LEADER 06169nam 22009133u 450 001 9910785948403321 005 20230126205843.0 010 $a1-283-70614-8 010 $a1-4411-0261-2 035 $a(CKB)2670000000270986 035 $a(EBL)1050477 035 $a(OCoLC)818117736 035 $a(SSID)ssj0000832133 035 $a(PQKBManifestationID)12282314 035 $a(PQKBTitleCode)TC0000832133 035 $a(PQKBWorkID)10881273 035 $a(PQKB)11687793 035 $a(MiAaPQ)EBC1050477 035 $a(EXLCZ)992670000000270986 100 $a20130418d2012|||| u|| | 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aCircus as Multimodal Discourse$b[electronic resource] $ePerformance, Meaning, and Ritual 210 $aLondon $cBloomsbury Publishing$d2012 215 $a1 online resource (225 p.) 300 $aDescription based upon print version of record. 311 $a1-4725-6947-4 311 $a1-4411-2563-9 327 $aCover; HalfTitle; Series; Title; Copyright; Dedication; Contents; Introduction: Playing with Fire; 1 Circus Performances as Rituals: Participative Ethnography; Circus online; Circus in the field; The spectator as ethnographer; Circus as ritual; 2 The "Textility" of Circus Acts: Disentangling Cognition and Pleasure; Writing circus: From performance to text; Events and their verbal accounts; Scripts, skills, and algorithms: The birth of a circus act; Description and explanation; Disentangling meanings, emotions, and pleasure: Textility and cognitive malleability; 3 Magic in the Ring 327 $aVeils of illusionBelief and disbelief; The mechanisms of miracles and the logic of illusions; A double-edged skill; 4 Horses which Speak, Count, and Laugh; The cultured horse; An equine performance on record; A multimodal dialogic discourse; Themes and variations: A cowboy and his horse; Pragmatics of the "educated" horse act: A biosemiotic perspective; 5 Steeds and Symbols: Multimodal Metaphors; Circus horses: From the steppe to the ring; A semiotic perspective: Making sense of things; The social contract and the birth of the arts; Once upon a time: A play of nature and culture 327 $aThe ascent of the horseTextualizing the horse; Equestrians as cultural heroes; 6 The Staging of Actions: Heroes, Antiheroes, and Animal Actors; A theory of action; The modalities of actions: From doing to making another do; Ironical discourse: A dog act in the semiotic square; 7 Circus Animals as Symbols, Actors, and Persons; In the company of animals; The representation of animals in cultures; Animal agencies: Legal and moral issues; A cultural paradigm shift : Animals as nonhuman persons; 8 Dancing with Tigers, Lying with Lions: Translating Biology into Art; Tigers in the wild 327 $aThe fifth dimension of spaceFrom biology to art; The poetics and rhetoric of the cage act; The lion's anger; A master at work; A work of art; 9 Clowns at Work: A Sociocritical Discourse; Clowns unmasked; Clowns at work; Syntax and semantics of chaos: Herbert Marcuse at the circus; Power of the mask; What is a gag and how it works: A conversation; 10 The Imaginary Circus; Romancing the circus; The circus as a phantasm; The ascent of the clown; Circus mystics: The juggler and the funambulist; 11 Ideology and Politics in the Circus Ring; Poetics and politics of the body 327 $aErotic circus: The tame and the wildIdeology, politics, and propaganda; The body politic in performance; 12 The Postanimal Circus; A cultural revolution: The animal liberation movement; The new circus: Human, humane, and humanitarian; Circus and subversion: From anticircus to counterculture and activism; The return of the animal?; Conclusion: Pleasures of the Circus: Attraction, Emotion, and Addiction; Truth and deception; The logic of attraction; Information, fear, and empathy; Games, rewards, and addiction; Performance, ritual, and meaning; Bibliography; Index 330 $aThis volume presents a theory of the circus as a secular ritual and introduces a method to analyze its performances as multimodal discourse. The book's fifteen chapters cover the range of circus specialties (magic, domestic and wild animal training, acrobatics, and clowning) and provide examples to show how cultural meaning is produced, extended and amplified by circus performances. Bouissac is one of the world's leading authorities on circus ethnography and semiotics and this work is grounded on research conducted over a 50 year span in Europe, Asia, Australia and the Americas. It concludes w 606 $aCircus -- Social aspects 606 $aDiscourse analysis -- Social aspects 606 $aModality (Linguistics) 606 $aMultimedia communications 606 $aPerforming arts -- Semiotics 606 $aSemiotics 606 $aVisual communication 606 $aCircus$xSocial aspects 606 $aPerforming arts$xSemiotics 606 $aDiscourse analysis$xSocial aspects 606 $aVisual communication 606 $aMultimedia communications 606 $aModality (Linguistics) 606 $aSemiotics 606 $aSocial Sciences$2HILCC 606 $aRecreation & Sports$2HILCC 615 4$aCircus -- Social aspects. 