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Introduction Greimas, as the most famous theoretician of "narrative semantics", believes that the structure of a narrative, like the structure of a sentence, has its own grammar. By presenting some models such as action pattern, narrative program, semantic square, etc., he tries to structure the relationships between the meaningful signs of a texte, so that we can understand the internal structures of the meaning of the text by transitioning from the surface structure to the deep structure. The narrativity is the main organizing principle of any discourse. Narrative semiotics aims to search for deep, inherent and stable structures in discourses that can be formally manifested at the surface of texts. In this research, by referring to Greimas's narrative semiotics and his famous models, we intend to examine the narrativity in the novel "If Only It Were True" by Marc Levy. Unlike other literary criticism approaches that search for meaning outside the text, the semiotic approach searches for the mechanism of meaning formation in the text itself and in the deep layers of the text. Background of study In the field of semiotics, narratology and semantics, many studies have been done by researchers in the form of books and articles. Emphasizing the narrative aspect of Greimas's approach, Abbasi has analyzed Persian texts in the books "Samad: The Structure of a Myth" and "Applied Narrative". Sha'iri has done many and extensive studies in this field, among which the books "Semantic of Literature: The Theory and Method of Analyzing Literary Discourse" and several articles such as "From Structuralist Semiotics to Discourse-Semiotics", "A Study of Types of Discourse Systems From the Semiotic Point of View", "Semiotic Analysis of the Process of Recognition in Literary Discourse: A Case Study of Pacheh Khizak written by Sadegh Choubak ". Marc Levy's works have also been the subject of researches with different approaches of literary criticism, among them, we can mention the article by Hassan Zokhtareh and Martine Boyer-Weinmann entitled "A Study of Literary Success in the Contemporary Media Age, Case Study: She and He by Marc Levy". The authors of this article examine the reasons for the success of best-selling novels and successful authors. Ali Abbassi and Mitra Moradi have studied the beginning and end parts of Levy's novel in the article entitled "The Study of the Incipit and the Closure in All Those Things We Never Said by Marc Levy". Methodology In this research, using the models presented by Greimas, we intend to investigate the narrativity in the novel "If Only It Were True", by the French author, Marc Levy. By conducting this study, we are looking for an answer to the question "how the narrativity as the organizing principle of the discourse has helped to create meaning and reflect the author's desired values". Our hypothesis in this research is that the text consists of a set of semiotic-semantic elements at the surface and deep structures, between which there are meaningful relationships. Therefore, the purpose of this researche is to study the action pattern, narrative program and semantic square in this novel in order to determine how these elements make the discourse meaningful. Conclusion The findings of this study show that in this novel we are not facing a simple set of narrative programs, but there is a set of narrative programs that go in parallel to each other, this indicates the complexity of the narrative course of the action subject. By examining the semantic square, we learn that although the actors are temporarily in the position of death, they eventually come out of it and return to life; This reflects the author's positiviste values. [ABSTRACT FROM AUTHOR]

A passagem bíblica de Lucas 16, 19-31 é uma das mais citadas e discutidas do Novo Testamento. No entanto, quando analisada a partir das relações engendradas na sequência dos fatos narrados, uma série de programas narrativos pressupostos contribui para a elucidação do sentido desse texto. Esta pesquisa, portanto, analisará a referida passagem a partir da perspectiva da semiótica greimasiana. O método pretende desvelar o percurso gerativo de sentido e destacar os elementos intratextuais, que perfazem o trajeto de construção da significação da passagem. Ele permite analisar suas estruturas superficiais e profundas: vai do simples ao complexo, do mais abstrato ao mais concreto. Pode assim evidenciar as oposições semânticas a partir das quais se constitui o sentido do texto e a sua categoria semântica fundamental. O método tem potencial para representar a organização relacional entre as condições sociais dos sujeitos da narrativa. Além disso, fornece um suporte metodológico neutro que evita conclusões antecipadas e tendenciosidades. A análise da intertextualidade completa o processo iniciado com a Semiótica greimasiana. Isso porque uma leitura atenta de Lc16,19-31 não ignorará seu contexto imediato e mais amplo: Lucas e Atos lidos sequencialmente. Situando a parábola nessa narrativa mais ampla, os leitores de Lucas poderiam perceber elementos conectivos, ligando a história contada por Jesus ao que estava acontecendo na igreja primitiva. Assim, na boca de Jesus a história do rico e do mendigo foi contada como uma crítica à avareza, mas, no plano redacional de Lucas foi usada para desafiar os crentes a se envolverem com o cuidado dos pobres.

This article responds to the following problem: why does Arveragus's abandonment of his wife to pursue honor go unquestioned by everyone in the Franklin's Tale, including the wife herself? Chaucer imagines a fictional past in which criticizing honor is impossible. Endeavoring to understand the impossibility, this article draws upon the work of the semiotician A. J. Greimas, which illuminates how the tale's structure forecloses anti-honor discourse. Greimas's theory of history explains how the poet could use foreclosure to simulate the distant past. But the consequences of Dorigen's response to the black rocks suggest how history can modulate from one foreclosure to another—something Greimas does not address. Unlike the tale's Brittany, late-fourteenth-century England was a realm where the negative aspects of honor were increasingly obvious. Chaucer's bracketing of anti-honor discourse might have procured some relief from contemporary anxieties, but his tale also reveals the instability of the historical closure it contrives. [ABSTRACT FROM AUTHOR]

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On the axis of power or action, the obstacle opposite of the helper, not only shows the type of characteristic of a one-way structure or a caricature but also appears in the character structure with spiritual depth created by bringing together physical, psychological, interpersonal, and cultural traits. In this context, the persistence of fiction, which is one of the most important distinctions between type and character, does not apply to some counter-subjects. Examining the opposite theme of narratives in the axis of the methods of researchers such as Propp, Greimas, and Lüthi, I identified six elements of analysis, where the last one directly proves the typecharacter transition: The main points are (1) the extraordinary state of the opposing subject, (2) the reason why the attacker is evil, (3) the method used for evil, (4) the nature of the conflict with the hero, and (5) how the villain will be punished. The last element I added is called conditionally good and conditionally bad. In fairy tales there are people who do bad things when they are actually good, or do good things when they are actually bad. To qualify this change, (6) in fact, I found it appropriate to call people who are bad but behave well because of the conditions they are in, conditionally good in the sense of good, according to the conditions; in fact, I found it appropriate to call people who are good but behave badly because of conditions conditionally bad in the sense of being bad by the conditions. Therefore, the conditionality of the type, will bring the type-character continuum closer to the character structure. On the east-west axis, I took all fourteen stories in the Billur Köschk Fairy Tales (Crystal Manor Tales) and selected fourteen tales Grimm’s Fairytales using a simple sampling method. I came across six conditionally bad and three conditionally good characters in the Billur Köschk Fairy Tales, and four conditionally evil and three conditionally good in the Grimm Tales. The characteristics of evil in almost every other narrative also suggests that stereotyping the inhibitor should be reconsidered.

