Cardin is one of the unisex style pioneers, where much experimented and not always appropriate. He founded his fashion house in 1950 and presented his "dress-bubble", entered into a fashion history, in 1954.
Pierre Cardin was born on July 2, 1922, in San Biagio di Callar (San Biagio di Callalta), near Treviso (Treviso). He was educated in the central part of France. At the age of 14, Cardin became a tailoring apprentice, studied the basics of clothing design and adopted information about its design.
In 1939, Pierre left home and settled in Atelier in Vichi (Vichy), where he began to cut suits for women. During World War II, Cardin worked in the Red Cross, where hesitated by humanistic ideas, with whom it does not part to this day.
Cardin moved to Paris in 1945, where he studied the architecture and worked with the Jeanne Paquin fashion house. He also represented the interests of Elsa Skiaparelli (Elsa SchiaParelli), and then became the head of the studio to sewing the "Christian Dior" in 1947. At about the same period, Pierla was denied the workplace in the company "Balenciaga".
Cardin opened his own fashion house in the 1950s. The climbing to the glory began with the creation of 30 costumes for the "Century Party", the ball-masquerade, held on September 3, 1951 in the "Palazzo Labia" in Venice (Venice). On the clothes "from-kutuur" Pierre switched in 1953.
Cardin became the first couturier who secured at Japan (Japan) the status of a high fashion market. In the country of the rising sun, the fashion designer visited in 1959. In the same year, Pierre was excluded from a high fashion syndicate - for launching a prep-a-port collection in Printemps department stores. He became the first couturier in Paris, who "sank" to the level of the finished collection, but soon the Syndicate accepted Carden back.
In the 1960s, Cardin began practicing what is now used on a permanent basis. We are talking about licensing systems used in the fashion sector. Pierre's collections released during this period surprised everyone - for the first time appeared on the clothes the fashion designer logo.
Pierre left a high fashion syndicate in 1966 and began to show his collections on his own site, "Espace Cardin" (former theatrical complex "Théâtre des Ambassadeurs") opened near the US Embassy in Paris in 1971. "Espace Cardin" was also used to promote new talents, including theatrical teams and musicians.
Best days
Cardin worked under a contract with "Pakistani international airlines" for which he created a uniform. Instantly hit, the uniform was used from 1966 to 1971.
In 1971, the fashion designer breathed new life Baron Tagaloga, traditional Filipino men's shirt. The new design was approved by the Philippine President Ferdinand Marcos.
Cardin remained a member of the French Federation of High Fashion and Pret-A-Port from 1953 to 1993.
Like many other current fashion designers, Pierre decided in 1994 to show his collection only a small circle of elected customers and journalists. After a break at 15, Cardin demonstrated his new creations in front of a group of 150 journalists in his house-bubble in Cannes.
Pierre came to an industrial design by developing thirteen basic design "topics" that began to be used for various products.
The fashion designer was associated with a contract with "American Motors Corporation" (AMC). After the success of the Aldo Gucci created by Aldo Gucci, the interior of the car "Hornet Sportabout" car, the AMC corporation used the Cardhen theme - for AMC Javelin auto, launched in production in the mid-1972. Thus, "AMC Javelin" became one of the first American cars, whose layout design was created by the French fashion designer.
Several updates of the special version of the interior "Javelins" was made in 1973. For two model years, a total of 4152 cars "AMC Javelins" acquired a bold multicolored pattern of striped, in Chinese colored colors - red, plum, white and silver - on a basic black background.
Car Design "Cardin Javelins" also assumed the design emblem on the front wings and using a special kit for the body for the body, including combinations such as "TRANS AM RED", "Snow White", "Stardust Silver", "Diamond Blue" and "Wild Plum. However, a specially ordered "very dark black" ("Midnight Black") was used for 12 cars with Karden design.
It was seriously enthusiastic in geometric figures, Cardin in 1975 used one of its fetishism objects - the form of a bubble - for its monumental work. The fashion designer built "Le Palais Bulles" (English "Bubble House"), a house-bubble, resorting to the services of the Hungarian architect Anti Lovag (Antti Lovag).
Naturally, the inner decoration of the house-bubble is filled with original creations of Pierre. The total area of \u200b\u200bthe structure is 1200 square meters. In the house-bubble ten bedrooms, designed by works of modern artists, and a living room with panoramic windows.
