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PM RDS fie 4% ( writing, 338 : écriture) : HEAR IER ARB RB + ELF ( Ro- land Barthes) ff) 43% « 55 (FAV % HE) ( Writing Degree Zero) —-+8 , HAIN ETE RAMOS MLS zB AM SE, AAAS fe AIL AM 5 fe UR AEB FET CEE aR te Be A AL a — A HE BE PER ATID A ZMK OK, ALTE EAE RL HAE.” Bit, SER te RA Ae ee BN eA RB SR” HY" BEL” 5K BRE — AA TER, PE Re BE PEAR IRR AGA ZAR” 0Um S-H BEORRSAR CRE PMMA 3 BABAR 15 SIR BRAS SHOe BY: BARRERA? 29 BEES FHA Bl RUA RRR 9S BSR VRHBRR FRESE > DFFUBAY KAP ULAR ARSED +P AAR ERA 131 BM: PHBH MER SARAH 159 SOR “RK BH. —HRPL He PRBB SRR 167 WHEN ARIA S—» PORE 202 A “TA” Al “BU”: BROOMS RMT YG? 209AY RE EELIBRO BER FRESE, 3 We HLS SR BE, MRR RR—MOAREN MAREN CHFEAREE AS LLU Fe OA SE MY UA A A ACB HG a, BB HR PS (Louis Delluc) , #138 (Jean Epstein) (4x24 ( Bela Balézs) , 32 ARIF 3H ( Sergei Eisenstein) ARUN TK. ABRY (#5 — fi 8 BIL IP RS 7D thE ABER , AAW" BER” (filmologue) , WAS RMBRIEKE, AAR SRR EBAY Ts OX PE SE SR, ft AB PS A EE REP HORRY BREA — TR RR A —— BASS BH BE—— BY A BE J — BE Re, EN) TP eS Ht BY BA, BATH 8 SR RAS) AO Hi A ROH. (AAR, REALLY TSB RIE FA EMECNTEBNKAR AM. BARE BYE ERE (un fait), CRB FM MM Wwe TRY MSY BSS, UREA SBN OY. — MAMET Be, EE — ABB (un morceau de cinéma) , 8 LL Be 111 Fl BF AR AY AT BELAY “ — 3 HE” Cun morceau de4 Hee Hm musique) , #82 —PUE TER Ma. BEA ASE WR TIO Le Hie ba eR ERAS RA. BAN ADS ET AR, TM CT RC SMM ARS 8), SRAGIM » SE“ (Edgar Morin) ik Diich . FEL BZ A Sok AR AR A A 28 FRI HH BLE HE 6 TEM BEC HO Sp RE — EE Me Bl KB LD K (1’ impression de réalité ) ji] WH , fal 26 Vl + HL ( Albert Laffay)) kM ZH 1 , WAR CEG Ha MORTEM BOY JLT SA AY EE BU] WE PE RL Be HL A ES , HA A A A A 33184 FLAP ER) BG ( participation ) i #E (48> A et Ai A AB BIR) HERA ARE DAM UR RABAT MDE HS RA HG LALA AE Bh BAR EB BE AT — A: RY TEE, LAME EAR: “REE” AE ER BEA, EPR PAA ASO 4. UB Ak, Ht SA MARANA CHER AN, AAA MSN TA" (air de réaline) Vk BHA BLE SLE AS JR TF) TA HH AP A — Be PY Lt BABE RRB) BEA OR S| AL AY BE AR, BEAT AB HSA ES BF ( André Bazin) BAR UTE REM AU AP A KRALL SJ? AI mR — BASRA BB? EH ML ASHE T TILE OE ELE, RTT, BOE — BL 82 UUAMFLS 2AM LP eeAOWRR MBER . K TVG — FRAT HOR he SAR RB eB, SBD HRB ORATOR UALR VARMA BRT BANE TED FSD A TEESE? AX Hk > BLATT SR @ “L" évocation du monde au cinéma”. Temps modernes, 1946, HH Xfi KW RF Logique du cinéma( Masson, 1964) , pp. 15 ~30. @ WEABBAL2D ( Qu’ est-ce-que le cinéma?) 5 2 HAC HL BES FEHR AD (Le cinéma et les autres arts 1959),UB AD EERE 5 DF BWHRAREARR SAAT HATELY A KR T ) HSE AD BFE ZAP ROPER AR A IR A HH BE AY I BERR MUA BS ZWEI So RAGBARBRAENS RA ZW, RA Ae BERS At BALI CARR DRA HY UE) BE eh ARPA, He Be Ae aR RA BE A JL SH AR, FA SE BSN RARER" He MAX, 4RARRE LOE MELCAOE ELM, AR aH WL” (crédibilite) 1 tM RB TE NAR 3 AE ES SE HEY LB, BPMN TR. OMNARR A TERE IRA BOTH FA AEA we a. (EWU RA HG Dh Hic EA), LB hE SH