The signs that direct the discourse of a narrative to create a core action in the central core and to reproduce intelligent and program-oriented meanings constitute the pattern of Greimas’ action discourse in the context of the narrative. The preface of Persian classics reflects the author's feelings in creating the work. This essay has examined the narrator's reasons for creating the narrative by exploring the discourse in the process of creating the narrative and the reception of the verbal signs in the prefaces of the verses of Nizāmi Ganjavi ‘s Makhzan-ol-Asrār and Iskandernāme. This essay explained the manner of discourse action in the opening of these Masnavies using a descriptive-analytical approach to illustrate the composition of these poems based on Greimas’s discourse and relying on the study of the signs that refer to the conditions of the Nizāmi in the preface during the creation of the works. This study investigated the evolution of Nizmi's states using Greimas' action discourse theory and extracted and analyzed the pattern of action-value and action-prescriptive discourses in the central core of the preface of the ethical and didactic works of this narrative poet by extracting discourse signs. Extended Abstract Lithuanian narratologist A. J. Greimas has presented a coherent model of modern sign- semantics for the study of narrative, arguing that the recognition of literary texts is no longer based on structural analysis and recognition of sender and receiver, but that the process of meaning production in the text, from transmission to reception, is based on functional elements. The elements of meaning production in discourse are intelligent and program-oriented, ultimately leading to actions in narratives. Discursive studies emerged after structuralism and semiotics, and accordingly, the best literary field is the extraction of signs and reaching the sequence of meaning in the creation of narrative. The indirect discourse, the representation of the discourse of the other and the language of the other in the lyrical quotation marks have long been known in the discourse- novel form, as found in the earliest periods of theological culture. Many of the works of the Iranian classical literature have the ability to narrate and extract discursive theories. Hakim Nizāmi Ganjavi composed his own systems when stylistic and linguistic changes began in relation to the previous style of Persian poetry. During this period in northwestern Iran, in the Azerbaijan region, a group of poets emerged whose style was new. They were able to renew the Persian poetry style. Nizāmi's works are in the depths of content creation, forms, characters, and the purpose of a unique morality. The elaborate presentation of human personhood, human emotions, happiness and sorrow, natural desires and aspirations have been discussed and analyzed in these works to the extent that it is intertwined with the social ideals of the poet and the exploration of the psychology of the spiritual world of mankind, concerns his experiences, turmoil and goals are in Nizāmi's poetry a philosophical and moral concept. Action discourse is a narrative-based method in which action is motivated by an inductive, prescriptive or value motive; the actor does not act according to his own emotions or will and feeling, a relationship of command is dominant in this system and the expression of meaning is subject to predetermined goals. According to Greimas, in this kind of cognitive systems, the process governing the text in most of the story starts with a shortcoming and leads to a contract. This research analyzes the state of the Nizāmi spirit by extracting the forms of action in introducing of his moral works during the creation of each of these Masnavis, to show that Nizāmi wrote the Makhzan-ol-Asrār and Iskandarnāme by which factor or factors of action he wrote. This essay does not examine narratives, but addresses the premise of these systems. Introduction of a narrative reveals the subject in a discourse form and knowledge of the state of the spoken processor at processing time so that the reader with a better understanding of the utterances explores the models of dynamic linguistic production processes in the creation of the main narrative discourses. Nizāmi, in his composition, narrates the sequence of events in the lives of the heroes, but the introduction of each Masnavi includes the present poet. At the beginning of each system, he explains the reason for the creation. Therefore, the essay is not concerned with the personalities of the narrative of the systems, but rather explains the signs by examining the poet's state when he created the work, leading to the action of each work. The writing of the Masnavis of the Makhzan-ol-Asrār and Iskandarnāme as the first and last Nizāmi’s masnavis has been done in twenty years and in different phases of the poet's soul. We begin with a young poet seeking to create a work to make his reputation known to the world of literature. Therefore, in composing an Ethical-philosophical Masnavi, he attempts to express human complexities and a functional-value discursive variant; and it depicts a prescriptive action in the introduction. Here, the poet is an activist working to achieve the object of value and willing to reward him for creating this action. So, the young man is looking for wealth and fame. Nizāmi writes his love masnavis after Makhzan-ol-Asrār. Composing each work creates a new perspective as well as insight into the poet's affairs. The poet, who has created human landscapes in his masnavis, considers himself in the need of composing a masnavi which, apart from attaching to the object of value, is for quantitative evaluations, in order to solve ontological crises with the aim of finding himself and reaching wisdom. The discourse of Sharaf-Nāmeh and Eghbal- Nāme from Iskandar-Nāme masnavi is an action-value discourse that motivates the poet to create an Ethical Masnavi in line with experiences Iskandar's rationalism shows that, though these experiences are legends attributed to Iskandar, they represent a wise recognition of the scholarly and ancient poet demonstrating the value of wisdom in the symbolic language of these masnavis.

This interview is the result of a research with twelve “disciples” of Greimas about the possible “black boxes” in his semiotics and seeks to answer the following questions: Did “the black boxes” exist? If they did, what were they? What do Greimas followers have to say? Initiated in 2014, the research project ““Black boxes” and the importance of French semiotics in the analysis of verbal, non-verbal and syncretic discourse lasted seven years and approached the survey through readings of articles and books, the contributions of semioticians such as José Luiz Fiorin, Luís Hébert, Silvio de Santana Jr, Nícia Ribas D'Ávila, Ignácio de Assis Silva, Edward Lopes, Arnaldo Cortina, Edna Fernandes, Ronald Schleifer and Louis Hébert, among others, with interviews regarding the development of Greimas' semiotic theory. Here we interview one of those responsibles for spreading Greimas' semiotics in the United States, the semiotician Thomas F. Broden.

