whether or not it is fiction. Certain events where listeners of US radio broadcasts were shocked into a panic when the narrator announced an extra-terrestrial invasion are good examples of this. In the documentarizing reading, the spectator posits a real enunciator. He/she may think of the cameraman or the filmmaker as the embodiment of the real enunciator. Unlike a fictional film, a documentary film its concrete and contingent location in the “signifies The cameraman can be always existent in a special position and the profilmic world.” context of the events filmed, inducing the spectator to infer the real enunciator. “She can attest to the existence of the events filmed, textual figures act as an index of her presence, her status as This modifies the receiver as the actual spectator, who is conscious witness.” that this film has been given to him/her. Note again that this documentary mode is not about realization, but about reading. Principle of Relevance Here another question follows; namely, what is the underlying principle that makes it possible for the filmmaker and the spectator to choose the same interpretation in the interactive motion of and Sperber and ‘institutions’, ‘modes’ ‘operations’? Wilson’s cognitive of responds to the question. According to them, the cognition ‘principle relevance’ of human beings works so as to maximize the relevance of any utterance, and both the enunciator and the addressee are familiar with this principle. As the enunciator has informative and communicative intention, he/she will use this principle in his utterance.
whether or not it is fiction. Certain events where listeners of US radio broadcasts were shocked into a panic when the narrator announced an extra-terrestrial invasion are good examples of this. In the documentarizing reading, the spectator posits a real enunciator. He/she may think of the cameraman or the filmmaker as the embodiment of the real enunciator. Unlike a fictional film, a documentary film “signifies its concrete and contingent location in the profilmic world.” The cameraman can be always existent in a special position and the context of the events filmed, inducing the spectator to infer the real enunciator. “She can attest to the existence of the events filmed, textual figures act as an index of her presence, her status as witness.” This modifies the receiver as the actual spectator, who is conscious that this film has been given to him/her. Note again that this documentary mode is not about realization, but about reading. Principle of Relevance Here another question follows; namely, what is the underlying principle that makes it possible for the filmmaker and the spectator to choose the same interpretation in the interactive motion of ‘institutions’, ‘modes’ and ‘operations’? Sperber and Wilson’s cognitive ‘principle of relevance’ responds to the question. According to them, the cognition of human beings works so as to maximize the relevance of any utterance, and both the enunciator and the addressee are familiar with this principle. As the enunciator has informative and communicative intention, he/she will use this principle in his utterance.
%28PhD%20Thesis%29%20THE%20WISDOM%20OF%20CHRONICLES%20Buyoung%20Son%20120107117.docx