BR EMXAMRAEM BAAS AALERGRRERNATSRAH HL, Re A OR RRA A OI ee BARA 3 HBR, — AE IAN” ( réalistes) , H— PPA“ ARS SEN” (irréalistes) , HRTEM REEF, — BR AR AY, PVA BURY LIA BI AMT ATT , FT — AE SE 2 ABE EE RR ABATE FP FB eB A he aL BB AT AL BA. (KEM) (King Kong) 6) * 42 Fe 22 BH, PR, BATT AA JULIE J FP BM + BUTE ALES — Ba Zh CY RHA IB BF) ( Rhétorique de l'image) RIC Brea BY Meh Be He TD > , AR ak A OB 09 Tf AD RAB Si AA LS Ee FART A? RA, RAE BY 2 PRE BE? RNA RLAMEMY DMS Se LREOR iby He Be SE J BH PR) PE TR WR. PS RA, MRE BUR AT PR, BAS BA DWC) AE 4 Mi 1964 (“RESET”), pp. 40~510 @ Fe.p. 47.2 — FR" ZEB JL” ( etre-la) 8) BLS —3X HE EA OE, FAR HB BS SR —— il 2 — BP“ BY 42 TE BBL” ( avoir-cté-la) Ay BR, fh Be “BEAT ia 2S NT — bar BAS AST) AN Ta) He SS PE, TD Ag tL A —— ER LAB Te hh AR BS A EK FH "IK BLBA T FAABE* POSE AUAEBE SC” (1 ievealite réelle) AUR, FLIER BES ABST FAELEF Fev EN EF BY BR ABN 2a RCA BR —— a9 ba SX HD 5 fll FF R$ RERAT BR HART ATER AB: TIAA R OM SEHR” o SB FARBLSCAN AB SY, S28 ch“ Bet TH] EXD F By EFA” ( pondération temporelle ) fi i HH SK (S548 8 2 Mak MAE A SS SO) FY ta A SH BI “GX IL” (ici) SE DLA , “PRAT AR A SY eB ” Py FRAGT SE BL DFE AE SIR HE) RR, AT A ae A SB ATS RAE RIL’. PM RRS EA a BONE RENARELH LRTBASRT) RNA N—wR FRY , FB A SEB) Sb OL ND RR HL, FB A AR FE IR, MA Phar DAME EN HB, BB (le cela-a-€1é) HER T BW HEI IL (le c'est moi) (2 > ELA BIBRA Tk)» PAH FR AR Ane BY BE KE IAL, FB FA EAD BUR AO LORE , UY AN) 7B, RSE RARE" BE BBL” , OEE CN Ue al“ ZEBBIL” 9 BENT FF ABO SS AT HG AA DA BAB 4 BE, TE ANT HE PARBUAMBBAXN—HiCK. WXHMR—ERSAA A RAR—ES RN ERA RAB LS IE CA, BR 8 AGM SH SR, Se) BAAS RA FY DASA IAS ER BAAN ALA, SERIA EP BE RMT HAR. WF SAT EMTS DSR, F DRIED 5 MK, HL FRB BH HH eH AG PR HT GNM ABLHUAOR, CRATER FEB TT MECAMER:— TAA BRI BPA SMS RRRGR EES, 7 D ARERR X— PAA NTE THIET, BRS BAL ott, ee Be XS SED Be Se BO AB AE Bh OR —§ ik & Pe RB BHU, BUA BCMA S HI ERA WA FR RA , AF KR PLBL Se Se BY TE EBA YE (le mouvement) , Fi, PARAM RAZSMAT I. KFRA CRANSARD, BAZK BARBRA. Mephin « RATE HY ake PRA) (Le cinéma ou I’ homme imaginaire) ® —3tHiXA¥ BELL : “3B BAY BLS tL AICP ARB Be AERA RAE RB BT eS SA TE, FRR EH AEB), 13 ATER ASCH.” AURA HB FLY) WGA HG AVIS: (A Ay BLS A FAY A oe NT EIB) LE jm - $2242 8) TAR HE (A. Michotte van den Berck) 4 XH) & 4 Fy? SU) BE OE HEH SOT LS RET ES HEIR, UGX ESTE RE A BE PRAT CIERRA AN , 3B Bh iL Po oh A PR BY PE TBH, AO AR a OK BE, A PE aT ATE A SA, FAG, NZ iH KE NEW ELE SHAR TERME RZ, 3 I) AHP HE DB HD «SES Sa DK OS BLS VA BRR ok JX, MARL I, BES RE, BARS PR RMR AAP SS DE SRI + ROSTERS EE HR ER ( fi oe Be WAFL SY Hh Mie BR 5B EN BAERS) HE NU A et A PR FT) SL, ABE By HE ESF Re AS EE, Aig HR T SHNR, AA BRAT DR BART. BSL DRE AY REM MS MAMA A AAS FUR EMME R, AEM AT BRK BMAAAS (SU HBR AB). WM D FARHNAL (Editions de Minuit) ,1956,p. 123. @ MCB rh“ Be” HAZ HE) (Le caractére de“ réalité” des