Cardin bought the Maxim restaurant in 1981; Soon, branches in New York (New York), London (London) and Beijing were opened. Currently, there is a network of hotels "Maxim". Under the same name, a number of food products are produced.
In 2001, Pierre bought the ruins of the castle in Lakoste, the Department of Vaucluse (Lacoste, Vaucluse), where Marquis de Sade was once lived. Cardin partially restored the castle, where he spent musical and dance festivals, including along with Marie-Claude Pietragalla.
Cardin is the owner of the Palazzo "CA" BRAGADI "in Venice. The fashion designer claimed that the Palace-Mansion once belonged to Giacomo Casanova, but, in fact, it was a house Giovanni Bragadin di San Cassiana, Veronsky Bishop and Venetian elders.
For many years, the ally, another, lover and business partner Pierre remained Andre Oliver.
Biographies of celebrities
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15.05.15 12:55
Poltyski "Fashion inventions" is such Arsenal Kuturier-Avant-gardeist Pierre Carden. The biography of this person, another representative of the "Old Guard" in the fashion world, proves: you can create casual clothes and remain a great fashion designer. And although the collection of Preta-A-port, the Matra was excluded from a high fashion syndicate, he did not regret it at all, because Cardin is one of the richest and large owners of France.
Biography Pierre Cardena
Italian French
Born in Italy on July 2, 1922, Pierre in a three-year-old moved with her parents, brothers and sisters in France - father began to engage in winemaking, because six children are not so easy to feed. To continue the family affair from Pierre was not desire, but he also wanted to help and went to earn money at the age of 14, setting up an apprentice in Atelier. His owner is a skillful tailor - he taught a little man. When the war began, Cardin helped the Red Cross and engaged in a sewing of female costumes in a factory in Vichy.
Eva and "Adam"
First noticeable milestone in creative biography Pierre Cardena is the work of him as a director's artist on the picture of Kolymavitsa and the Beast. Immediately after this, in 1947, he came to work in a fashion house Diora. But Pierre wanted to reveal his talent as much as possible. And three years did not pass, as the house of Pierre Cardhen's house worked. In 1951, the first show was held - it was a women's collection. Open one after another boutiques Couturier called "Eva" and "Adam" (in the late 1950s, he began to design and men's clothing, until now, the Collections "from Carden" are popular with strong sex representatives).
Experimentator and inventor
The fashion designer could not tolerate the concept of "unisex", but himself actively introduced it "into the masses". He came up with a lot of things and uniquely, loved to play with geometrized forms, contrasting colors.
A bold experimenter and inventor, Cardin used in the collections elongated jackets and narrow pants (the master invented them for the legendary Liverpool four), stockings of different colors, boots, "cheerful" ties, "cylinders" dresses, mini-sundresses. The biography of Pierre Carden as a skillful fashion designer Pottit with all other innovations, he received patents for five hundred and more innovative fashionable "addicts".
Art - in the masses!
He is first famous fashion designers I put my collection of finished clothes in Herti and Printemps department stores, because I wanted to make it more accessible to the widespread masses. Here for this "increasing" act and "crossed out" from a syndicate of high fashion. But the example was infectious, and soon the dresses and costumes rushed-a-port from other famous couturiers began to appear not only in their boutiques, but also in large stores.
Muse in pack
Cardin very much respected the work of Marlene Dietrich and became the producer (and the artist in costumes) of her farewell tour, another Museum of the fashion designer for a long time remained recent Maya Plisetskaya from us. He enjoyed the costumes for the star ballet. So in the "Anna Karenina", "Laman with a dog", "Seagull", Prima appeared in products of the legendary Frenchman. He came up with everyday clothes for Maya Mikhailovna, and evening toilets. All these were luxurious presents - a ballet miracle from a miracle couturier. When Plisetskaya earned enough money, working abroad, she was able to thank his patron.
Castle Marquis de Garda and ... Red Square as Podium
Another page of the biography of Pierre Carden is the acquisition of real estate. He owns a major concert complex in Paris, a network not only boutiques, but also restaurants. And also - mansions near the Elysée Palace. For example, he wanted to become the owner of the house, in which Jacomo Casanova once lived, and the luxurious castle of Marquis de Garda. The Carden can not be called a decrehable old man - his dresses are still admired!
