Paragraphs

Another observation about paragraphs -

The mind must recurse through the iteration of a paragraph in the same or almost the same way that it does in a sentence. So the rhythm of a paragraph must vary in ways fairly analogous to the rhythms of a sentence. Therefore modes of reference and of modification must be similar in a paragraph to those in a sentence.

Those in sentences have been fairly thoroughly mapped; it remains to correspond them.

In a sentence, using something like the Minimalist model insofar as I understand it, There's a head. Against the head one may also have a gaggle of modifiers.

The head operates something like the scene-setting shot in film editing. That's often called "the long shot" or something like that -- I should go to a film person for this. Actually, I'll need an editor used to working with visuals as Murch is used to working with sound, ideally.

So, given the long shot, we know that the rest contextualizes in this scene, and we use the characteristics of the scene to fill in information, and we use the added details to flesh out the scene.

We have some natural conflict in that the head must delimit in some way, and because the details must add, amend, change. A "closed" story (closed per Bernstein) is one that changes little the initial shot, essentially adding to it or embellishing it rather than "actively" destroying its assumptions and revising them.

Think Apollo and Dionysus here, as in Nietszche's reading.

It strikes me that the issue for me, the issue of incomprehensibility in my writing, is that my readers generally want to insist that there be a long shot to b
egin with, a setting shot.

OF course, that tends to be a thesis or a declarative sentence. And that tends to establish limits I do not want. However, it seems there should be some way to counterfeit this, or to give them something that satisfies their will for a context-establishing shot without making the whole more closed or didactic.

What I need to do is classify and qualify types of opening shots in opening paragraphs, and see how this is done and who is more and less didactic, and what qualities establish scene.

Of course, it won't work exactly by Ph.

Also -- 2 principles that must be relevant:
1) In sentences, items of the Head are identified either by being labelled, or by position in the sentence (that position being designated by the pauses and musical qualities of speech, or by punctation. Therefore something similar will apply in Ph's. Now, the thing I must compare with is almost certainly not verb changes, but declension and terminations of nouns, subject and object, since the verbs are not ID'd as subject or object by their terminations --- although maybe, maybe the terminations can determine which they apply to, though it does not seem so in English.
Check in this context also inversions. Why does Milton still make sense when he inverts?
2) In sentences and paragraphs, listeners and readers clearly play accepted structural elements that may be ID'd and analyzed against presumptions of intention derived from content, reference, and social circumstance. All the latter would seem to be more significant the farther one gets from sentence.

So there are two opportunities to designate that do not need sequence of the unit designated -- though they may need sequence otherwise, within the unit or of larger units of the level in which the unit in question is contained.

NOW, then, a possible Key to Hypertext might be contained in the way of making a phrase or unit function naturally as a scene-setting shot without allowing it to function as a definer or delimiter ---

though this seems as though there may be some contradiction inherent. I need to go more precisely into the nature of this delimitation as opposed (?) to its suggestivity.

Another observation --- Establishing the HEAD in the sentence clearly DOES = or ~ establishing the scene or noun or topic in the ph.

I have to wonder whether another trip through Pedro Paramo is requisite.

Offhand, I think the following are necessary:

1. Joyce in Ulysses, Wake, and Artist
2. Beckett at the end.
3. Rulfo in Paramo and in a couple stories, including El Hombre.
4. Hemingway.
5. A couple people I am less happy with. Updike and Bellow, perhaps.
6. Breton
7. Rimbaud. vs Baudelaire and Ponge?
8. Wharton
9. Woolf
10. Mary Shelley
11. John Milton

Some poets. Whitman, Eliot, Celan, Pound, Williams. Sonnets -- perhaps Shakespeare.

I'm not sure it will work usefully with plays, in which so much will be unspoken -- the orientation provided by the mise en scene.

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Paragraphing -- further notes

Language

I need to describe it musically, syntactically, punctuationally, visually, possibly referentially. The major problem is that the phrases distinguished will not nest properly. As such, I need internal and external tags to designate differences in the same qualities, as differentiated at different phrasal levels and syntactic levels.