The author applies to literary texts some of the parameters used in reference to questions of perspective in the visual arts. Disagreeing with Erwin Panofsky, who considers perspective a “symbolic form,” the author sees it as a device of utterance and thus a generator of signs susceptible to semiotic study. Unlike many scholars, the author believes not that the enunciator's perspective is transferred onto the work, but that the perspective of the work is imposed on the enunciator. The perspective of each genre situates the enunciator in a specific place in relation to the world and shapes him or her differentially as subject.
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