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Some notions on the production of texts textual cohesion



concept of discourse. Notions of truth and fiction believable. Concept of copyright.
Speech The concept is defined from Michael Foucault as " a set of statements that depend on the same discursive formation ... is composed of a limited number of sentences which can be defined a set of conditions existence.
The concept is relatively easy to understand. Speech is simply synonymous with states or sequence of statements and includes, incidentally , to in the textual language is often described as text. That is, a family conversation, a phone call, but also a letter, articles, a legal document etc. - All these forms of verbal communication represent languages. According to this use of the term, we need to understand speech any concrete manifestation of the activity of speaking according to the rules of a particular language, conceived the latter as historical technical talk.
The speech, however, is not only representations or update the activity of speech through rules and norms of a language, but at the same time - and this point too often forgotten - is always performing textual models of speech models, or, in the terminology adopted here discursive traditions. But do not identify exclusively discursive traditions literary genres or styles, because they also represent forms of everyday verbal interaction.
By inserting the speech in situations and contexts, we are already in the field of pragmatic . Pragmatics plays mostly the appearance of use, properly concerned with discourses and relations between its participants , namely the rules governing the use of terms, propositions, etc.



Pragmatics essentially considers situations in which the discourses are the intentions which govern its production, the effects that cause speeches. And above all, is interested in different types of interactions between presenter / producer and alocutor / receiver that constitute the discourse itself. In this sense is since the passage of the investigation of linguistic expression that only considers the semantic and syntactic aspect of a comprehensive investigation of verbal communication - as integral that takes into account the aspects outlined.
The term "discourse", defined as a unit activity suprasentential linguistics, including narration, exposition, the construction of written texts, conversation .

* notions of truth and fiction believable :
The term " truth" is used in two senses: to refer to a proposal or to refer to a reality . In the first case, we say that a proposition is "true" to distinguish it from other "false." In the second, we say that reality is "true" as opposed to others who may be described as "illusory", "unreal", "nonexistent", etc.

The ancient Greeks took care to make explicit the notion of truth as ownership of certain statements (true). While it is true that before Aristotle had conceived the truth in this sense, he does the explicit when he argues that " say that what is not or what is not is wrong, but say that what it is and what is not, is true . " From this statement builds what is called then the " semantic conception of truth", ie the idea that a statement is true if there is correspondence between what is said and what about the talk.
Consider the following example:
Snow is white (a) is true if and only if Snow is white (b).

verosími
it is l what looks like the truth without being .
Aristotle distinguishes the sign of probability, and shows that the latter is a proposal that appears likely, likely understood here that in most cases happens happens or not, exists or not, for example: " men love those who love them. " While it
, plausible, the likelihood of something, can not be for science but a temporary element of trial in the judicial process is very important however. In its reference

etymology, the term fiction, refers to two main meanings: a) shape, form, shape and b) the feigning, pretending (poetic fiction) . The two meanings are linked to third: imagine. It is valid to locate fiction in the realm of irrreal, but also the philosophy and thought have placed classic fiction and truth as antithetical to the latter understanding, as adjustment or correspondence to reality itself. in this sense, the fiction was relegated to mere literary imagery or false.

Foucault, about fiction, says: " regarding problem of fiction, it gives me a very important issue, I realize that I have not written more than fictions. I would not, however, say that you were real. I think there is the possibility of running the fiction in truth, to induce effects of truth with a fictional discourse, and do in such a way that the discourse of truth arise, 'manufactures' something that does not yet exist, ie 'fiction' .

* Concept Copyright:
The notion of "author" as individual creator of an artistic or literary, can be located historically and culturally in the transition from modernity to the postmodern.
As regards Michel Foucault, the author who since the nineteenth century had been playing the role of controller of fiction, paper was characteristic of the industrial and bourgeois individualism and private property, taking into account the historical changes after had no longer any need for this function to remain constant in form and in its complexity.
The concept of copyright, in the eighteenth and nineteenth centuries, reached the climax of individuality in the history of ideas, knowledge, literature, history of philosophy and history of science. So the author came to represent the project of modernity product identification of the subject with his work, with its stylistic unity, coherence and originality conceptual. These elements are so genuine and have been rooted in such a way that even today have a considerable application in literary criticism, especially in the scientific assessment at any instance.
Moreover, we can identify in them the ideals of modernity, such as universality, the harmony, the existence of unique ideas, truth and reason.