projections cinématographiques) — 3, B24 FARR #8 WF AB) ( Rene internationale de Filmologie) ,1948 10 981 Ht, 903 ~4 &, pp. 249 ~261,8 Hae PRFEINRE S| — 7S BPR ISLS —§$_ FEAR BE RS, BES He AOR ES NAO it OL oh HE, ABA ew AP. HET RH KAP RAR RAT RANGE HE AA LB To BATT vk — 2 WE, FRA AR LA RT BOR — 3 — FB Baek AT Tat Se a SR 4 2K, DREAMT AEB ARNAR HM. WK LK FEAR SM , AR Aa BD EA Aka AE HY a LE Kh (BE PERU FEBLAR IA) , Al 2S + ER AT a AY“ Ot TA RPO EF” ——at H— BAR TAD BN EY Se HH BE A te Bal 89 A HF AB Sk BYE PERERA. RATER A ARAMA RE — DR (ELE AANA Bh PER AS J DL RY 3 TE —§$ fh KGB RAF. jaa Sy “AEA” (immatériel) , RAAB A, AME BI , Hr CTE DR HR SEK: ABSA SS HRB BK AVM Me Bl SS fa PR) EL RHA RB EAS FE BL” fe $809 5 —€§ PALA) RE A TEA DS” TEP ANI TPR RAE ABBA RS RR ATR AE A AB, A PE RANT, Fi RE SEATS VRE — BR BS APE AIR AD HE 2 EB, BT a 9 “DA” (matérialité) , EBA TED CHIE Bei A BEATA Oy RE FA eG HA? RAS} — MTT AS A (BE A EE BRL)» BME + PDE, ARATE ZS BA tH AL SE D MCBBRZ RAKE) ( Ontologic de 1’ image photographique) , WORF CH WHE 2.2) 981 Hi, pp. 10 ~ 19. @ MMUAARES HH” AKAMSKAR. RNG ORR ANS AAT SY MOL, LAPEER (HG MD Tussaud FA AY ER) EDS AR AR ARSE EB” Te) SL SNE HR AK BY Se BE HAAHBR ERTIES 9 EWE. TR, WANS AEN IK ELRRARAAD TA ADELA FT * Oe” 8, HR AY PN EE HESUSE. BVH, BRAT BB” —S ODT, BAR A RB SB WOOT MT. BRANT ee RR” (vivant) , Ay Bh” (animé) , BULB FR 9 "FF AA” ( corporalisés) , iXiK ANB, EMS MHRA 2-H NR, LENA SB, it - HH (Jean Leirens) # Ab. (10 ( HL 5 At TH) ( Le cinema et le temps) — 4541 i 48 HH, HL BE Hh AS“ TAI” (1’ identification) ——5 & 11] FFB VR BRE ——KRLSDE—- MAM, HN FUP RHE K ( Rosenkrantz) AIX AMNMv I ATK BAA, BRT RE DB a SB SEMA AIA IC EK (objet d opposition) , fri 2 MI 2 WM ARM Ula BAH (objet d’ identification) .© JALIBI(E Rik + A ALE (Jean Giraudoux) i Fl BISA BE ih: “RAPE RE A — BA, (RR oe ER WAREZ MEBI .” RIED HR GEE REN BL, WAR AT AAT A SY, AS FET PUTA HS Fs, , BEATE LA BY, HS UR a HE A: Be ff ER A RRS BA BIE RAB LE-BEABE SZ AN APRN, BLA AB Bis bAS ot FAK, MMH BT A MSR LT FSW Ro REZ HOBIE + BHO: BATE LE Hh AE 9 BBS A SH AE RANANSM, HEAT RR EPO BMY ih, ME ee By RAIA SA MIRE BEBO”, MAR ANT BR PE D SRA) ATK Esprit), 1973, 31 MERIC SBS HELE) ( Thétere et cinéma) So @ Mik - MALE RC MI SRE) ( The are et film, 1942) —K, ARRT CRBC SCE) (Anthologie du cinéma ,1946)—45 ,pp. 297 ~ 302.10 eA eS FA” (diégese)? XT MMS RK AAMAS, KARI EVAL, ABP AE PB ST TT RRA IEA UR aL 8) AE AB FS BR APD SA ET, By BHT RATT AO2S iq)”. FF) - ARE ( Henri Wallon) 7 (hi UBC MHS) (L’ Acte perceptif et le cinéma) thih # it KWL - BMC A, Be, BS LOATH AKA AEE BS 2D BULL TTS ESL, He OP A ESE Be 25 TRA EBS A Ze Be idk OY — HH 0 PT BE REMRXBM, TARRARE RE. RUA LMA BRU RAAT (OH “BGR YE FA” RS, RE Se EP a — Bp 2 2 fe” BOP 4p (une convention) if E: (FAX AIL A , Be ANT th HF AT AGRE Fa Be oh BOE HS JE — BP GR PE” ES 0 a HB ae ee” BRANT ARATE D AAS AD AS OER” MAS AZ ALST ARPAV EHR). ANTS BYHY RE DMRSALAS, EAE AM FEAT IB BD , DAs eZ“ 2 TB BA 53 RE” (la. segregation des espaces) : —7S 3 48.8 b “PRR TE FA” A025 1B], S3— PER AR IT A HERS RASHES ARN REM S ERE, EATS RIT EBT EOL CTE PR E'S PT FPR ATC PAE TED, WA) BLT SR &” (la série visuelle , Hi BUA |B ik Bbw“ BRA TE HA”). RR AS {A RSZAVEDR” (la série proprioceptive, HANH HI AT Se HRA AB HE) SER RAM — HE a Sy AT Be CATT ARVOSPREM BIH R-TR-AW BA) (ABA KH D Bik; diene RESERASY SARE, LESH, ABE X AGA OUCR BR RL TG Br HARD Be oh eS A OED RATS BR Al” BRA BB @ WR) 13 H1,1953,4~6 AS.REL ERTS 1 FAVE IEA T BB) SEL RRA SR AO EFT , DAB HE BR BL SR ED BT fei FE SL PT ERAS — eT —— 2 BB DR 2 "RE BETH Fe BLS: ED AY EA AS), HI TE AT EH hE BI). KIRAN DVLA AAVRKBALT RE, RAB TPZ wh AA RR AE BEG FEE WB, PT Fe a8 RT fe BB SS) AR UNAR I HAG ASAE EBA SHE ETS 7 A: AS YL, BR RT ABB SE ED BR WLR RAISE RATA RA BB), — TAB A GERRY EAA FT ABE BR BER AAS HS], i APS RR SS SEARIF RFC ETT OFT RRR TH SAE PE BOE AT, PR RR TR FE, CER IT BRE BE He BL: RSE EBS tt oe By LT BE AE ABUT — PR aT HE BEA ARH BRR RB SA HDL, a ve Be AY TH SR AY , AUS HR ee, FRR AY A ARASH BPP RAR BY A aR HL BRA TES SU TATE Fr A, LS HEE PT a HE A HB RA AES REP) i A RAR Dy PR FG BE — RH RUS RR. ik + KHL (Jean Mitry) Ys 5 ER BRILL AT a wR AE (00 Bk Be WH 9 A PRR” (1? état filmique) , AI: TE WHE BA Wa ARB HL BE RT A Be, TS AE BABB) HAE OE TG Wa, te BS ST, HEATH Ha Be AS RR HES Se EB NH, 3 BCT BRR HRT AF US A FE Hak DA Hv) BRL AOL 9 ED Se, fH ABI. BAN TSO AGA 71 BE Fe 9 BS A, FE TASB AS TEL SL wk HE EH BB Se HH FF OG TAA Ca réalité du D Wik - BM Cre Be oh ye ESL BE) ( Bsthetique et Psychologie du cinéma 1963) —43, pp. 182 ~ 192.2 BOR mouvement) . Bo] A gS (Rudolf Arnheim ) A 79 JR Hr RZ AY Tr] A AA BE a, BD EATEN TR Aa EE We 1 32 BH EN OP ITE OS) A SSB TA A SESLITP EROSLSE EU RR HE PER E H E . MAS HR 3 Bei PT SSO FR HE RR AH BD Ti4)&” (illusion partielle) Ax A BRI? Mh Aa Fin AIR ART ALAR LSE ME EAS HY AOR, RR ET A RO TR DN. ERIGER, SUNG HS bL—TH RRR RT SR, EEE HB BEIT DT — LS R— dH EMRE FS RB — ME ARE ATL SY TR AS Fe TELA) SR 8) 8 TARR SS BE IR SARL SA A ALLIS VA A TG, PL Se 252 MLE) gL BL IN Ts] — BH AS PHL A A SATA , Py 3 BOR ATTEN) SR AT EH CFR AT" AEA” 6 Be BB A HME RANS). HEEBK, Miwa NR, CEM EARS EBL SAE IR LOR, rE BL A A A A A HS CS, FUSE ER) 9 Ga SIA CAL A PE BRI TG FEL BBE BE A RY EO 4D BOBBIE BD iE. AUR AK PIE TE We, BB We Ae HE we Be Ba OR A 28 9B MOAR REIL IIR HAL EL HESS AS EES) BH. SAF EBT Saat eT Fy os Ef. GEA OB FTL, Les PES” (reel) i PREBLE ERT SPP AVL, 7 a RR AE SE A KVR, H-NET BALI EA TRA » SAE LICE NL, SEP SS EB DAFT ENR IEC BEER) (Film als Kunst) ,1932, AER LIAR, P. 406HUB ERE OETE 13 RAK TAN KAAS E OAM. 