And the watch from Pierre Carden is a matter of luxury from which solid people cannot refuse.
He also visited Russia - it was the metropolitan Red Square of Maestro as the podium in the year of the fortieth of his activity (it was in 1991).
Piece Pierre Carden
Turned over the soul
Despite the fact that the master did not hide his sexual inclinations and "friends" with men, in the personal life of Pierre Cardhen was a beautiful novel with an outstanding lady. He idolized the actress Zhanna Moro: "This is a person who turned my soul," he said. Their acquaintance took place, thanks to Coco Chanel, in 1961. Zhanna and Pierre were together for almost four years, but then the fate spread them.
But Andre Oliver remained the main ally, a friend, lover and business partner of Carden for many years.
Model Pierre Bourdieu (Sociological)
P. Bourdieu is more different from actually verbal communication. He is rather describes the context, which as a result predetermines certain types of symbolic actions. This context gets the name habit.
Bourdieu studies how the opinion of social classes is distributed in different politically marked newspapers and journals. At the same time, he rejects the tight binding "Reader - Newspaper". The newspaper appears as a multipurpose product providing local and international news talking about sports, etc., which may be independent of specific political interests. In this case, the dominant class has a private interest in common problemsbecause it has a personal knowledge of the personalities of this process (ministers, etc.).
Special attention to Bourdieu pays for the nomination processes, seeing the manifestation of power functions. He also binds direct power and word.
Thus, we have a variant of political communication carried out in the symbolic plane. At the same time, communication becomes "acting force", which allows to be implemented by representatives of power and politicians.
Model Field of Grays (Pragmatic)
This problem arose when philosophers, and not linguists turned to the analysis of more complex variants of human communication. For example, why in response to the question: "could you open the door?", We will not say "yes" and continue to sit next, and for some reason we get up and go to open the door. What makes us perceive this question not as a question, but as an indirectly expressed request?
A number of their postulates of Grys called the "Cooperative Principle": "Do your contribution to the conversation as required at this stage in accordance with the goal or direction of the conversation in which you participate." This general requirement is implemented within the categories "Quantity", "quality", "attitude" and "method".
Do your contribution so informative as required;
Do not make your contribution more informative than you need.
For example, when you clog nails and ask four nails, it is assumed that in response you will receive four nails, and not two or six.
- - Do not say what you consider a lie;
- - Do not tell you to confirm that you have no sufficient evidence.
Model Peter Yershova (Theatrical)
P. Ershov Along with other authors also proposed a certain axiomatics of the communicative field, but for purely applied targets - theatrical art. The main dichotomy, in which he builds his analysis, is the opposition of "strong" and "weak."
In general, Yershova has drawn an interesting set of rules of communicative behavior, taking into account such contexts as "strong / weak", "struggle", "friend / enemy", etc. Each change in the context will entail a change in communicative behavior.
Model Alexander Pyatigorsky (textual)
Each text is created in a certain communicative situation of the author with other persons. It traces the interaction of space categories and time with the text.
The text in the study of Pyatigorsky is characterized by such aspects:
- text as a fact of objectivization of consciousness;
- text as the intention to be sent and accepted, this text as a signal;
- The text as "something existing only in perception, reading and understanding those who have already accepted it," it follows that no text exists without the other, the text has an important ability to generate other texts.
The plot and the situation are considered by Pyatigorsky as two universal ways to describe the text. The very understanding of the myth is built on the basis of the concept of knowledge. Mythological is considered in three aspects: typological, topological and modal.
The Great Italian, all his life worked on the French week of fashion, the owner of a huge state in France and the owner of creative ideas of his own brand. The biography of Pierre Carden is full of fascinating and amazing facts, and his personal history - turning points. Pierre was born in 1922 in a small Italian town, near Venice.
Pierre Cardin: Biography
Three years later, his family decided to leave not only the city, but also the country and moved to France.The school years of the boy passed in France, and did not differ calm and security. Odnoklassniki called Pierre "Makaronik" and did not take his friendship.
Related, but very big, warm family and dreams about the future were the only welcome young Pierre.
Father winemaker wanted to attract a younger son in a family craft, but Pierre felt a craving for a completely different case, so at the age of 14 he becomes a tailor assistant. Being an apprentice Pierre recognizes the secrets of sewing art, studying the technology of creating clothes, varieties of fabrics and much more.