The concept, ‘people’, could in fact be a driving force behind the authorship of the Judith narrative. On this particular theme, many insightful contributions that have already been made by various scholars are applauded. The theme and concept of people still remain a topic that needs further exploration. In this article, the use and significance of the concept ‘people’ in the Judith narrative, is explored. The aim is not only to identify and describe the concept, but aspires to further demonstrate its distinct function in view of the reader. The analysis will be done from both the figurative and the thematic level of analysis of the Greimassian semiotic approach to literary texts. It is asserted that the utilisation of the concept ‘people’, is possibly an intentional literary strategy by the author, to encourage the reader (first and implied) to embrace the idea of Jewish reunification in the second temple period. Contribution: This is a literary analysis of the occurrence, use and significance of the concept, ‘people’, in the book of Judith, particularly chapter 5:1–24. The study focuses on the distinctiveness of the people of Israel and its possible function regarding the readers. The values making the people of Israel unique are studied and the suggestion made that this could have been the impetus behind the authorship of the story. The study is intuitive and does contribute towards the understanding of the religious dynamics of the book of Judith.

Notre article propose de discuter l’évolution de la pensée de Greimas en évaluant notamment quelques principes qui ont permis l’émergence de mouvements épistémologiquement différents, à partir de son héritage. A partir du réexamen d’ouvrages « critiques » des années 80-90 : le Tome 2 du Dictionnaire (Greimas ; Courtés, 1986), De l’imperfection (Greimas, 1987) et Sémiotique des passions (Greimas ; Fontanille, 1991), nous mettront en évidence les concepts portant en germe les tournants « post-greimassien ». Plus particulièrement, nous montrerons que les développements des modalités (Greimas, 1983) ont orienté la sémiotique vers le sujet et la subjectivité, l’énonciation et, finalement, une approche existentielle préfigurant la sémiotique du discours. Notre proposition critique cherchera à questionner la cohérence du modèle théorique greimassien comme cadre unique, stable et partagé de la communauté sémiotique.

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The narrative structure in texts includs the characters, events and actions of the characters in the story that have been presented from the past to the present. In the field of sign-semantics, and the analysis of narrative systems their function and meaning production and reception are important. In narratology, structuralists seek to investigate the order governing the narrative and discover the internal proportions, relationships and links existing on the constituent elements of the narrative. In this process, Propp and Greimas rely on the method of narratology. Propp creates specific narrative patterns for the analysis of folk tales and addresses the functions involved in the plot and role of the characters and their interrelationships. Greimas was one of the structuralists who based Propp’s research on a larger scale. Greimas action pattern is one of the useful tools in identifying the structure of the narrative. According to Greimas theory, each narrative has two main and superficial levels. The main level includes the action pattern and the main basis of narrative structure analysis. The action pattern is realized based on the analysis of dual contrasts and narrative chains. In this model, each narrative system consists of six parts which are the actors and the event and the description of each event. These divided and each has an action axis (demand /power /send). In this research, a picture of Timurid Zafarnameh dated 935 available in Golestan Palace Library, containing 24 illustrations, has been analyzed using Grimas action pattern analysis method. One of the most important books of Timurid period is Zafarnameh of Timurid. Zafarnameh was written by Sharaf al-Din Ali Yazdi on the order of Ibrahim Sultan in Shiraz and finished in 828 AH, as a biography of Timur. Zafarnameh was chosen among the historical manuscripts, Kamaluddin Behzad painted it and Sultan Muhammad wrote it. Considering that so far, no research has been done on this book based on narratology. Its painting is based on a historical text and is far from fantasy. In this research, the main design in the structure of the narrative has been investigated by using double contrasts, narrative chains and Greimas action pattern which structurally belongs to a single text and the image and narration of the text related to the image. Also, the similarities and differences of the action model in comparison with the text have been investigated and finally the relationship between the narrative structure of the text and the image has been evaluated. Accordingly, the picture as an independent text has two levels of infrastructure and superstructure. The research results show that Greimas model is an analytical model compatible with painting. [ABSTRACT FROM AUTHOR]

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Copyright of Folklor / Edebiyat is the property of Cyprus International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article offers an in-depth analysis of the concept of translation in Bruno Latour's oeuvre – an ambiguous and constantly morphing term. It considers the various conceptual reformulations of translation throughout his writing, concentrating on its fundamental importance for the operation of his modes of existence. A special emphasis is put on the influence of A. J. Greimas's semiotics on Latour's theoretical framework. The aim here is to trace how translation is different from transformation, and why it remains a core concept in Latour's work, despite the fact that he strays far beyond the confines of linguistics alone in his theorisation. [ABSTRACT FROM AUTHOR]

One of the major approaches to understanding the structure of narrative is its analysis based on Greimas’s system of binary oppositions. Greimas strived to achieve a comprehensive pattern in analysis of stories by dividing the actants into three binary oppositions and a tripartite division of events. This research aims to comparatively analyze the narrative structure in three Persian epistles of Suhrawardi by applying Greimas theoretical framework. The findings of the research point to the lack of formation of a complete narrative based on the actants in Greimas model. The reason is the dominance of knowledge-building, as the primary goal, over the narration form, as the secondary goal of Suhrawardi. As one of the consequences of this dominance, we can point to the spread of disjunctive progression across the epistles, which also arose from the dominance of discourse over structure. The research also reveals the formation of the same form of narration in terms of the system of actants and the type of layered narration. This style of processing the story indicates Suhrawardi’s understands of the concept of the nine planets and their connection with the soul. The similarity in the object/aim actant as a conceptual matter and the weakness in form indicators are other findings of this comparative study.