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RR AXA PBSRT BRAS TOR, EMRERARBM RECS SG CSC ARO I CHL BD UO An Pe EK Se BS”) AD BAI (la réalité partielle) AF BRM RH ZA (AT RAZR, RASC HME REY — PBS, He BO re I HC S Ke. EMAAR RE SSS, LD OY ER A A AE PALZALARA-BHMS , BRS BVM BLA. A, LB AR BS 75 EE ES A SA HB SR4 ee BRAS a Tw ae. EBA BY RIB SA ACH Fe SE ERM RZ, See, No Rat FA SF 3 —— WU PT ABE — PTO RAR BL PEMA 2 FRAMED Aa TRA, FRA be OR Vd tH fe, 7 BD BS — HR RAE ES RL SC BR TT, RE BETS A SE RL SE tH EZ RE, A A AR 5 — i fe 2 ah. TAR RETR BAM BARARA. RM, SE ot, A HREREMM, CREN ANH RAWAM, RRA DE. CRE RAD PAARL SO AE A WR BF, BE ON) HH 3B EDT SE UY THK RNBNT SMH ARAM OTE, BARRE RR Wwe, SHEMMLAR, ERADREVR RMA AAAD ‘Snell. 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PAGES Bi (SAIS RE) ) LIK, (ET RM (a signification) OHARA PETER ANE ERR. thst — STR, EX LZAVA V Al (Ia perception) y FE ATHE (At He PE RMI A HE ZAFIRA VOL), DALI , BEATTAY DA SCRE, Sepa Sp FD SE BEB TS HEF AB EB HN aR At Se RF DA PARAS sR BS ABA BBY YA) ERS AL eT BN RE PRO IE BEATTIE I A BZ CH AK) (Anthropologie Structural ) — 5 +} B) #4 AIM PELL: HE BY SoTL By A fe POOR AN, BO RC a RR REZ BH LRA BIN. Be, RANA —\€§_ th 1 e — —— BS AB A BBR WAR EX) Fy SR AB RE BO A 75 — PRY, Be BGA AE BE, SC ELBE (AAR E BL) FB RP FR A BD (PR TED) © SES EK PE aL, BAT DY BE a a — 7S Ts EA ET DT SBF BEATA" BR” 2 EAL SR ABA Fa BE Bh Fe Fh, PA AD“ BES” HARA. HERMON RRERKEKLRAMK, WH AE SROPARSER UGA RAS RUNS RR A, ROMP RARNECS LANGA ER, SF). PERK RAER BKENCHRFE AMT ERRNAAMAE FRREMRM, i ELA AACE ths AR 2 mg BB a ON) BS A A BR ATT EB ATT DE, FE RU RH ASR (A RE ARE 5 — BI tk ak” BY FARA. SRE HEAL BBE ( SES Bn oS) HIEFARO REO. 7 ARB SORN A ANA, ARRAS ST —THE Ob AA, RAHAT BE WE ALT. RMB CRE SR) (Dead of Night) AFT Ha FW AD RTA Sh TS I — “SER, BE BHR EAR TO? DFA A DERE RAS Ze BA HATTA AS ZT BR T+ AR A AY, NSE AE BSL BBB BM (FEM AS) , ALAN AT AE Se Ts “AR TG? BY RRB EF RH A532” ATE its, AEP BVI, BUR 9 — AA BA HB BH (une séquence temporelle) , fff Le 5 4 2M HE ME BT AY RY [A] HE BLE: HR BPEL AS ANDI I] , SE FR BRP AA TL, A BH 8” TD (temps du signifié) , 5 #9“ $235 00" HY [el (temps du signifiant) . iX#h SOLAR PE BGs TD PT VA oe i HT YO Sa kT, Tk A AT] CERRO PRE SL AR PE ( Ee FP = 3E RE 9 ST BES = SH RAE LARS EO RAGRLALK). A-HA, EE PSAP TY HA TE aR A, SR A EA (98 8-2 — 7 TD BP SG HS Td Se BH DBL EM COR NEIL) RES, fh mR BE AR, Be Se Le I SOBRE. GR BA, OR OO RST IOS a A ie de FE Sk K BEARD, MGA, RAS SO. RATE, SAOMTRK. PR THRRRE-SS. MAMFG RAP, BM, S s8 ABHOR EAD SB Fare ( (0) PRS wR YT A SHH JA] ) , AR DSLR AB Te Hb REE PT SP IH — I TD) o LR FG aT SBT BE, TT Be 8 BR I A a TF OR SAP AT ABE : NB AS or 9 BEA EBL — PR HU EY 2 TB HV HAO ST) HE SIL Sh ik, 3H (SABE a Fe BS AO TB) ) SLANE SE BEL BB — SE ERA OR EBA RETR AB HIN BIT POET TA) BENTH AA OF MT (SESE LE, Re Td ke E SS, Be — A BS Tt ak EB BBR a R59 2 VRARN) ARPRHA, REBAR BM, RAN AEA RE FRY TAA ETS Z IH, BURA PI AAS a HE A BOE TE BIR, TAG ABARTH ZT YY J wha SS BO BR SA HD RBC BY TG ES , HE Jaa GZ ON i PH KC HE RIT ZA Il FOR MY LAP I RE