Maupassant: the Semiotics of Text

• Introduction | p. xv
• Foreword | p. xxiii
• Two Friends (unabridged text) | p. xxix
• Sequence I: Paris
• I. Textual organization | p. 1
• 1. Spatial and Temporal Disjunctions
• 2. Actorial Disjunction
• II. The First Sentence | p. 4
• 1. Thematic Roles
• 2. Aspectual Structures
• 3. A Logic of Approximations
• III. The Second Sentence | p. 9
• 1. The Discoursive Isotopy
• 2. Spatial Representation
• 3. Semantic Explicitation
• 4. Axiological Investments
• IV. The Third Sentence | p. 16
• 1. The Spatial Figure of Paris
• 2. Toward the Abolition of Meaning
• V. Final Remarks | p. 18
• Sequence II: Friendship
• I. The Sequence and its Context | p. 22
• 1. Intercalation
• 2. The Linearity of Discourse
• II. The Internal Organization of the Sequence | p. 27
• 1. Paradigmatic Organization
• 2. Syntagmatic Organization
• III. Euphoric Doing | p. 34
• 1. The Discoursive Program
• 2. The Valorization of the Program
• 3. The Installation of the Dual Actant
• IV. The Figurative Universe of Values | p. 36
• 1. The Identification of Values
• 2. The Transfigurations of the Sun
• 3. Aquatic Mist
• 4. Celestial Mist
• 5. Solar Blood
• 6. The Seeming of the Sky
• 7. The Semiotic Square
• V. Actantial Distribution | p. 44
• Sequence III: The Promenade
• I. The Status and the Organization of the Sequence | p. 48
• 1. The Spatio-temporal Frame
• 2. The Promenade
• 3. Walking and Halting
• II. The Advent of the Event | p. 51
• 1. Temporalization and Aspectualization
• 2. The Focalization of the Actor-Subject
• 3. Triggering of Narration
• III. Reconstituting the Actant | p. 56
• 1. Recognition
• 2. The Reunion
• 3. The Virtualization and the Actualization of Contents
• 4. The Institution of Illusion
• IV. The Competence of the Subject | p. 64
• 1. The Actualization of Wanting-to-do
• 2. An Illusory Being-able-to-do
• 3. The Tricksters
• 4. The Two Figures of the Trickster
• 5. The Non-Sender
• 6. The Act
• Sequence IV: The Quest
• I. Provisional Segmentation | p. 76
• II. Familiar Space | p. 77
• 1. The Pass
• 2. The Spatial Organization of the Narrative
• III. Topical Space | p. 83
• 1. New Segmentation
• 2. The Interpretive Halt
• 3. Persuasive Displacement
• Sequence V: Peace
• I. Problems of Segmentation | p. 101
• II. The Construction of Cognitive Space | p. 102
• 1. The Quest for Solitude
• 2. The Absence of the Anti-subject
• III. The Performance of the Hero | p. 107
• 1. Textual and Narrative Analysis
• 2. Semantic Analysis
• Sequence VI: War
• I. Textual Organization | p. 118
• II. Mount Valerian | p. 120
• 1. Sound and Silence
• 2. The Anthropomorphic Figure
• 3. The Sociolectal Universe and the Ideolectal Universe
• 4. Deadly Doing
• III. Death and Liberty | p. 130
• 1. Segmentation
• 2. “That's even worse than animals”
• 3. Nature and Culture
• 4. The Social Proto-sender
• 5. “One would never be free”
• 6. The Narrative Pivot
• 7. The Presence of Death
• Sequence VII: The Capture
• I. Textual Organization | p. 143
• 1. The Frame of the Sequence
• 2. Internal Articulation
• II. The Pragmatic Dimension | p. 145
• 1. The Anti-subject's Narrative Program
• 2. Objects of Value: O2
• 3. Objects of Value: O1
• 4. The Subject of Doing and the Subject of Being
• 5. The Structure of the Anti-subject
• III. The Cognitive Dimension | p. 154
• 1. “Point of View”
• 2. Dual Recognition
• 3. Speaking
• Sequence VIII: Reinterpretation
• I. Textual Organization | p. 159
• 1. The Frame of the Sequence
• 2. Internal Articulation
• II. The Establishment of Discourse | p. 160
• 1. Rhetorical Procedures
• 2. Setting up the Enunciation
• III. Second Degree Discourse | p. 162
• 1. A Counter-reading
• 2. The Reading of S1's NP
• 3. Interpretation and the Canon
• 4. Return to Interpretation
• 5. Thematic Roles and Trajectories
• 6. The Revelation of the Secret
• 7. The Transfer of Responsibilities
• 8. The Ideology of Domination
• 9. The Informative Utterance
• Sequence IX: The Refusal
• I. Textual Organization | p. 173
• 1. The Frame of the Sequence
• 2. Internal Articulation
• II. The Anti-subject's Narrative Program | p. 174
• 1. Narrative Competence
• 2. Narrative Performance
• III. The Subject's Narrative Program | p. 185
• 1. Interpretation of the Values Offered
• 2. The Interpretation of the Requested Counter-value
• 3. The Narrative Program of Liberation
• Sequence X: Death
• I. Textual Organization | p. 200
• 1. The Frame of the Sequence
• 2. Internal Articulation
• II. The Economy of the Sequence | p. 201
• 1. The Patriotic Isotopy
• 2. The Performance
• III. The Last Attempt | p. 203
• 1. The Warning
• 2. The Unsuccessful Separation
• IV. Farewell | p. 207
• 1. The Paradigmatic Network
• 2. The Comparison of Values
• 3. The Reconstitution of the Dual Actant
• V. Martyrdom | p. 217
• 1. The Last Confrontation
• 2. The Vacuity of the Sky
• 3. The Christian Parable
• Sequence XI: The Funeral
• I. Textual Organization | p. 223
• 1. The Frame of the Sequence
• 2. Internal Articulation
• II. The Transfiguration | p. 225
• 1. The Procedure of Overshadowing
• 2. The Immersion
• III. Recognition | p. 228
• 1. The Manifestations of Water
• 2. “A little blood floated”
• IV. The Funeral Oration | p. 231
• 1. The Axiology of the Anti-subject
• 2. The Ideology of Power
• 3. The Redistribution of Knowledge
• Sequence XII: The Closure of The Narrative
• I. Textual Organization | p. 235
• 1. The Frame of the Sequence
• 2. Internal Articulation
• II. The Consumption of the Fish | p. 237
• 1. A “Delicious” Experience
• 2. Cognitive Doing
• 3. Pragmatic Doing
• 4. The Resumption of the Christian Isotopy
• III. The Consummation of the Event | p. 243
• Final Remarks | p. 245
• Index Rerum | p. 251

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