615 4$aDiscourse analysis -- Social aspects. 615 4$aModality (Linguistics). 615 4$aMultimedia communications. 615 4$aPerforming arts -- Semiotics. 615 4$aSemiotics. 615 4$aVisual communication. 615 0$aCircus$xSocial aspects 615 0$aPerforming arts$xSemiotics 615 0$aDiscourse analysis$xSocial aspects 615 0$aVisual communication 615 0$aMultimedia communications 615 0$aModality (Linguistics) 615 0$aSemiotics 615 7$aSocial Sciences 615 7$aRecreation & Sports 676 $a791.3 676 $a791.3014 700 $aBouissac$b Paul$0165102 801 0$bAU-PeEL 801 1$bAU-PeEL 801 2$bAU-PeEL 906 $aBOOK 912 $a9910785948403321 996 $aCircus as Multimodal Discourse$93675730 997 $aUNINA LEADER 04961nam 22012011 450 001 9910789449003321 005 20211014030641.0 010 $a0-520-93126-2 010 $a1-306-07360-X 024 7 $a10.1525/9780520931268 035 $a(CKB)3710000000055097 035 $a(EBL)1513947 035 $a(SSID)ssj0001192938 035 $a(PQKBManifestationID)11673329 035 $a(PQKBTitleCode)TC0001192938 035 $a(PQKBWorkID)11126662 035 $a(PQKB)10850637 035 $a(SSID)ssj0000682049 035 $a(PQKBManifestationID)12313426 035 $a(PQKBTitleCode)TC0000682049 035 $a(PQKBWorkID)10678417 035 $a(PQKB)11236370 035 $a(DE-B1597)519051 035 $a(OCoLC)1110707736 035 $a(DE-B1597)9780520931268 035 $a(Au-PeEL)EBL1513947 035 $a(CaPaEBR)ebr10793607 035 $a(CaONFJC)MIL538611 035 $a(OCoLC)862374299 035 $a(MiAaPQ)EBC1513947 035 $a(PPN)183546288 035 $a(EXLCZ)993710000000055097 100 $a19851111h20052005 uy 0 101 0 $aeng 135 $aurnn#---|u||u 181 $ctxt 182 $cc 183 $acr 200 10$aWhat is cinema?$hVolume 2 /$fby Andre? Bazin ; foreword by Franc?ois Truffaut ; new foreword by Dudley Andrew ; essays selected and translated by Hugh Gray 210 1$aBerkeley :$cUniversity of California Press,$d[2005] 210 4$d©2005 215 $a1 online resource (314 p.) 300 $aDescription based upon print version of record. 311 0 $a0-520-02034-0 311 0 $a0-520-24228-9 320 $aIncludes bibliographical references and index. 327 $tFront matter --$tFOREWORD --$tINTRODUCTION --$tAN AESTHETIC OF REALITY: NEOREALISM --$tLA TERRA TREMA --$tBICYCLE THIEF --$tDE SICA: METTEUR EN SCENE --$tUMBERTO D: A GREAT WORK --$tCABIRIA: THE VOYAGE TO THE END OF NEOREALISM --$tIN DEFENSE OF ROSSELLINI --$tTHE MYTH OF MONSIEUR VERDOUX --$tLIMELIGHT, OR THE DEATH OF MOLIERE --$tTHE GRANDEUR OF LIMELIGHT --$tTHE WESTERN: OR THE AMERICAN FILM PAR EXCELLENCE --$tTHE EVOLUTION OF THE WESTERN --$tENTOMOLOGY OF THE PIN-UP GIRL --$tTHE OUTLAW --$tMARGINAL NOTES ON EROTICISM IN THE CINEMA --$tSOURCES AND TRANSLATOR'S NOTES --$tINDEX 330 $aAndré Bazin's What Is Cinema? (volumes I and II) have been classics of film studies for as long as they've been available and are considered the gold standard in the field of film criticism. Although Bazin made no films, his name has been one of the most important in French cinema since World War II. He was co-founder of the influential Cahiers du Cinéma, which under his leadership became one of the world's most distinguished publications. Championing the films of Jean Renoir (who contributed a short foreword to Volume I), Orson Welles, and Roberto Rossellini, he became the protégé of François Truffaut, who honors him touchingly in his foreword to Volume II. This new edition includes graceful forewords to each volume by Bazin scholar and biographer Dudley Andrew, who reconsiders Bazin and his place in contemporary film study. The essays themselves are erudite but always accessible, intellectual, and stimulating. As Renoir puts it, the essays of Bazin "will survive even if the cinema does not." 606 $aMotion pictures 606 $aPerforming arts 610 $aauteur. 610 $abazin. 610 $acahiers du cinema. 610 $achaplin. 610 $acinema and screen. 610 $acinema. 610 $acitizen kane. 610 $acritical theory. 610 $acultural studies. 610 $adigital film. 610 $adirectors. 610 $aediting. 610 $aeroticism. 610 $afellini. 610 $afilm and animation. 610 $afilm cinematography. 610 $afilm criticism. 610 $afilm genre. 610 $afilm history. 610 $afilm literature. 610 $afilm movements. 610 $afilm studies. 610 $afilm technique. 610 $afilm theory. 610 $afilm. 610 $afilmmaking. 610 $afrench cinema. 610 $aimage culture. 610 $ajean renoir. 610 $aliterary studies. 610 $amass media. 610 $amedia. 610 $aneorealism. 610 $anonfiction. 610 $aorson welles. 610 $aroberto rossellini. 610 $asurrealism. 610 $atruffaut. 610 $avisual culture. 615 0$aMotion pictures. 615 0$aPerforming arts. 676 $a791.43 700 $aBazin$b Andre?$f1918-1958.$0382106 701 $aAndrew$b Dudley$f1945-$0532928 701 $aGray$b Hugh$f1900-1981.$01012984 701 $aTruffaut$b Franc?ois$0387602 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910789449003321 996 $aWhat is cinema$92353918 997 $aUNINA