ER, BA SARL BINT FAY PRD Se 73 AAA BOG, BD EH TD, STF AE TT Be UY Ha HH Oe UE BEE SD 0 SR AI RAO RY Se UL ARIA SD, DAE FBR ET “HAR” (la de- scription) jab 2A 3H Ay PLATE A aE HR AT BGR, A AP RAED RA AS ORR eH RR, EA Sf BARE AN a AB SRE eg aR AL AST a A, BATT AS EL — FAIR BA BR AR A] RY BERS. ABLE RRM GAA Wi FER A OR A PBS H—BQ—EK MERA BET . Fe, BUR TAR Re KREF ENN OHA AER, LAB Rw A, RK DR, BU AUR AY RE TE FA MUU TE , BGR A BE HT i OT) EK, TTRE ROPER ROTTS 19 RMA? TEBGR Yh HERR BS BE BLM OR, Pa Ze BRR aH, Se BTN TA) DE BT ME TO SRR A Rh Sh, SA a BE, A Fe 2 pk SE PAPE A, RNS DA FTE a BR BS HDR Ewe PS NAS PY, HT SH SURE — AS PAL BED, — A TPE A BR, te EE tat — BL SREY — APE (discours) (RZ, LW HM ADH BR, He SF RAAT HBP RE RL ) FEATS DX BUC BLAU FF EB HE th Bip , oe BE HO A AS” ERE A, BRE OR PAT RO COA BAAS) THAR LOH MRE. 48 FA HEAT 45h ( Roman Jakobson) AY RGA VE, BE A] FT VAX A BL, — BH Ch—_ FS E—-Aak—-KBMPH—_—— ZERRRR OE. KA] KARAFRACSV AD, AAKAOMA RAY BN RRMA AE Bar Hl BS 22 2 Fa, J — A HA BER ET RANA HAS FI“ SUR A9825R” (instance racontante) . HES, YSORMAA SAL AMMBA RCROEGRE AERAD RIL, MRA IA ER AB BRR BR EL CE RD, EA) D RAVI ( Gerard Genette) 2 SUR AAAI Z le] OOH A BNE, Hh CSE HORE SS HEAR Dy BSE 0 FY I 1966 AES 8 HC HIST) FR RETA BL RPV IEDR) ( Frontizres du récit)—Ko2 LR RAD HA A (RAI) SE. MS, ea LRACHNRA SOMBXLKHAXMASE ik. BERRA ES AFAR A BK A (sujet-racontant). RAMA ASME NVA AEE F BMV RATE SNA, RS SRARRM AARNE. ABW, PAATH. BAR IY + RIPE TEC AL BM) ( Logique du cinéma) — 48 rp BVGE IH , EL BPO SUR BD A Stk , DLR TE Be LN, fF iO eB A SAARI BEARISH EA A A A EB Sasi SF HARE, (Ae HE AD ARH, EI SRS AB” BEE “RMEAM BE RMI A” (HARE TPB” , RGR — AS" Pee BTR, MIRA BEARD HEE PEST) Ti A AC A POURRA TE Be ATR ( FAL Hy HW Ae SASH ft BE HA TE A — AY), BR A POHL, AL Ia RAR" HEE BU A AR” (foyer linguistique virtuel ) , RE Be AHA, Oe Bie fe RAT A I RH“ RE SR” CECE A SLR, eA LR ER” BE SD, TLE TA am. pg SURES OAS LAM ENS, Fl hE Mie wh, aA, BANE TGR BA bE, EATER —-TIE SLR ——JU) 9K 5] AMER, SOREL BLO A ML RNAS OBEN C—O BGR EH vee DUAR I» BRC BE NTE AB) ( 1964) ch C HLIR HRA RBM) ( Le recite monde et le cinéma) —X,pp. 51 ~ 906FERRE GETS 21 BH REDS) , BRAM (le processus d 'iréalisation) iX 14] A, 51 Fl BEM AT FA BIRD, TAR AE BART AM BOD ATES BR RETA RR BE, KERR AE (— AER FE) BRERA 6 Ta ( PPS SEO.) , — BGR, BU FH. MENARD SFR, BNE SREB | AEB) YR SSPE A, WE ERA SOAR, i ABBA RE VRE RE (AKAD — SEF BATA RAB Se DF HT BE CAR SSR) HB — FB 0 FETE AS it — 2b RT , ES SEB ZN BA A A AG BE HOAORIE RAE), EA —§_ FE (RHE) WATE (RAR A RT) RI, BEAR +), AC EL AO ET, EE PRT, GK Be FES” AIEEE: , — RUA UREIR, AB RAT RL” OY, RATT Rp ROUSE , TELA RD EP AE eT OY 5 Be HR Fe BB Ay, fs ABP ARF i 1 (SES BR A AT EBM RRR RE FM GLE T ) NG ARRAS ST VOW A GBI BBS a EE 4 PA WE SLA BR YM (la présence), ASAT BR: Sl SHA. SAT eesti BY (hie et nunc, 45% RAH) ATES HEM BSE, GR PE EAT PAIS