These la syntagms
are not compatible with -man, and it therefore occurs only in the apodosis.
As such, these syntagms
employ the accompanying prepositions con and su.
As McCloud's discussion of closure indicates (1994, see note 11), gutters of interpanel whitespace are transformed by comic readers into routine syntagms
and, as such, are anything but disruptive to the grammar of the comics.
In this case, the action is represented by the verb invade, its actors are the syntagms
Which country and Iraq, and the action restriction is described by the propositional syntagma in 1990.
On the highest end, there are similes whose vehicles represent not single words or syntagms
, but various bizarre, fantastic, grotesquely funny scenes and situations, like the following Estonian items (see also Oim 2003:60-64):
14) Compare with the common genitive syntagms
In relation to these structural-functional theories, the notion of "layering" thus refers in the first place to a layered organization of the clausal and nominal syntagms
, with (at least) two layers/levels/domains/zones in which interpersonal and representational aspects are encoded and more fine-grained distinctions within these two layers.
semantic" analysis carries out a more specific analysis allowing the extracted syntagms
to be interpreted.
Influenced by the interplay between the syntagmatic and paradigmatic levels of linguistic expression, Jackobson (1960) carried this notion further when he demonstrated how poetry is distinguished by the placing of paradigms on syntagms
to achieve periodicity and how periodicity is present in all discourses as a structuring device.
In natural languages, syntagms
may take the form of sentences; in retrieval languages they may be called statements, subject headings, strings, or chains.
Let us recall one of the syntagms
that most reveals their affective affinity: Petrarch's Canzoniere 127: 85, "Ad una ad una annoverar le stelle" and Leopardi's "E noverar le stelle ad una ad una" in his "Canto notturno di un pastore errante dell'Asia" (135).
It is clear that "The Cask of Amontillado" is the epitome of a counter-narrative; disseminated, reversible, set to its own temporality, it inevitably determines (if one follows it) a quite different analytical segmentation to that in shots, sequences and syntagms
(technical or narrative)--an extraordinary segmentation: counter-logical and yes "true.