Shaikh shahaboddine Suhrawardi (1154-1191) originator “Illuminato school”, has linked Hellene philosophy, Islamic mysticism with Quranic inspiration in his symbolic books. His symbolic narrative alleged thoughtful among Henry Corbin (1903-1978) are result intuitive experiences himself that they have been written. Theory discourse semiotic is the new attitude of knowledge semiology that convert relation between signifier and signified to a fluid stream and multidimensional and provide background creation new meanings in a text. Suhrawardi is among discourses in arena mystic symbolic texts that although he has been lived centuries before thoughtful semiotics among Greimas; but his writings have ability research with the theories. Therefore two texts that have selected as example, are similar together namely “Red wisdom” Shaikh shahaboddine Suhrawardi and “Resalatottair” Abne-Sina for this research, until we research on one hand discourse systems and on the other hand the kind of narrative in them. Both narratives are explanation an effort for access to value object that unlike classical narratives, is interior of activist not external of him. In both narratives have been signs of regime narrative de fusion and in “Red wisdom” moreover is regime narrative de accommodation too. Also the kinds of action, tension, modality discourse systems and existential can be researched in two books of Suhrawardi. This research has done to style analysis quality context and basis theory of semiotic in arena of modern linguistics with emphasis on sample Greimas. [ABSTRACT FROM AUTHOR]

Picaresque fiction, or the so-called tale of roguery, focuses mainly on the adventures of a male protagonist. Although women characters rarely take the lead, they mark significant transitions in the narrative syntax. Mothers, wives, and lovers reject stereotypical role models and are invested with the potential of initiating the picaro to his life stages. This study will concentrate on the wife as a catalyst of semiotic value beyond her appointed role, exploring a corpus of four works published between 1554 and 1626: Lazarillo de Tormes, The Unfortunate Traveller, Guzmán de Alfarache, and El Buscón. In these narratives, wives oppose their fate of pure Objects in a conjugal contract, and become Subjects, Antagonists or Destinators, assertive "actants" (Greimas) in the semiotic grammar of narrative. My purpose is to re-evaluate, in deep-structure narrative terms, the significance of women characters in the largely male-centred, misogynist picaresque. [ABSTRACT FROM AUTHOR]

According to many experts, Sheikh Shahabuddin Suhravardi has proposed common aspects between ancient Iranian wisdom and Islamic philosophy and mysticism in his works. By entering the world of symbolic signs, he approached the field of conceptual metaphor. Light (Noor) and Divine Glory (Farr-e Izadi) are macro metaphors containing smaller metaphors, which will be obtained from the purity of the soul and as a result of a sensory-perceptual interaction between the subject and linguistic signs. The semantic connection of the linguistic signs of divine glory and light in the divine narrative discourse is highlighted under the correct cycle of interaction and exchange of value. Although divine glory is related to the chosen man of truth, and light is related to the creator of man and the world, they pass through a path from Earth to Heaven. Also, the relationship between this light and ‘black light’ in mysticism is worthy of investigation. Are truth and metaphysics, according to post-structuralists, illusions formed in the system of metaphors? Verse 35 of Surah Noor is the most important metaphor of the Qur'an, which has an absolute general and special relationship with the conceptual metaphor of the divine circle. In mystical thinking based on unityism, light cannot be completely separated from darkness because the existence of both is necessary in the world and light is the origin of all light and darkness. The present study, with the approach of semiotic-semantic analysis, deals with how to produce meaning from similar linguistic signs and uses the theory of imperfection of meaning by Greimas to achieve its goals. Among the four narratives proposed by him, ‘adaptive narrative’ and ‘mixed narrative’ will be a guide for the interpretation of the conceptual metaphor of light and its connection with divine glory. [ABSTRACT FROM AUTHOR]

Greimas as the founders of the French narrative science was influenced by formalists and structuralists and tried to infuse it with semiotics to establish a theory of meaning. Greimas highlighted meaning and took the conflict between subject and object as the basis for production of meaning in actantial model; meaning is generated through the process of narration. The present study analyzes Bakhtiar Ali's latest novel titled Bender Feyli based on the actantial model. Bandar as object for the Baath Party and its regime was born and raised in prison with a paradoxical personality. The Baathists tried to erase his identity and include him as a member of their party. This is the drive in the novel till the Baath is defeated and its members are punished. Americans as a new actor free Bender. The main image in the novel consists of freedom and slavery; Greimas considers it as a universal image, composed of a series of minor images. Bender is trapped between freedom and slavery. Bender is freed finally but he does not feel free because he is encouraged by the Iraqis to take his revenge upon the Baathists. However, at the time of revenge, a disease attacks him, which is a sign of health because it frees Bender from being similar to others. The present study investigates the novel based on three pairs of Greimasian actantial model to clarify its manifest and latent layers. [ABSTRACT FROM AUTHOR]

Copyright of Research on Fictional Literature is the property of Razi University, Faculty of Literature & Humanities and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Starting from the observation of the omnipresence of moments of sociability in Flaubert's work, even for the most solitary characters, this article questions the place of the group in the Flaubertian semiotic system. Although some configurations (religious ceremonies, meals, ball or theater evenings, political meetings, etc.) are already used by the literary tradition, the games of modifications, enrichments or displacements operated at the different levels of the “parcours génératif” allow very often, as Greimas put it, to “produce the unexpected with almost nothing”.

The concept, 'people', could in fact be a driving force behind the authorship of the Judith narrative. On this particular theme, many insightful contributions that have already been made by various scholars are applauded. The theme and concept of people still remain a topic that needs further exploration. In this article, the use and significance of the concept 'people' in the Judith narrative, is explored. The aim is not only to identify and describe the concept, but aspires to further demonstrate its distinct function in view of the reader. The analysis will be done from both the figurative and the thematic level of analysis of the Greimassian semiotic approach to literary texts. It is asserted that the utilisation of the concept 'people', is possibly an intentional literary strategy by the author, to encourage the reader (first and implied) to embrace the idea of Jewish reunification in the second temple period. Contribution: This is a literary analysis of the occurrence, use and significance of the concept, 'people', in the book of Judith , particularly chapter 5:1–24. The study focuses on the distinctiveness of the people of Israel and its possible function regarding the readers. The values making the people of Israel unique are studied and the suggestion made that this could have been the impetus behind the authorship of the story. The study is intuitive and does contribute towards the understanding of the religious dynamics of the book of Judith. [ABSTRACT FROM AUTHOR]

The main research material consists of Algirdas Julius Greimas’s texts written during the transition period, when Lithuania was parting with Soviet rule (1989–1991), mainly his “Baltos lankos” column in Literatūra ir menas weekly periodical as well as various texts by other authors on Greimas’s texts along with memoirs, letters and obituaries. The study has two aims: 1) to find a conceptual approach for analyzing Lithuanian texts by the late Greimas, 2) to identify points of change in the semiosphere of Lithuanian culture. Greimas’s own semiotic method, namely, a structure of four Senders is used to describe his texts. The theoretical context of Juri Lotman’s cultural semiotics is a more permanent intellectual context for this study, and some of the terms are useful in more than one aspect. The readers’ attitudes towards Greimas’s texts highlight how the core and periphery change in the semiosphere: the period of cultural activity and openness and the internal cultural barriers appearing at the same time, the gradual passivation of culture and cases of sporadic creative relationships.