Life in the poor family developed in Pierre the ability to compassion and mutually executive. In the harsh years of the war, the boy worked in the Red Cross and, at the same time, sewed costumes for women on one of the sewing factories.
Having reached invaluable experience, the mature Pierre goes to the world capital of fashion - Paris. There he works in the most famous fashion houses And assisters such personalities as Elsa Skiaparelli and Christian Dior. Already in 1946, Pierre becomes the leading designer at home Dior and quickly conquers popularity in the fashion industry.
In the 50s, he opens his own small studio. Analytical mind and good mathematical abilities once pushed Pierre to become an accountant, but the dream took her own, and he began to sew. But now, when he opened his job, the skills were again useful in his new business.
Pierre Cardin: Home Career
In the middle of the twentieth century in a small studio, Pierre was engaged in tailoring theatrical costumes. Theater - always was a passion of a man. Soviet ballerina and balletmaster of Maya Plisetskaya - was one of his music, and the performances of "Juno and Avos", "Seagull" and "Anna Karenina" - inspired the fashion designer to work.
Having visited the Soviet Union in 1963, Pierre returned more than once, collaborated with many significant theaters and even created an exclusive collection dedicated to the century of the mochet.
But, of course, his talent was not limited to work on theatrical costumes. In 1953, Pierre Cardin releases the Haute Couture collection for women. Probably, Pierre did not expect that hazardous success, which will fall on his head with the release of the first collection, but luck inspired him, and he began to work even more diligent.
The young couturier left Christian Diora and began to lay his own path to the top of the fashionable Olympus. Only a year later, he opened his own store - "Eva". A little later appeared "Adam".
The rapid development of Pierre Carden fascinates not only buyers, but also his colleagues. Despite the fact that the most famous names have already ruled the world's world, he was constantly able to find and open something new and absolutely unique.
Pierre Cardin: Pret-A-port collection
At the end of the 50s, Pierre Cardin makes it possible to review the public a collection of Pret-A-Port. The line of clothing, demonstrated by models in one of the department stores of Paris, wriggled all in shock. The fashion designer, who developed, the collection of finished dresses caused the disapproval of the trade union chamber, which was engaged in the control of Parisian Couturier. According to "Experts", Pierre Cardin escaped the work of the fashion designers and turned it into a vulgar and unified craft. For his innovative view, Pierre received a refusal to further membership in high fashion syndicate.
But justice did not have to wait long, and soon all the fashion designers followed the example of colleagues and began to create their own collections of finished dresses.
Pierre Cardin first introduced a collection of "Unisex" and, thanks to an eccentric look and unique taste, achieved popularity.
He loved experiments and was confident in the success of each of them, which is why Pierre Cardin was the first everywhere. His ties freed from gray boredom in flower, small and neat sundresses, "tulips" skirts, bright stockings and incredibly popular high boots - everything that did not create a fashion designer, quickly conquered the heart of buyers.
At the same time, Pierre Cardin never forgot to receive patents to their inventions. Do not forget to license your ideas - one of the best thoughts of Pierre Carden. As a result, its authorship belongs to more than 500 inventions. And under his name, companies in 140 countries of the world work.
Pierre Cardin in Russia
The fortieth anniversary of his activities, the famous fashion designer spent in the USSR and presented a collection right on Red Square.
In his work, the fashion designer adheres to the geometric classics. Corners, squares and circles are elegantly combined with classic forms and create a unique style of unique couturier. French chic and elegance - this is what can be traced in all the creations of Pierre Cardhen.
The eccentricity of Pierre Carden manifested itself not only in the design of his clothes, but also in the whole behavior of the fashion designer. So, for example, he posted for the cover of the lead time magazine In only a towel from Pierre Carden.
Pierre Cardin: Personal Life
Personal life of the fashion designer is hidden under the veil of secrets and mysteries. He was always surrounded by beautiful and elegant mannequins, but he preferred men. See you with a talented and dazzling actress - Zhanna Moro. The crazy novel, who captured them both, lasted only 4 years. According to the fashion designer, she completely changed him and turned the soul. But the woman could not have children, so the relationship was broken. Despite this, Cardin and Moro forever remained good friends.In addition to its active activity in the fashion industry, business and art, Pierre Cardin, possessing a big heart and opportunities, always tried to provide all the assistance to everyone who needed it.
Pierre Cardin: Charity
He helped children who suffered in the accident at the Chernobyl NPP, helped organize the days of Belarusian culture in Paris and, of course, was engaged in charity.
For its productive activities, Pierre Cardin received a number of ranks: Commander of the Order of the Honorary Legion, Commander of the National Order of Merit, Kavaler of the Orgen of the Arts and Literature, Selected Member of the French Academy of Fine Arts. And awards: Order of Francis Skorne, the regalia of the honorary member russian Academy Art.
Pierre Cardin is one of the most famous and significant fashion designers in the World Fashion Industry. His name is associated with a multitude of products produced worldwide. The unique style, talent and the mind of Pierre Carden allowed him to get out of poverty and climb into Olympus. But, despite this, he managed to preserve the good heart and the ability to compare. Under his auspices, there is a huge number of boutiques and companies today, it has a large amount of real estate, among which the House of Casanov and the whole castle, belonging to once Marquis de Garde. The legendary life of this man continues, and he still performs coups and discoveries in the world of designer art. Pierre Cardin declares with confidence that he lived exactly his life and regrets only that he did not get a heir or successor. Therefore, at the moment, the fashion designer is considering the opportunity to sell the brand to the one who can adequately continue his business.
Model Pierre Bourdieu (Sociological)
Pierre Bourdieu is more different from the actual verbal communication. He is rather describes the context, which as a result predetermines certain types of symbolic actions. This context gets from him
name habit.John Lehte believes that Gabitus is type "; grammar actions that helps to distinguish one class (for example, dominant) from another (for example, subordinate) in the social area"; . P. Bourdieu himself said that the dominant language destroys the political discourse of subordinates, leaving them only silence or borrowed language. More accurately, it gives a definition as follows: "; Habius is needed internalized and translated into a disposition, which generates significant practices and giving the importance of perception; this is a general disposition that gives systematic and universal use - outside of what is being studied directly - need, internally inherent learning conditions "; . Gabitus organizes the practice of life and the perception of other practices.
P. Bourdieu studies how the opinion of social classes is distributed in different politically marked newspapers and magazines. At the same time, he rejects hard binding "; reader - newspaper";: "; relative independence of the political opinions of readers from political trends, their newspapers arises due to the fact that, unlike the political party, the newspaper supplies information that is not fully political ( In a narrow sense, usually attributed to this word) "; . The newspaper appears as a multipurpose product providing local and international news talking about sports, etc., which may be independent of specific political interests. At the same time, the dominant class has a private interest in common issues, since it has personal knowledge of the personalities of this process (ministers, etc.).
P. Bourdieu pays special attention to the processes of the nomination, seeing the manifestation of power functions in them:
"; One of the simplest forms of political power was many archaic societies in almost the magical authorities: to call and call for existence with the help of the nomination. So, in the Cabilia function
alignment and work on the production of symbolic, especially in the situation of the crisis, when the feeling of the world eludes, brought poets prominent political posts of military leaders or ambassadors ";.
Pay attention to the entry into the first row of writers, journalists, directors and other creators of symbolic, both in the case of the first congresses of the People's Deputies of the USSR and Ukraine.
He also connects direct power and word: "; it is known that any use of force is accompanied by a discourse aimed at legitimizing the strength of one who applies it. You can even say that the essence of any relationship is in the manifestation of all its strength only to the extent that What is the relationship as such remains hidden. Simply put, politician - this who says: "; God is with us"; Equivalent of expressions "; God is with us"; today it has become "; public opinion with us";.
The statement that "; the universal confederation of labor was adopted in the Yenisei Palace";, equivalent to the fact that: "; instead of the sign, a sign was adopted"; . And further: "; denoting - this is not only the one who expresses and represents the designated group; This is the one, thanks to whom the group learns that it exists, the one who has the ability to mobilize the group denotably to them to provide her external existence"; .
