1975
DOI: 10.2307/40129583
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Le strutture e il tempo

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Cited by 12 publications
(3 citation statements)
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“…Although we use these two operations to define cooperation mechanisms in narrative texts, they can also help to describe the process of actualizing the conjuncts in a list. In short, story (fabula) and plot are two opposed traditional narrative schemes, thematized by the literary criticism of Russian formalists in the XXth century (Propp 1928;Segre 1974). The fabula indicates the narrative scheme par excellence and expresses the order and development of actions or, for instance, events in a storyline, which can also revolve around inanimate objects, concepts, or ideas.…”
Section: Lists With Open and Closed Boundaries: Closed And Open Fabulamentioning
confidence: 99%
“…Although we use these two operations to define cooperation mechanisms in narrative texts, they can also help to describe the process of actualizing the conjuncts in a list. In short, story (fabula) and plot are two opposed traditional narrative schemes, thematized by the literary criticism of Russian formalists in the XXth century (Propp 1928;Segre 1974). The fabula indicates the narrative scheme par excellence and expresses the order and development of actions or, for instance, events in a storyline, which can also revolve around inanimate objects, concepts, or ideas.…”
Section: Lists With Open and Closed Boundaries: Closed And Open Fabulamentioning
confidence: 99%
“…Es innegable que los libros de caballerías incluyan un componente básico de elementos narrativos recurrentes inspirados en la imitación de la tradición anterior. En términos de Cesare Segre (1974), su fábula y su intriga repiten unos esquemas consabidos, tanto que don Quijote podía fácilmente proyectarlos en su imaginación y los lectores podían inmediatamente reconocerlos y compartirlos. Sobre una competencia semejante construyó el morisco Román Ramírez su profesión de narrador oral, que desgraciadamente lo llevó a parar entre los brazos de la Inquisición (Cacho Blecua 2002).…”
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“…Ya tenemos, pues, la sinopsis de los contenidos y los índices de nombres de personajes, de lugares y de aventuras sobresalientes. Por esto, hemos decidido no concebir la BDM a partir de los textos, sino a un nivel de abstracción superior: a partir de los resúmenes, es decir de la fábula en vez que del discurso (Segre 1974). De otra manera sería nunca acabar y más adelante habrá tiempo para hilar más fino, pues en la Biblioteca Digital que vamos realizando la BDM tendrá enlaces a los textos3.…”
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