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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.

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Sample Letter New Doctor Buy Practice

Tables Drafting and editing written



Writing develops as a complex process which can be broken down clearly three stages: the first, pre-writing , for the collection, generation and organization of ideas, the second of writing and three for review.

The number of conventions that require the act of writing is very high . First, we must know the conventional spelling of words arbitrary. No spelling rules save us the trouble of having to memorize the letters and accents that make up a word because they have a relative unit.

Every rule has its exceptions, are numerous and often overlap with more common words. In addition, certain aspects of spelling have no grammatical rule and the only way to dominate is to memorize word for word. We can only know which letter corresponds to a particular word because before we've seen written and remembered. Otherwise we will have to consult a dictionary. We must also recognize
conventions affecting the use of capital letters and punctuation.

also a good writer knows lot about the type of text you type . For example, to write a letter must know the structure of this type of text, which is different from having a news story or an instance. also have to take a certain type of record, with more formal expressions or more colloquial will vary depending on the topic of the text and to the person to whom it is directed. And yet, t iene phrases to link each other in a certain way with conjunctions, pronouns or synonyms, in a very differently than we normally do when we speak.

In summary, a writer has to master the characteristics of code: to remember the spelling of words, has to distinguish the subtle rules of punctuation and conventions in the use of capitals, it is necessary to know the structure, records and forms of cohesion of the text you wish to write . It is a unique, vast and varied body of knowledge. How the learner acquires the writer who starts? Where can you find all this knowledge? Where do learn or has learned the competent writer? I learn from written texts and other writers have written.

Steps for creating a message:

Your document be more persuasive if you one dominant idea. Call this idea guiding the main message . You can give another name to his message. I could call, for example, a thesis proposal, a proposal or a summary. We like the word message because the word suggests a specific type of idea.
• It is aimed at a specific person or group.
• has a practical purpose.

Create a message involves four stages. What are they?
1. Define the purpose you have
2. Analyze your readers
3. Write a sentence contains the message
4. Check message.

Edition: Good editing involves making wise choices. What words should I use? In what order should put them? There is never one right answer.
• Take a break before starting to edit . Set aside the first draft and do something else before editing. This allows you to examine what he has written more objectively, as if you had written.
• Get a second opinion . Give your work to a colleague or friend whose opinions you respect. It is important that you retain the right to choose the final edition. • Edit
on paper, not on the screen . You can examine the text more objectively when it is on paper.
• Edit for clarity. That means using a English plain, everyday use. Edit
systematically. The most efficient method is to edit the text on three levels: paragraphs, sentences and words.

Edit on three levels:
• Build effective paragraphs.
• Improve long and complicated sentences.
• Choose words carefully.
Thus, you edit the first units of larger significance. The problems at the prayers and words tend to disappear as you edit paragraphs, and other issues at the level of the words will fade when you edit the sentences. Edit systematically means that you get the maximum benefit with minimum effort.

control aspects lexical, syntactic, semantic and pragmatic:
1) Pragmatic : Is the text shows that, as issuer, is taken into account to whom it is addressed, for what purpose? The format chosen, is the most appropriate? Do you think your text will meet the effect has been proposed? Did you consider the competition of knowledge of your receiver? Check how was your choice within the possibilities offered by the language for communication to be successful.

2) Semantic Lexicon: The information provided is relevant? Does the text provide no clear contradictions? Have you used a precise language and appropriate to the subject and the type of text chosen? Did you care cohesion of the text?.

3) Syntactic : The combination of words in sentences, is it intelligible? If any of the prayers is not organized according to the linear order, can reflect on the reasons for the change? Is it distracting the organization of his prayer, eg.: excess inclusions, being very extensive, paratactic elements (in coordination), because the main verb is found only near the end? Check the flow of sentences. The organization of the constituents of the sentence, can lead to misinterpretation or ambiguity? Make sure all verbs have their subject in question or if you have not forgotten develop the predicate: this happens in very long sentences often.

4) Morphology: Word choice corresponds to the communicative intent? Check the consistency between the elements. Does the choice of person (l st, 2 nd or 3 rd) time and providing verbal adjectives (objective or subjective affective / evaluative) corresponds to the chosen text type? "She cared not zigzag between time past and time present if your text is a narrative? Pay attention to the irregular shapes, especially verbs.

5) notational : Did you care that the score of the text does not contradict what he meant to express?. "Feedback helps the reader to capture the meaning of the text?. Have you checked carefully for typos?. Worried by the tildación of words to avoid possible confusion or ambiguity?. Verify that did use auxiliary signs that apply. Did you remember to note the beginning of indented paragraphs?. Check capitalization. Note the use of space.
Remember that this dimension is actively involved in the construction of the meaning of the text.