Cavity of the utmost importance in the light literary work from the inside not only the like corresponding to multiple mirrors within the space of one. No wonder that, there is, convergence between the cavity And the mirror. The latter - according to Jean Baudrillard - "end space, assume the wall, refer to the center. So, the more colorful mirrors the more intimate room more fun, and the more they, in turn, corner and more on itself". This intimacy, then, and this exposure is possible under the internal cavity of the literary work, which as we know from how to engage in the creative process for production work. It achieves a kind of mirror in the generalized creativity. This mirror, which is characterized - in some literary contexts - especially where the aptly named - by Ricardo - the interview Antithése Of the fact that "every cavity opposed to engaging in a comprehensive text that contained".
If the text proposes a unified diversity, and if distracted proposed unit. Perhaps the importance of the role of rhetorical cavity lies in the fact that "ensures the narrated a kind of self-regulation".
Cavity and the other role is to detect and Manifesting. So, talking about Ricardo cavity detector which works in three basic ways storytelling in ways similar to the functioning of the dream are: frequency, intensity and anticipation. It is known that the dream is a bond or traditional base of the cavity, is also a key component in some aspects of the double play.
If the mirror in the text works in a Tarda, or exploratory, they require - Depending on what he calls the table Ricardo career Catalogue Fonctionnel Text - the topics that are suitable, especially the ones that attend the "diagnosis." It seems that this feature of the thematic cavity find in the theater as an art diagnostic, fertile ground for the operation.
Under this perspective Alastara mirror, falls Dlenbach definition of the cavity, where he says: "Each mirror cavity is contemplating telling the whole house through the normal double, duplicate, or camouflaged". So-called narrative that runs this procedure Altjoafa Baga mirror Le récit spéculaire .
As long as the narrated levels, the mirror - and therefore contemplative - is characterized according to these levels, which distinguishes Dlenbach - inspired linguistics Jacobson - between: spoken hopes, hopes and hopes Sunan pronunciation. Each type operates provision. However, this distinction does not negate the overlap that exists between these types of meditation.
Based on these three levels, the Dlenbach the classification of the types of cavitation in the narrative are:
- Cavity Allfeza Enonciative It takes into account the relationship telling Bmnottagh and recipients, and within the cavity is talking about the transcendent Transcendantale Which focuses on the writer to say deliberate.
- Cavity Almitanasi Métatextuelle Emphasis is on the way in which runs the narrative, ie the Sunnah, which is created by the creative work itself.
- Cavity Altejeala Fictionnelle The script Textuelle , Both associated with Palmlfoz,
However, the first in the doubles after telling the story as a reference irrigated, while the second focuses on the organization as a literal narrated organized Dalla.
This modeling provided by the Dlenbach translated, clearly a metaphor that "the circular mirror" inadequate when it comes to the cavity, because it shows that the detection of self-narrated focus is not on the side without the other. And therefore, do not be surprised that the literary works based on this procedure Altjoafa, bore the spirit of philosophical works is based on "speculative" and "self-transparency."