Copyright of ECCOM: Educação, Cultura e Comunicação is the property of ECCOM: Educacao, Cultura e Comunicacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper discusses the role of color in the literary narrative and the use of symbologies as a means of guiding the character in the trajectory and impacting the construction of relationships with the surrounding people. The Yellow Wallpaper is a short story first published in January 1892 by the American writer Charlotte Perkins Gilman. It describes a marriage relationship, and a young wife suffering from "temporary nervous depression" after the birth of their baby is mediated by the yellow color. In this sense, the objective of this work is to analyze and discuss how the chromatic element is used and how it interferes with the narrative of the short story "The Yellow Wallpaper". From that investigation, thus, this research aims to discuss and encourage the use of color as a narrative tool, based on the studies of discursive semiotics. To do so, the methods and concepts used for the analysis were based on Julien Greimas' works. The results point at a range of meanings that vary along with text according to the protagonist's relationship with her environment and its yellow wallpaper. From consternation to excitement, yellow color plays the role of guiding the character from a feeling of melancholy, going through a context of disgust and refusal, changing to a feeling of instigation and pleasure, finally reaching a state of obsession with the yellow wallpaper. [ABSTRACT FROM AUTHOR]

Semiotics as a comprehensive branch seeks for meaning production process generated by the interrelations of signs, and therefore, may allow examining any discipline. One of those disciplines is literature. The significance of the present study is to draw attention to the analysis of formative structures of a narrative, using analysis tools of literary semiotics and narratology. Accordingly, examining both abstract and concrete fine details of a text, this study aims at investigating how the sense of horror was invoked by Edgar Allan Poe in one of his horror stories, “The Cask of Amontillado”. The methodology of the study, improved by French semiotician, Algirdas Julien Greimas, comprises the analysis of three semantic layers: the discursive, narrative and deep levels. Also, the tools of narratology have been utilized at the discursive level to examine the actors and time in the story, thereby making this an interdisciplinary study. In doing so, the pre-determined semiotic methodology has made it possible to obtain information both on the authorial techniques and the text itself. According to the findings gathered through a semio-narrative analysis, it can be suggested that transformations from beginning to the end of the story regarding characters, space and time have taken place from good to evil, life to death or bright to dark. This further highlights Edgar Allan Poe’s achievements in the creation of horror stories.

En este trabajo abordamos “Continuidad de los parques” a partir de algunas propuestas de estudio formuladas por Greimas, desarrolladas en obras como Semántica estructural (1971), En torno al sentido (1973) y Del sentido. Ensayos semióticos (1989) con el propósito de identificar los principales trazados semánticos y socio-culturales implicados en ese breve relato, incluyendo aquellos que, pese a las innegables aportaciones realizadas por los numerosos estudiosos de este escrito de ficción, han sido ignorados.

The distance between us by Reyna Grande is a Latin-American Bildungsroman, which focuses on the linguistic issue stemming from the tension between a point of departure - Mexicanity - and the final destination - the interaction with the United States. This feminine memoir explores the tension between two cultural systems - a dialectic the article will analyse through the semiotic theory of A J Greimas. In particular, this article will look at the author's Bildungsroman as a Narrative Programme, including several actantial roles in order to highlight the axiological value of the work, as well as its importance in the Chicanx literature.

The main research material consists of Algirdas Julius Greimas's texts written during the transition period, when Lithuania was parting with Soviet rule (1989-1991), mainly his "Baltos lankos" column in Literatūra ir menas weekly periodical as well as various texts by other authors on Greimas's texts along with memoirs, letters and obituaries. The study has two aims: 1) to find a conceptual approach for analyzing Lithuanian texts by the late Greimas, 2) to identify points of change in the semiosphere of Lithuanian culture. Greimas's own semiotic method, namely, a structure of four Senders is used to describe his texts. The theoretical context of Juri Lotman's cultural semiotics is a more permanent intellectual context for this study, and some of the terms are useful in more than one aspect. The readers' attitudes towards Greimas's texts highlight how the core and periphery change in the semiosphere: the period of cultural activity and openness and the internal cultural barriers appearing at the same time, the gradual passivation of culture and cases of sporadic creative relationships. [ABSTRACT FROM AUTHOR]