WR, WE (4 FAR ZS ) Re Ste ( os BZ DM Ha) OB FLA MLAS SAR He HE” A” Bt — ee PR CSNY Be PR BH). A ABA NIA RE BB 6k He aE, AR RT AFI. MAB BRUT AE EL, i WHAT — UT Aa EA He A RT TON LS GL FES AAR LSE HE FL MOAE, RAN TL Fa LT BEA AER OD AE AS ADGA) BSE. AP IE EDIT BC EER as AT A ic SL A TBAB, a AN LE ABUT HAO INT BR , RATE AR AR ER (BR A ATE HE2 He ~ Bh PRALPEMRCET OL) «Hi EL JA SE AC HATE CET OE TAR A A UE CE 7 RT ELA AT AT AR A ECT och ROE AT IN AEE (A ERE EIN © BIBT RA FRAP cen TBARS HIS, BTS A 16 BBE PEMLUME THD ASIN TULSA i FE TG TY Ra eB (Fabrice) 8/5 7 WHR 2A, NTA EAR ABATED EHF BT OK RAVE MS BA HARMED E MBSA, AMR EH RSS BR “67 RP SL OR Ce A LAIR) A WF Dee BTR TE AE SORE NAT SO AEE + TR HICH) (Waterloo ) Ya 2 CHG BEB HAA Ja Bebe PEL A BE BSD i BUNA, ETS, BROT RELA) © Ey JABEAS (Jean-Paul. Sartre) JA ABE IR HSE, BEA MAE RE APA SEAR BAO RA IZ A BEHOW , Ly BE MA JE — AN BRAT I SES HOUR, DAL FE RTS PEE BE FE OR BYE 9 Re, BRAVA ACAD end JE, LB BL SALA 2 Tf) 2 0 AS} AT DLAC AC 9 3B He SEHR BA EG) EAB AIT ‘hs UE CEA aL YY AR” AAR, 7S UB A IR Eft" WALZ RRR” AR FETE? EL ULAR PE A, BA ER ERIS BETES CBE RI” E. RGR EN MAS. 2A GD EAB BAC BL AN MR—BRNERD —- BE LOA, SRENTANRLA ARE EE? 1 REA?) o SURE YES BEE AY AD, ie AR a PR th FaHDR RE REI 23 EMIT PE AL eae Gi 0 PF, AF ae ih AR tha RE ER a SRE We BE BAB CIA Ys Ay BE AR ft A PERS RES AR TH, TALC BAA A. SUR HEB, HRS EON AR CAM RRA S AMAR, BLS STEERS AIEEE HACE EER FIR A SE UAT EN SS AT BE. BUR BA ALT aE aN , Hi BLA AN Sy, SY DRE EAR BEY, OY AR A A, BAT De RAS a Be BLE AAS MBS HE A BUS, MA — se AE A BE) HEIR AT TF & ARIAL Fa 1 FT DA ER SRG PB a (8 GE AAPA Se) (AERA RE BGR BERIT, GBR AK" Baad” (prédicat) WLS, He THF MIR bh it (He a SB adm SHG), USERS Oe HO tb AE CAR TR Ate 0 HK: BRK) Pr PS 9G SE BERT AMS , 1X BE ESL AA Se ch Ga TAT I) MT A Oh fE” thk (les fonctinos) 1/5) FE AMT HA TF , E—AP SAE BY rh HR aR MHRA TATE SP RBS HRW. Porvig) HUI EF Hi tal & TL wk RS we 3 OR + fi SE Be HY “SE AK BE YE” ( sequences élementaires) ; 8 ESE PES K ( Tzvetan Todorov) 4) F PA AFA ARR AA SRI IT Be DEAE FETS MEE FH SAT BY BRR AE A RGR ZW €£$ Ft Be Ye ey aE SE TR al ( BR BS) mk — SE 2 EHR i ( th SEAR) © AE Aol BR AT EFS BE SY ss TPS HBS (FE A) He PV ANaRE WY HY BRR Be BE AE“ ” Cle phoneme) , ARIE“ ii] K" Cle monéme ) ——iX 42 (2H AY 8A AL, Thi AS RE BR AY 8B fh —— dE, wh DRADER IR PS ( ROBES EHS AT BS * 4 SAT eB”) , Be BE AWS. HRB — ARK”, SRA RR AAR Eee PLE UM AP ERG THR. —SSE MAA BUEAT — OF LF 1 —— 29 F 9 RR SU SF i , BRR BI Dy — Bh RSE” (aj SS ASF [ Zellig S. Harris ]cd A HGR HT) [ Discourse analysis] ) , BEAE JE Wr ZE ESC" R BL” — iat RAT ACR NC —-B EMIRE)) 2? RT MEAD AO RRS Sb, A- PEL AW A. ZEBIAD? MARS —B Rt WR" RTS BARU — Pe RANA: RB OE RRR, RATIOS, TE ERE LAA ABH A aA Le BS WSR, LR REINS = EINE WR WSSRREORAE, ZAR WRENS: A CNR BS HAA TE RAL, ARTIS RAGA TREK HLEZTABE, RAER BOY GR EM 2 FA HEM MLAS, BRR MAE