We give some others specific traits Communication of power and words:
"; The symbolic authority is power that implies recognition, i.e. ignorance about the fact of the violence by it"; ;
"; The effect of the oracle is the limit form of effectiveness; this is what allows the authorized representative, based on the authority of the authority of its group, apply the recognized form of coercion, symbolic violence with respect to each individual member of the group; ;
"; People involved in religious, intellectual and political games, have their own specific interests that are vital for
society ... All these interests of a symbolic nature are not to lose faces, not to lose the constituency, to make silence of the opponent, to win over hostile ";;, to get the post of chairman, etc.";
In general, Pierre Bourdieu emphasizes: "; Policy is an exclusively fertile place for effective symbolic activities, understood as actions carried out with the help of signs capable of producing social, and, in particular, groups"; . Thus, we have a variant of political communication carried out in the symbolic plane. At the same time, communication becomes "; active force";, which allows the authorities and politicians to be implemented.
Model Field of Grays (Pragmatic)
Paul Greis suggested a series of postulates describing the Communication process. This problem arose when not linguists, and philosophers turned to the analysis of more complex variants of human communication. For example, why in response to the question at the table: "; could you reach the salt?";, We do not say "; yes"; And we will continue there, and for some reason we pass salt. What makes us perceive this question not as a question, but as an indirectly expressed request?
A number of their postulates P. Greis united under the common hat "; cooperative principle";: "; make your contribution to the conversation as required at this stage in accordance with the aimed target or direction of the conversation in which you participate"; . This general requirement is implemented within categories Quantities, quality, relationships and methods.
1. Do your contribution so informative as required.
2. Do not make your contribution more informative than you need.
For example, when you replace the car and ask for four screws, it is expected that in response you will get four, not two or six.
1. Do not say what you consider a lie.
2. Do not tell you to confirm that you have no sufficient evidence.
For example, when you ask for a sugar for a cake, you should not get salt if you need a spoon, then you should not get "; fraudulent"; A spoon, for example, made of foil.
For example: when cooking pie at each stage, one or another ingredient is required, it is not needed earlier or later, although in principle needed.
P. Grays analyzes many examples using the proposed maxims. For example:
- I ended in gasoline.
- There is a garage around the corner.
In accordance with the requirement to be relevant, it is expected that in this garage there are gasoline, that the garage at this time works, etc.
P. Grays describes the rules of communicative behavior that allow you to analyze not only direct (and simpler) options for speech interaction, but also others, much more complex. True, Ruth Campon criticizes Giris for some uncertainty of his principles when their explanatory force is lost.
Model Peter Yershova (Theatrical)
Peter Ershov also proposed a certain axiomatics of the communicative field, but for purely applied targets - theatrical art. The main dichotomy, in which he builds his analysis, is opposed to "; strong"; and "; weak";. He has many su-
observations, however, they have not yet acquired a systemic nature. Therefore, we turn to quotations. First, its ideas about the ratio of strong and weak:
"; Weak, seeking to facilitate the partner to fulfill what he achieves from him is inclined to argue his claims in detail ... Strong does not resort to the detailed rationale for their business requirements" ;;
"; Weak seeks only the extremely necessary and not quite sure about success; from here - incessing in the use of detailed argument; but hurriedness entails mistakes, laughter; they need to be corrected with even greater hurry. This leads to a fuss in speech. In strong no reason hurry: diskworthiness is missing and in its speech strictly ";;
"; The weak one comes to smuggle what is in his interest, for the initiative is provided to him only to fulfill that it is necessary to strongly. From here, all the same fussiness. Its the greater, the more distance in the force between the weak and his partner, The ideas of weak, the more necessary for him what he achieves and what the initiatives provided to him ";;;
"; A stronger one who needs less partner, but the need for it can be dictated by the most friendlyness and disadvantage of strength. It also entails fasciance, and one can be issued for another, no wonder the preferences of a person and his sympathy called it" ; weaknesses ";.
