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• W65442994 abstract "Maupassant's story about the two friends who, when Paris is besieged during the Franco-Prussian war, ignore the blockade and go fishing, has become important not only because of its own excellence but because it is the subject of a well-known structuralist analysis, Maupassant: La Semiotique du texte, by A.J. Greimas.(1) Although it has sometimes been hard to understand what structuralists mean by structure, despite their appellation, in this case it is reasonably clear that various types of `deep' structure are involved, the metaphor conveying inter alia that, however they are defined, they are not open to empirical inspection. The most interesting example in Greimas is the carre semiotique, the four-term scheme in diagrammatic form which for him constitutes the fundamental structure of meanings.(2) It is usually presented in diagram form, partly no doubt for clarity, but also for reasons to do with the rhetoric of science affected by structuralists. The four comer positions of the square are occuped by a positive unit of meaning and its logical contrary, typically life and death at the top, with the contradictories; non-life and non-death at the bottom.(3) The sense of these negatives being difficult if not impossible to grasp,(4) it is not surprising that much ingenuity is expended by Greimas in adapting them to the textual realities of words.(5) The aim is to categorize the semes (units of meaning) in the text so that they can be mapped on to the square with its four positions. Thus the references to fire, water, air and earth are such as to allow them to be equated with life, death, non-death and non-life.(6) In a more general view, the subject treated by means of the semiotic square is thematics, the study of the significance of recurrent elements of meaning in a text. Where plot and character are concerned, Greimas works with a more abstract form of the functions and roles extrapolated by Vladimir Propp from a corpus of Russian folktales, explaining that his purpose is to examine whether the structures found in oral narratives are also to be found in literary narrative.(7) However, as the analysis of Maupassant's text continues, the Proppian model tends to give way to a quite different model of narrative structure, based on what Greimas calls the `programmes narratifs' of the two friends on the one hand and the Prussian officer on the other.(8) In this new perspective, the story as a whole consists of two consecutive `recits', the first telling what ensues when the two friends make their plan to go fishing, the second revealing the results of the officer's plan, which is complementary and contrary to theirs. The suggestion that Deux amis contains two narrative blocks end-on to each other provides a convenient starting-point for the analysis which follows, one of its conclusions being that the story is bipartite in structure, though in a different sense from that intended by Greimas. The method I shall adopt is also different, being empiricist rather than a priori, and is applied at `surface' level. It largely consists in the investigation of symmetrical textual elements, from single words to blocks of several paragraphs (corresponding to what Greimas calls sequences). Many of the small-scale examples of symmetry that I shall mention are noticed by Greimas, who uses the same term, but they fit only awkwardly into his conceptual framework, with the result that they tend to seem merely incidental (as frequently happens with such phenomena in critical studies). In my view, symmetry constitutes the structuring principle of the text, in the sense of linking its elements and conferring on it the property commonly known as unity or coherence. …" @default.
• W65442994 created "2016-06-24" @default.
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• W65442994 date "1997-03-01" @default.
• W65442994 modified "2023-09-23" @default.
• W65442994 title "Surface Structure and Symmetry in Maupassant: An Alternative View of 'Deux Amis.'" @default.
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