Frank Collins's scientific contributions
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Publications (11)
Traduction de « Le contrat de veridiction » paru dans « Man and World », 1980, 13, pp. 345-355. 1. Plausibilite et veracite. 2. Le contrat social. 3. La verification et sa crise. 4. La manipulation discursive. 5. Verite et certitude. PP. 661-677, D. MADDOX : « Veridiction, Verification, Verifactions : Reflections on Methodology »
Citations
... Greimas and Courtès 1976), and may be closer to such an approach of beyond sentence functional description (cf. Greimas 1989, for the description of a tale). ...
Reference: The GV-LEx corpus of tales in French
... What we find interesting is that this tendency-assimilating project or process language-even occurs in confidential interview situations where it would be possible to speak more frankly about the intentions of research(ers). Here, in line with structuralist and cognitivist assumptions, rhetorical practice clearly interacts with and pre-structures thinking [62,63]. ...
... My adoption of this literal-allegorical distinction follows literary critic Fredric Jameson [35][36][37][38]. To execute the allegorical reading, I will appeal, following Jameson, to Algirdas Greimas's semiotic method [25][26][27][28][29]. But to read the trial record at either level requires locating it geographically. ...
... Nemo's different accents, which depend on the life and love interest he chooses, therefore create a set of negative oppositions that enables the spectator to differentiate between the lives with Anna, Elise and Jeanne. However, cinema is primarily a visual language and we should also consider what Floch, in adapting André Lhote's term, calls the 'visual invariants ' [2000: 35-36], of what Greimas calls the plastic categories, i.e. "the "minimal" units of the [visual] signifier" [Greimas 1989: 639] 1 , of a visual object. Visual invariants are therefore "differential and recognized traits; and they are so because of their variables of realization because they are prone to being traits relevant to the form of expression of a visual identity" [Floch 2000: 36]. ...
... We propose a different approach to defining fine wine consumers by using the semiotic square [16] to identify consumer groups while also using the identity prism to position a fine wine brand by its values and brand meanings [17]. The luxury fashion industry, especially in Europe, uses the semiotic The semiotic square suggests that we can define these four groups by how they can be compared to the other groups. ...
... In fact, much has already been said about Greimas' semiotics, underlying their strengths and weaknesses. Greimas' critics include Budniakiewicz (1992), Everaert-Desmedt (2007), Longman (1996, Pottier (2006), Ricoeur (1989a;1989b) and Schleir (1987). These scholars provide evaluations of Greimas' thought in terms of plausibility. ...