Then the conversion of this disposition to the information exchange processes:
";Struggling issueda new, as he thinks, for the partner information, so that the shifts they needed in the consciousness of the partner, and to know that they really happened, it produces information. Therefore, any struggle, carried out by a speech, can be considered as an exchange of information ";;
"; Often issued information is either not new, either not significant enough for the partner because it does not represent the same value for one. At the same time, the ability to take into account interests and preinform
partner's bathroom - the ability to issue information that is most effective in this situation ";;
"; Mining information, you can lotspeak, and give out it, you can talk a little ";;
"The human body, preferably producing information, as if unfolds, is revealed to the partner. In the process of the most verbal impact, while the long phrase, for example, pronounced, the body position is usually somewhat varied - mining falls, contrary to its main desire, also to issue information"; ;
"; The enemy prefers not to issue, but to extract information, and since he has to give out - he gives out the one that is unpleasant to the partner. At the same time, a smart and calculating enemy, takes into account the actual interests of the enemy and gives information that it is significant that it is contrary to them without exciting The little things that can irritate a partner to activate it ";;
"; The friendliness in the exchange of information is found primarily in willingness to issue information. A friend man boldly and generously arows any information at his disposal. A friend should not hide anything, he has no secret, and he himself is interested in partner awareness" ;;
"; Issuing information in the business struggle, strong inclined to shake her into the partner's head, considering the latter if not stupid, it's still not too smart, although it may be diligent and executive"; .
In general, Peter Yershova had an interesting set of communicative behavior rules, taking into account such contexts as "; strong / weak";, ";" Fight ";,"; friend / enemy "; Each change in the context, he entails a change in communicative behavior.
Model Alexander Pyatigorsky (textual)
Alexander Pyatigorsky to his emigration in 1974 (at present - Professor of the University of London) was published within the Moscow-Tartu semiotic school, so his ideas reflect some general background of this school. One of his articles-free
nani he completes: "Semiotics could not become the philosophy of the language and tried to replace the cultural philosophy (in Russia and in France)";
Each text, he believes is created in a certain communication situation of the author with other persons. And further: "; the text is created in a certain, the only situation of communication - subjective situation, andperceived depending on time and place in countless objective situations "; in the same work"; some general comments on the consideration of the text as a variety of signal "; (1962) it traces the interaction of categories of space and time with the text."; for a letter time It is not functionally significant; On the contrary, the main trend of correspondence is the maximum reduction in time. The letter ideally is a purely spatial phenomenon, where time can be neglected (telegram, phototegramm, etc.). To this "; untimely"; Ideal seeks every newspaper message. For a note in the notebook, the time is not significant. Note is not designed for spatial gear - it should stay in the same place; For this moment it is meaningless ";. The total table has the following form, where under"; object "; it is understood by the one who reads this type of text:
Space |
||||
Letter or telegram | ||||
Article | ||||
Type of text | Signboard with warning | |||
Calendar note in a notebook | ||||
Note with address or telephone | ||||
Epitaph |
In the concept of A. Pyatigorsk, the position of the observer is given, only in this case he arises a semiotic situation. "; If the external observer is absent, then the fact that we have will not be a semiotic situation, but"; event ";, which cannot be interpreted in terms"; sign ";, that is, semiotically"; . The sign is considered as a component of the interpretation process.
"; This means that although we can endorse the object with the quality of the badge, the sign will be presented not in the object itself, but in the procedure of interpretation, on the one hand, and in the culture of the observer - on the other. That is, the objective side of the sign can detect itself not otherwise through an external observer. That's why all attempts to turn a sign in a natural object have so far turned out to be fruitless, and the same should be said about all existing classifications signs ";
Following M. Bubber and M. Bakhtin A. Pyatigorsky develops the problem "; another";, by translating it into a more complicated option. He rightly criticizes past approaches in oblivion of the phenomenological principle: "Other"; Dan in thinking, only when either he was already becoming you, having ceased to be "; others";, or you have already become it, having ceased to be ourselves "; The second objection is that"; no phenomenology "; another"; Not imagine as a simple reduction of one consciousness to another. Phenomenology "; another"; It is impossible without the background about "; another friend"; or "; third"; ... Roman, as a fixed form of consciousness, cannot exist without it "; the third";, and so - from Sofokla to Kafka ";
Responding to the question of the corrective value of oral and written communication, A. Pyatigorsky appealed to the past:
"; I think that in the XVII century (I speak now only about European culture, including Russian) there was crystallization of the phenomenon of text. When I talk about Chris-
tallization, I do not mean what happened with the text itself. Texts were always. This is no more than a hypothesis or intuition, but the XVII century, apparently, was a century, when the people of Europe began to realize his activity on the generation of written texts as a completely special, pragmatically fenced type of activity ... I think that the XVII century was a century exceptional importance (comparable only since the 20th century): how clearly they would not be limited in the consciousness and reproduction of this boundedness in special texts ";
Our time is characteristic of A. Pyatigorsky another feature in relation to the texts - there is relatives of the sacred texts of religions.