Shahab al-Din Yahya Suhrawardi, also known as “Sheikhe Ishragh”, (1154–1191) or the founder of the Iranian school of illumination, is an Iranian philosopher who has widely deployed semantic functions of narrative mode in his mystical works. Going beyond the conventional and traditional approach of narrating allegorical anecdotes, he started to create his own narratives to present his intended philosophical and mystical concepts to the audience in form of “plotted” narratives. Fi Haqiqat al-'Ishq (On the Reality of Love) treatise also known as Munis ol-Oshaq (Companion of Lovers) is one of Suhrawardi’s distinguished and valuable Persian writings in the field of narrative. In this work, he describes the reality of life and the beginning and destination of existence from his own philosophical-mystical view. This treatise—which is an interpretation of the Qur’anic story of the Prophet Yusuf (Joseph) and based on Suhrawardi’s illuminationist view—is presented as an independent narrative more detailed than his other narrative-based writings and with a more elaborate plot. Unlike other dialogic narratives, Fi Haqiqat al-'Ishq is an action-based one that has been considered one of the most elaborate and structured narratives of Suhrawardi. The story begins with the first step of creation, which is the creation of the intellect by Noor ol Anvar (Light of Lights). From the outset, the intellect is endowed with three features: “beauty”, “love” and “sorrow”; all three are brothers and from the same origin. However, despite the devotion of “love” and “sorrow” to “beauty”, who is the eldest brother, “beauty” inhabits Joseph’s body, reaches the peak of independence and autonomy, and spurns the brothers. Yearning for reunion with “beauty”, the two brothers set out on a journey of austerity so that in companion with Jacob and Zulaikha they could set the ground for reaching their goal. Examining the structure and plot of this narrative based on structuralist theories reveals multifaceted dimensions of its hidden semantic layers regarding Suhrawardi’s illuminationist doctrine. Since Fi Haqiqat al-'Ishq is centered on the binary oppositions between the “material” and “spirit” as well as “light” and “darkness”, the actantial model proposed by Algirdas J. Greimas (1917- 1992), the famous French semiotician, was applied to achieve a kind of detailed analysis of the narrative. The model is built on binary oppositions by which different structural elements of a narrative, including the plot and the characters in both deep and surface levels, are analyzed. In Suhrawardi’s illuminationist philosophy, which emphasizes on the originality of “light”, there is a basic binary opposition between “light” and “darkness” and consequently between “heaven” and “earth”, “abstract” and “material” as well as “ignorance” and “knowledge”. In Fi Haqiqat al-'Ishq, which briefly reviews the great event of creation alongside the spiritual journey of soul to the source of life in two parts, this thinking system dominates; a manifestation of which is the binary opposition between “beauty” and “love”. As it continues, the independence of “beauty” and its separation from “love” kindle the “love’s” passion for reunion, which turns him into a traveler (Salik) in the second half of the story. Studying the actions and the arrangement of the narrative actors, based on the actantial model, proves that the main action in the first half of the story is “creation” which has been performed by different actors throughout successive stages. The result of this action is the creation of the heavens and the earth as well as endowing the earth and earthly creatures with the grace of creation. The main action in the second half of the narrative is the “spiritual journey”; which is known as a way for the earth inhabitants to return to the spiritual and heavenly origin of life. In this regard, the transformation of the actors both on the side of the earth and the heaven (transformation of “beauty”, “love” and “sorrow” to the earthly characters of Joseph, Zulaikha and Jacob) displays the extension of the great event of “creation” in both heavenly and earthly realms (both deep and surface levels). The contrasting plot of this narrative demonstrates the confrontation of the two main substances of “light” and “darkness” (spirit and material) and briefly explains the descending arc of life (the extension of the grace of creation from Light of Lights that resulted in the creation of the heavens and the earth) and the ascending arc (spiritual journey of human being to reconnect to the source of light). This structure adjusts to theory of opposition and actantial model of Greimas. Examination of this narrative based on the mentioned model shows that the two basic actants (“beauty” and “love”) in deep level accompanied with the two actors in the surface level (Joseph and Zulaikha) are the different manifestations of the light and darkness who have been integrated in the process of the creation. Considering the existing opposition in the deep structure of the story, which causes the separation between the brothers, the most important sequence in this narrative appears to be disjunctive. Fi Haqiqat al-'Ishq is a brief literary and artistic expression of the author’s philosophical mindset. In this work, Suhrawardi briefly reviews the great event of the creation and the origin of the life to initially remind the reader of the spiritual history of the world and to show another dimension of the truth in the second half of the narrative; the fact that we, human beings, are prisoners in the dark well of the mundane world and the only way of liberation and reconnection to the source of “Light of Lights” is awareness and setting out on a journey of austerity. In this story, “love” is the actant who firstly made this hard journey but in fact the actors of this action (spiritual journey) are all devoted travelers who have stepped on this path to reach the eternal truth and “Light of Lights”.

Ricœur’s meeting with Greimas was not an ephemeral event but a discussion that spanned more than thirty years. Anne Henault traces the different stages of what Ricœur called his “love fight” with Greimas, perfectly illustrated in the poem by René Char: “Loyal opponents.” The qualities of the philosopher emerges in dialogue, the concern to advance reasoning in a rigorous way but also the effort to give to the speaker “the chance of his best argument.” Anne Henault recounts the labeling of structuralism as an “enemy” and the conquest of a “friendship” as mutually demanding but based on genuine intellectual convergences.

The action in mystical texts is influenced by factors that facilitate the expression of mystical feelings. These factors may be the result of inductive, prescriptive, incidental, or tension-driven processes. Historically, this discussion dates back to the time of Aristotle, when these factors were first discussed in relation to the binary oppositions that underpin human thought. A number of structuralists and semioticians throughout the 20th century investigated these issues, including Saussure, Freud, Pierce, Morris, and Greimas. Accordingly, a semantic-semiotics perspective allows us to study the mechanisms of meaning production in discourse systems from sensory-perceptual, cognitive, and aesthetic perspectives. An examination of the discourse systems of the story "Pirchangi" — one of the poetic stories of Masnavi by Rumi — is presented in this paper. As part of clarifying the position of action, tension, existence, and state systems in the story, the author also presents the transition of the main character at the end of the story from a state of disorder to one of order. As a result of the analysis, the state system plays a significant role in the character's journey into the state of belief via an epiphany. It is due to the presence of the existential subject that this story has the appeal for repeated readings, as Rumi himself points out at the conclusion.

In children's literature, humorous stories offer a way to discuss the role of women. Based on the actantial model of Greimas, four satirists of children's literature have explored the role of women (Moradi Kermani, Hasanzadeh, Akbarpour, and Hashemi). As a result, the characters appear in the narrative as six actants (the actant-subject, the actant-object of action, the actant-sender, the actant-receiver of information, the actant-supporter, and the actant-oppositionist of volition) and act accordingly. The main question is: "According to the actantial model, what role do women play in these stories?" The research results demonstrate that men have traditionally narrated the mentioned stories, and women do not have vital roles as actants-subjects in many of the selected stories. As another point to note, men are also involved in stories where women are the actant-subjects. Women are most commonly the actors-supporters in these stories. Further, the research results indicate that in humorous narratives of children's literature, women's actions are humiliated and rejected, and the humour of the story expands when compared with the male characters, especially their wives. The main character in some stories, such as Nish-o-Noush of Hassanzadeh, is a girl who occupies the position of actant-subject, and according to Greimas' definition of narration, she successfully completes all the stages.

O presente artigo busca abrir frentes de discussão para repensar a fruição musical de maneira a dar uma possível resposta de cunho prático a uma reflexão feita pelo semioticista Algirdas Julien Greimas em sua obra Da Imperfeição (2002, p. 86), lançada em 1987: “Entre as práticas do gosto socializado, que conduzem à usura das categorias estéticas, e o grande evento, que talvez acontecerá, existirá um caminho pessoal por traçar?” Problematiza-se, dessa maneira, os modos de vivência – principalmente os modos de vivência estética. Diante dessa provocação pontual, a evocar o assunto da originalidade, valemo-nos da proposta semiótica da referida obra – com ênfase nos conceitos de “escapatória” e “fratura” – e da linguagem e do discurso figurativo do cinema – mais precisamente do filme Begin again (Mesmo se nada der certo, 2013, dir. John Carney) – para, assim, por meio da experiência musical coalescente, vislumbrar algum caminho ansiado pela questão acima.

