; 119. 4. Return to Interpretation; 120. 5. Thematic Roles and Trajectories; 121. 6. The Revelation of the Secret; 122. 7. The Transfer of Responsibilities; 123. 8. The Ideology of Domination; 124. 9. The Informative Utterance; 125. Sequence IX: The Refusal; 126. I. Textual Organization; 127. 1. The Frame of the Sequence; 128. 2. Internal Articulation; 129. II. The Anti-subject's Narrative Program; 130. 1. Narrative Competence; 131. 2. Narrative Performance; 132. III. The Subject's Narrative Program; 133. 1. Interpretation of the Values Offered; 134. 2. The Interpretation of the Requested Counter-value; 135. 3. The Narrative Program of Liberation; 136. Sequence X: Death; 137. I. Textual Organization; 138. 1. The Frame of the Sequence; 139. 2. Internal Articulation; 140. II. The Economy of the Sequence; 141. 1. The Patriotic Isotopy; 142. 2. The Performance; 143. III. The Last Attempt; 144. 1. The Warning; 145. 2. The Unsuccessful Separation; 146. IV. Farewell; 147. 1. The Paradigmatic Network; 148. 2. The Comparison of Values; 149. 3. The Reconstitution of the Dual Actant; 150. V. Martyrdom; 151. 1. The Last Confrontation; 152. 2. The Vacuity of the Sky; 153. 3. The Christian Parable; 154. Sequence XI: The Funeral; 155. I. Textual Organization; 156. 1. The Frame of the Sequence; 157. 2. Internal Articulation; 158. II. The Transfiguration; 159. 1. The Procedure of Overshadowing; 160. 2. The Immersion; 161. III. Recognition; 162. 1. The Manifestations of Water; 163. 2. "A little blood floated"; 164. IV. The Funeral Oration; 165. 1. The Axiology of the Anti-subject; 166. 2. The Ideology of Power; 167. 3. The Redistribution of Knowledge; 168. Sequence XII: The Closure of The Narrative; 169. I. Textual Organization; 170. 1. The Frame of the Sequence; 171. 2. Internal Articulation; 172. II. The Consumption of the Fish; 173. 1. A "Delicious" Experience; 174. 2. Cognitive Doing; 175. 3. Pragmatic Doing; 176. 4. The Resumption of the Christian Isotopy; 177. III. The Consummation of the Event; 178. Final Remarks; 179. Index Rerum