"; The works of ethnographers, anthropologists and historians of the recent 30 years of age are very often focused on the text as at the source of objective information about religion, and at the same time it loses its absolute religious functionality, and the rear number is already observed as a secondary element of culture. ... This relativization is already observed. The text is gradually acquiring a universal nature and is one of the signs of modern science on religion and the modern theory of religion, which is entirely focused on mental content, and not on the absolute religious functionality (sacred) of the Holy Text "; .
Thus, we passed with A. Pyatigorsky from his consideration of the text as a signal to sacred text, while the sacral text begins to be rationally analyzed, its sacralism is destroyed.
The text in another study of A. Pyatigorsky is characterized by such aspects:
Text as a fact of objectivization of consciousness ("; specific text cannot be generated by nothing more than other specific text";;
Text as the intention to be sent and accepted, this text as a signal;
Text as "; something existing only in perception, reading and understanding those who have already accepted it"; .
it follows that no text exists without the other, the text has an important ability to generate other texts.
The plot and the situation are considered by A. Pyatigorsky, as two universal ways to describe the text. "; The situation is present insideplot along with events and acting persons. More precisely, it is most often present as something famous(concerned, visible, audible, discussed) to acting persons or narrator and those expressed in the content of the text as a kind of "; content in the content"; . The text begins to define them as "; a specific integer, a thing that resists interpretation, in contrast to the language, which tends to be fully interpreted;mythological text will be in this case the text, the content (plot, etc.) of which is already interpreted by mythologically. "
The very understanding of the myth is built on the basis of the concept of knowledge. "; At the heart of myth as the plot lies old(or general)knowledge, that is, the knowledge that should (or may) shares all the actors. And this knowledge - or his absence, when it is believed that he did not exist before the start of events, - is opposed to new knowledge, that is, the acquired persons only during the event ".. There is one more interesting feature the plot of myth - as in any ritual, happens "; something like repeator imitationthe fact that there was already objectively and outside the plot time ";. Considering a specific mythological plot, in which the king kills the hermit in the appearance of the deer, A. Pyatigorsky states:"; Neither the supernatural knowledge of the hermit, nor the natural municipality of the king can not, separately, Make an event myth. Only if they are combined through an extraordinary inside one situation (or plot, episode), the latter becomes mythological ";.
The presence of mythological A. Pyatigorsky considers in three aspects: typological, topological and modal. In the framework of the typological aspect, he introduces
the concept of non-ordinary. "; non-ordinary as creature classforms typologicalaspect of myth, and unusual as a class eventsand actionsconstituting the plot forms topologicalhis aspect "; in the framework of the third aspect:"; intentionality is here that it cannot be motivated, but should think in its absolute objectivity as a mythological, and not aesthetic or psychological. (...) There may be no difference between the mythological and method of its expression. That is why the modus or model (in particular numeric or other) mythological is not trail ";.
Answering the question "; What is mythology?";, A. Pyatigorsky gives such a formula: hero "; is a non-ordinary person with non-ordinary behavior (typological aspect); his actions and the events attributed to it are determined specific ... in an inexhaustible to generator film shamey, remembered living Georgia Roshal, festivals soviet years In ...: Gmilyka, 2007. 5. Pumped G.G. Theorycommunications. M., 2004. 6. Lotman Yu.M.: Cyt. based on the book. G.G. Pumped. Theorycommunications. M., 2001. 7. There ...
"Fort / DA" glory janko
BookCirculation 3000 copies. 240 s. Georgy.PumpedTHEORYCOMMUNICATIONS theory Pumped, Georgy.
"Fort / DA" glory janko
BookCirculation 3000 copies. 240 s. Georgy.PumpedTHEORYCOMMUNICATIONS | Zip Culture and Cultural Science .... Text. Nexlassical problems theory Cognition Culture and Cultural Science ... Cultural Studies in the network 512 p. Pumped, Georgy. "History of Russian semiotics" Culture and ...
Text theory
TutorialIn particular: Red V.V. Basics of psycholinguistics theorycommunications. M., 2001. Kolzhansky G.V. Communicative ... Mount St. Georgia Less than when ... Semantics. Minsk, 1984. 66. Pumped G.G. Text Pragmatics // Communicative-Pragmatic ...