Exploratory diagrams can be distinguished from statistical and explanatory diagrams in that they do not merely communicate what already exists, but provide a method of discovery, experiment and creative invention. As such, they are recommended as productive modes which can be utilized for art, education and philosophy. This paper seeks to draw out a number of key concepts and approaches to exploratory diagramming by examining three powerful diagram theories. First, A.J. Greimas' invention of the 'semiotic square'; second, C.S. Peirce's semiotic account of the diagram as icon; and third, Gilles Châtelet's retelling of scientific and mathematical discovery through diagrammatic devices. Respectively, these theories can each be identified according to a primary operative principle: opposition, relation and gesture. [ABSTRACT FROM AUTHOR]

One of the stages of recognizing the intellectual, cultural and emotional characteristics of nations possessing culture and literature is the adjustment of their literary works. Semiotics approach reaches meaning through the literary text, and in this process, regimes of discourse as the main elements of discourse shape the narrative and change from one status to another. This study analyzes of Savab ya Gonah by Jamalzadeh and The Corn Planting by Anderson of two Iranian and American writers by the use of Greimas's semiotics model, also explicate types of regimes of Discourse.The main question of this research is how the narrative process of signification is formed and what are the most important discourse systems involved in meaning production? The results showed that both authors have used a variety of narrative discourse systems in their story, but the discourse systems of action and Stative have been the dominant discourses in the narrative formation so that the narrative with Stative has turned to action and again to the Stative with aesthetic and mythical type. and we are confronted with the process of forming high spiritual values, and the characters in the story make their mythical presence visible to the audience. But what leads to the difference between the themes of the two stories is the attitude of the actors and the value worldview in these two cultures, such as in the story of Savab ya Gonah, the main actor in the form of religious codes of retribution and reconciliation with death is elevated to the status of myths. However, in The Corn Planting story, the main actors, in the form of Eco-Semiotics codes, linked the death of the child at the end of the narrative by turning to nature and attaining mythical status. [ABSTRACT FROM AUTHOR]

This research was inspired by the anniversaries of Algirdas Julius Greimas, Juozas Tumas-Vaižgantas and Kęstutis Nastopka that encouraged rethinking the relationship with tradition, while viewing it from several perspectives: biographical-cultural links, reception of classical literature, and history of Lithuanian semiotics. The paper reviews the works of semioticians’, analysing Vaižgantas’ oeuvre, attempting to find the trajectory of the evolving Lithuanian semiotic tradition in the most representative examples. It also presents a new interpretation of Vaižgantas’ novella, “Dėdės ir Dėdienės” (“Uncles and aunts”, 1929), while searching for the mythological reasons behind the motivations for its characters’ choices and referring to the arch-plot of Perkūnas-Velnias-Laumė. The entanglement of the planes of the hierogamy (the holy marriage) isotopy and the biblical one allows for interpreting this novella as a variation of the Exodus Myth. The problematics of parable discourse is exposed in considering the question of Vaižgantas’ semiotic originality.

Cet essai adopte la perspective centrée sur les voyages, les échanges et la traduction pour étudier l‘impact international de l’œuvre d’Algirdas Julien Greimas. L’étude s’attache à mettre en évidence les facteurs clés qui ont affecté la diffusion des idées du linguiste et sémioticien à l’étranger. La plupart des recherches sur ses méthodes se concentrent à juste titre sur la France, où il a enseigné et développé son groupe de recherche, et sur les publications en français, langue initiale et la plus utilisée pour les travaux dans ce domaine. En revanche cette étude explore plutôt la propagation de ses innovations dans d‘autres pays et langues. Des éléments d‘histoire socioculturelle, de relations internationales et d‘histoire intellectuelle esquissent le contexte dans lequel son projet s‘est élaboré et s‘est étendu à différents pays. Les relations entre la France et les autres pays pointent trois grandes catégories dans la réception que connaît le projet greimassien, pour chacune desquelles cette étude se concentre sur deux régions prises comme exemples. L‘article examine d‘abord les cultures qui manifestent les affinités les plus étroites avec la France à savoir celles romanes, en étudiant de plus près l’Italie et l‘Amérique latine. La deuxième catégorie comprend des pays qui jouissent de convergences moindres mais toujours appréciables avec la société française. Il s’agit des zones de langues germaniques, pour lesquelles l‘Amérique anglophone et les pays de langue allemande nous serviront d’exemples. Le dernier panneau du triptyque explore des pays qui entretiennent des relations plus lointaines avec la France, notamment durant la carrière de Greimas, en se focalisant sur la Russie-l’URSS et la Chine. La conclusion tente d’évaluer à quel point des facteurs tels que les structures institutionnelles et les contacts personnels, l‘histoire et le contexte socioculturels et le statut pédagogique et sociolinguistique du français exercent effectivement un impact sur son accueil à l‘étranger. L’analyse de la réception mondiale de l’œuvre de Greimas permet de découvrir les facteurs qui conditionnent la propagation de la sémiotique dans le monde entier.

The phenomenon of domestic violence has stayed up to date almost in every period in Turkish social structure. In this regard, this phenomenon as one of the most important problems in our country has also been an issue in Turkish movie, and shed light on the deep traces in Turkish social structure. Meanwhile, it is possible to make clear the messages of inter-family communication while searching the traces of domestic violence. In this study, it was aimed to identify how domestic violence has been presented in popular Turkish movie after the year 2000. In accordance with this purpose, the movie examined in this study was chosen through the criterion sampling method. In this context, Müslüm (2018) movie, in which domestic violence frequently takes place, was analyzed with the Greimasian semiotics method. As a result of this analysis, socio-cultural and economic factors, alcohol abuse and patriarchal family ideology seemed to be the main reasons underlying the phenomenon of domestic violence screened in the Turkish movie examined. In this respect, the phenomenon of "domestic violence", which is among the most important problems of our society; was understood that it was re-constructed in Turkish cinema due to social, cultural and economic reasons. [ABSTRACT FROM AUTHOR]

This study aims to analyze plot structure in Collins’ The Hunger Games. There are several questions that researcher wants to find, what the elements of plot are, how do the elements of plot compose the plot structure of the story, and what kind of plot is applied in the novel. This study is a qualitative analysis by applying A.J. Greimas approach. The data were collected by reading, identifying, interpreting and analyzed using the approach and theories which used in this study by using actants. The result of this study were the elements of plot consist of beginning, problem of the story, rising action, climax, falling action, and resolution. To find out the main plot structure, this study classifies the function of each character into six actants, they are sender, receiver, subject, object, helper and opponent. Finally, the researcher concluded what kind of plot and how the ending of the novel is. The plot of the novel is dramatic or cronological plot because the story through in chronological order. In addition, the novel is closed plot because the problem of the story is solved.