AIT, Ta ETE RH ERE il SURE A P26, AB RRA By Pe (le geste) (MUTT Ha RD @ MA Gallimard ,1966( “ Bibliothéque des Sciences Humaines” ) » ix 4B Arde BI My JL FIOM, TAK (discours) 381, HOLE MATE 2S BEN WE HEX AAR” (ln langue) 2 HIB, fE— PE BLS AZ IH (le langage en scte) BF pA AAR. . Bult, FET Scar HUE ROB BRS AEE" AR” AE GS EAE, 558 EC — RE 2S TL _p. 130] , EE AE A FI EF 3 CH A A TD 3A) (Les relations de temps dans le verbe frangais, Bulletin de la Société de Linguistique de Paris tome LIV ,1959) S203" i 2” RORRHE BH DUR Ai ABV 08 BEAR TB C1 ise toire, HE MAE A PRALIR RUAC ) Bt A 2 BL Se FH AE SB) A ROR OH OT Sk wR HSUA, CAMERRRARTN( LA BARRON SE). MMAZ, BRIDAL T AR — EEE TD a ROE AL WR HR AEE ET Ts = BEARER Oe” TER TOY CB” SR AE BURA FRAME RT LATE, REM RKO TE. PMA RIOR SRS aE BAUR a HA 2 AUP HA A BE EL EM PBT TOE 6 O WERAB HE NA ARB RS2” R* Ri ATH NA".ERM RRM 25 F) BANE MHL — hte ET BE XB I ‘an 4i HE (Eric Buyssens ) fll 7 S146 ( Luis J. Prieto) fif i 5C 1) 18] HH (le |B, Bb PEA So th ee UE RR, A Eh OS 3X , HEHE (Joseph Vendryes) 2276 (BM 12 Bh fe Z iB ACER TAU, DA EPR 4% BRED AB DOR A TS RY Hh PATA OL SLR AY As BR 5 SEAS SG ON) BEV LX 5} Hy Si AS BRR (388 ER Ge] ) —— WRERD HERA aR TRS RM BLL PRAIA Bh, TPE A: EE AS EF RH TT, BM BR SOS AY PADUA SY Fr AR Tad EAD Te SBE J AE EE BR EER SHOR, seme ) — jal MRE AD A A OMS FE TAL AAS FERG” EOE ME AS RAAT A BRIAR BART ASRIND , RET UIP PR A AE, DARA OY OR HE Se AME EAA To SASH FP BY Ob PE PEE AE BREA TSE SE YE a BE BRAG BET RAZ Ai Gil y 0) SHEA ARAB A, TDS A TE A BR“ ify” ik He Fe A eB Se A ES A a Ct A SRK) UNS tA A AS TB A SE I EH PT PE WR BT A SAS TSI SY PR PRTC BRA BUR BEBE FO HE BR SS TS SP AB SR A AL FE BGR BR HFS ALAR LN IR , th PT AEE A HE D HEARSE SMA SHC aE S ZBI DH) ( Projet de recherche collec- tive sur le langage gestuel 1966) — 5 WARES AM SCTE RITA ED (Langage gestuel) —X, WRF Supplément scientifique a la grande Encyclopédie , Larousse 1968) »26 BRL BR ATTRA aD 2 a SS AIT Hs RE A OE A A TH AT BB BR AN BY VA IVA fk a SY tr I AS FB RB A” AY ED R—$_ IAA AF AVAL BET AS A SP OT SK A TB AY, HR SE PERVEDR FFA TB BSA) PORE A ae i RO EY PLAT LHS MRAM RELY | HRM, TRAD BR SUR, BAPTA A Te Te PR BOE 3 EFF BR BYE AE AS YB A Bi ERE A SAR PR ( SUTa CHD TEZ SR) —— BR A a BRB EI SEATON RAS RE: CRR-MRRKAKS BANE (BGR TAB) TU OS RA ATE RA RE (AR ITE A) BA BETA, BUR To A ERB AE — EATER, BVA RM TP SE OK (Ee: MAAS UMAR SEHR STZ.Boe He RSE AY Mal eeFSG FE SF Os FS 2 WO 3 1 i RSE TB? RAGE LAER 1959 48) 4 4, 8 PHB! fe ( Roberto Rossellini) #2 —K HE ZF MED BO Lvs POG T FS Popa BR ey mY He RA MAMAN AR. GFE, fA WR Aaya BRE Ee KAM 1925—1930 4 2 RR Aare FIER, BPR, RN ol fe RADE T RAD RAT SBA SERRE S, RR BEPET HRS K WAL YA MUM, , ER AME AEE AS WN ia 4D BK HE BS FS DUA TES 2 PAT, Air Ca AG BA) ( Pactsce) BAY SP AR SE AN , BE D CEB FAT) 95 94 1), 1959, x — UyTFL a MEMEIA CF. Hoveyda) ALEEAE (Jac- ques Rivette) 22877