The Origin of Plot in the Light of Typology

En tránsito: Un recorrido por la road movie norteamericana

“…Laura Mulvey (1975) considera que en el cine clásico de Hollywood el hombre desempeña el papel de sujeto activo que mira, mientras que la mujer funciona como el objeto pasivo de su deseo. Teresa De Laurentis (1985) analiza la tipología de relatos de Yuri Lotman (1979) y constata la aparición de dos aspectos característicos del relato mítico: el héroe masculino que recorre espacios, y un obstáculo o espacio inmóvil y cerrado que adquiere la forma de casa, cueva o mujer. La presencia de la mujer en la carretera también posee un carácter peyorativo al aparecer tradicionalmente asociado con la prostitución (Mazierska y Rascaroli, 2006: 162).…”

Time in Spatial Metalanguage: The Ambiguous Position of Time in Concepts of Sociocultural, Social and Cultural Space

“…Whereas topology as the recognition of entities forms a part in all typologies, the dynamic aspect, topological transformations (e.g. Lotman 1979), is at least as decisive for Lotman's use of spatial binary concepts and accordingly for the idea of cultural space as combining static and dynamic aspects of the culture.…”

Three Plots, Six Characters and Infinite Possible Educational Narratives

“…We assume, in line with Lotman (1979) that plots represent powerful means of making sense of life. Plots, and therefore characters, exist not only in works of art but also in current life.…”

“…Plots and characters are also one of textual procedures that contribute to texts’ construction at their narrative level. That is, breaking down the non‐discrete flow of events into discrete units, connecting them to certain meanings (that is, interpreting them semantically) and organizing them into regulated chains (interpreting them sintagmatically) (Lotman, 1979, p. 182).…”