Classifying all narratives in a single type is the aim of narratology. Greimas is one of the theorists who, by reducing the number of actants of the propp model, tried to provide a comprehensive model for all narratives. The present research investigated the story of Rostam and Shaghad based on the Greimas' actantial model, the analysis of the status of narration with respect to the dual oppositions, the syntactic pattern and the syntgmes narrative (syntgmes contractual, syntgmes performative and syntgmes disjunctional). Greimas' model has acted dual in this story, and an actant in different situations acts as the opposite and the supporter. The subject actant comes to deceive to eliminate the role of the conflict actant. Breaking and contracting a pact by Shaghad is the main source of the narrative that is formed in the syntgmes contractual. The same thing shapes the syntgmes performative and its actions, ultimately ending up in a positive or negative status in the syntgmes disjunctional.

Este estudo de caso em história das ciências da linguagem insere-se na perspectiva metodológica da história intelectual, na qual analisamos o impacto internacional de A. J. Greimas (1917-1992) e de sua obra, por meio do estudo das práticas de comunicação, de deslocamento e de tradução. As missões científicas realizadas fora da França, o número e a origem dos estudantes estrangeiros matriculados no seu seminário, em Paris, bem como a cronologia e a geografia linguística das traduções de sua obra ajudam a traçar, avaliar e explicar a difusão e o desenvolvimento mundial das suas ideias. Seu projeto inspirou apropriações distintas e, às vezes, estruturas institucionais em vários contextos culturais e linguísticos, incluindo contextos românicos, anglo-americanos, germânicos, eslavos, lituanos e do leste asiático. A conclusão deste ensaio avalia a importância do contato pessoal, do contexto sócio-histórico e do status sociolinguístico e didático do francês para a recepção mundial de Greimas. Ademais, este trabalho é baseado em trabalhos científicos publicados, documentos de arquivo, entrevistas e comunicações pessoais com tradutores e editores, com Greimas e seus colaboradores e com especialistas das diferentes culturas estudadas.

This article analyzes populism utilizing the semiotic theory of A.J. Greimas. This structural linguist offers a tool for uncovering links between manifestations of populism and the language structure that makes these manifestations possible in the first place. The (post-)structural analysis in this article brings together different approaches to populism, through revealing one shared underlying structure. This core-structure of populism connects three framings of populism that all come with different populist features. The core structure also sheds light on the dispute regarding whether or not a homogeneous people is integral to populism. The underlying structure precisely depicts the logical steps from individualism to populism that Laclau describes in his definition of populism as an act. Whereas Laclau's definition does not include a homogeneous people, the structure reveals a short-cut to populism, which does comprise a homogeneous people. Hence, the deep structure of language facilitates two versions of populism, one with a homogeneous people, and one with a not-heterogeneous, unified people. [ABSTRACT FROM AUTHOR]

Cet essai adopte la perspective centrée sur les voyages, les échanges et la traduction pour étudier l'impact international de l'oeuvre d'Algirdas Julien Greimas. L'étude s'attache à mettre en évidence les facteurs clés qui ont affecté la diffusion des idées du linguiste et sémioticien à l'étranger. La plupart des recherches sur ses méthodes se concentrent à juste titre sur la France, où il a enseigné et développé son groupe de recherche, et sur les publications en français, langue initiale et la plus utilisée pour les travaux dans ce domaine. En revanche cette étude explore plutôt la propagation de ses innovations dans d'autres pays et langues. Des éléments d'histoire socioculturelle, de relations internationales et d'histoire intellectuelle esquissent le contexte dans lequel son projet s'est élaboré et s'est étendu à différents pays. Les relations entre la France et les autres pays pointent trois grandes catégories dans la réception que connaît le projet greimassien, pour chacune desquelles cette étude se concentre sur deux régions prises comme exemples. L'article examine d'abord les cultures qui manifestent les affinités les plus étroites avec la France à savoir celles romanes, en étudiant de plus près l'Italie et l'Amérique latine. La deuxième catégorie comprend des pays qui jouissent de convergences moindres mais toujours appréciables avec la société française. Il s'agit des zones de langues germaniques, pour lesquelles l'Amérique anglophone et les pays de langue allemande nous serviront d'exemples. Le dernier panneau du triptyque explore des pays qui entretiennent des relations plus lointaines avec la France, notamment durant la carrière de Greimas, en se focalisant sur la Russie-l'URSS et la Chine. La conclusion tente d'évaluer à quel point des facteurs tels que les structures institutionnelles et les contacts personnels, l'histoire et le contexte socioculturels et le statut pédagogique et sociolinguistique du français exercent effectivement un impact sur son accueil à l'étranger. L'analyse de la réception mondiale de l'oeuvre de Greimas permet de découvrir les facteurs qui conditionnent la propagation de la sémiotique dans le monde entier. [ABSTRACT FROM AUTHOR]

This research was inspired by the anniversaries of Algirdas Julius Greimas, Juozas Tumas-Vaižgantas and Kęstutis Nastopka that encouraged rethinking the relationship with tradition, while viewing it from several perspectives: biographical-cultural links, reception of classical literature, and history of Lithuanian semiotics. The paper reviews the works of semioticians', analysing Vaižgantas' oeuvre, attempting to find the trajectory of the evolving Lithuanian semiotic tradition in the most representative examples. It also presents a new interpretation of Vaižgantas' novella, "Dėdės ir Dėdienės" ("Uncles and aunts", 1929), while searching for the mythological reasons behind the motivations for its characters' choices and referring to the arch-plot of Perkūnas-Velnias-Laumė. The entanglement of the planes of the hierogamy (the holy marriage) isotopy and the biblical one allows for interpreting this novella as a variation of the Exodus Myth. The problematics of parable discourse is exposed in considering the question of Vaižgantas' semiotic originality. [ABSTRACT FROM AUTHOR]

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