LEADER 00840nam0-2200289---450- 001 990008258840403321 005 20060118182242.0 010 $a0-534-38913-9 035 $a000825884 035 $aFED01000825884 035 $a(Aleph)000825884FED01 035 $a000825884 100 $a20060118d2004----km-y0itay50------ba 101 0 $aeng 105 $a--------001yy 200 1 $aIntroduction to scientific computation and programming$fD.T. Kaplan 210 $aBelmont, CA$cThomson - Brooks/Cole$d2004 215 $aXIII, 546 p.$d24 cm 676 $a005.1 700 1$aKaplan,$bDaniel T.$0294932 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990008258840403321 952 $a02 49 c 85$b8208$fFINBN 959 $aFINBN 996 $aIntroduction to scientific computation and programming$9741990 997 $aUNINA LEADER 05625nam 2200805 450 001 9910806970403321 005 20230912163757.0 010 $a1-282-02907-X 010 $a9786612029073 010 $a1-4426-7295-1 024 7 $a10.3138/9781442672956 035 $a(CKB)2420000000003935 035 $a(EBL)4671345 035 $a(SSID)ssj0000291602 035 $a(PQKBManifestationID)12049382 035 $a(PQKBTitleCode)TC0000291602 035 $a(PQKBWorkID)10255612 035 $a(PQKB)10944295 035 $a(CaBNvSL)thg00600443 035 $a(DE-B1597)464321 035 $a(OCoLC)944178324 035 $a(OCoLC)999361848 035 $a(DE-B1597)9781442672956 035 $a(Au-PeEL)EBL4671345 035 $a(CaPaEBR)ebr11257061 035 $a(CaONFJC)MIL202907 035 $a(OCoLC)958571454 035 $a(OCoLC)431555562 035 $a(MdBmJHUP)musev2_104575 035 $a(VaAlCD)20.500.12592/9wnqrr 035 $a(schport)gibson_crkn/2009-12-01/6/418652 035 $a(MiAaPQ)EBC4671345 035 $a(MiAaPQ)EBC3255069 035 $a(EXLCZ)992420000000003935 100 $a20160926h20052005 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt 182 $cc 183 $acr 200 10$aCinema and semiotic $ePeirce and film aesthetics, narration, and representation /$fJohannes Ehrat 205 $a2nd ed. 210 1$aToronto, [Ontario] ;$aBuffalo, [New York] ;$aLondon, [England] :$cUniversity of Toronto Press,$d2005. 210 4$d©2005 215 $a1 online resource (693 p.) 225 0 $aToronto Studies in Semiotics and Communication 300 $aDescription based upon print version of record. 311 $a0-8020-3909-X 311 $a0-8020-3912-X 320 $aIncludes bibliographical references, filmography and index. 327 $a""Contents""; ""Acknowledgments""; ""Introduction""; ""1 On Signs, Categories, and Reality and How They Relate to Cinema""; ""1.1 The Use of Signs""; ""1.2 The Construction of Meaning""; ""1.3 Investigating Conduct as a Form""; ""1.4 The Categories of Behaviour""; ""1.5 The Categorial Form of Behaviour""; ""1.6 Logic of Relations""; ""1.7 The Metaphysics of Pragmaticistic Semiotic""; ""2 Semiotic and Its Practical Use for Cinema""; ""2.1 Cinema a???Isa??? a Class of Sign""; ""2.2 The Iconism of Cinema: A first Semiotic Approach""; ""2.3 (From Film Pragmatics to) The Pragmaticism of Cinema"" 327 $a""3 What a???Isa??? Cinema?""""3.1 Cinema a???Isa??? Syntagma""; ""3.2 Cinema a???Isa??? Sign Function""; ""3.3 Cinema a???Isa??? Percept""; ""3.4 Cinema a???Isa??? Moving Matter or Time""; ""3.5 What Cinema Becomes: Theory Objects Compared, Reconciled, Rejected""; ""Intermezzo: Cinematic Imagination of Godarda???s Je vous salue, Marie""; ""4 Narration in Film and Film Theory""; ""4.1 The Narratological Question, Peirce, and Cinema""; ""4.2 The Semiotic of Narrative Time""; ""4.3 Cinematic Time""; ""Intermezzo: Two Kinds of Narrative Time in Dreyera???s Ordet""; ""5 Narration, Time, and Narratologies"" 327 $a""5.1 Ricoeura???s Mimesis""""5.2 Heideggera???s Ekstasis""; ""5.3 Aristotlea???s Poesis""; ""5.4 Greimasa???s Semiosis""; ""5.5 Bordwella???s Formalism""; ""5.6 Olmia???s Genesi""; ""6 Enunciation in Cinema""; ""6.1 Enunciation: From Vagueness to Generality""; ""6.2 Narrative Enunciation""; ""6.3 Rhetorical Enunciation in Cinema: Meaning in Figures""; ""6.4 Aesthetic Enunciation in Film""; ""Epilogue: Two Aesthetic Processes in Cinema""; ""Conclusion""; ""Notes""; ""Bibliography""; ""Filmography""; ""Index""; ""A""; ""B""; ""C""; ""D""; ""E""; ""F""; ""G""; ""H""; ""I""; ""J""; ""K""; ""L""; ""M"" 327 $a""N""""o""; ""p""; ""q""; ""r""; ""s""; ""t""; ""u""; ""v""; ""w""; ""z"" 330 $a'Meaning' in cinema is very complex, and the flood of theories that define it have, in certain ways, left cinematic meaning meaningless. Johannes Ehrat's analysis of meaning in cinema has convinced him that what is needed is greater philosophical reflection on the construction of meaning. In Cinema and Semiotic, he attempts to resurrect meaning by employing Charles S. Peirce's theories on semiotics to debate the major contemporary film theories that have diluted it. Based on Peirce's Semiotic and Pragmatism, Ehrat offers a novel approach to cinematic meaning in three central areas: narrative enunciation, cinematic world appropriation, and cinematic perception. Attempting a comprehensive theory of cinema - instead of the regional 'middle-ground' theories that function only on certain 'common-sense' assumptions that borrow uncritically from psychophysiology - Ehrat further demonstrates how a semiotic approach grasps the nature of time, not in a psychological manner, but rather cognitively, and provides a new understanding of the particular filmic sign process that relates a sign to the existence or non-existence of objects. Never before has Peirce been so fruitfully employed for the comprehension of meaning in cinema. 410 0$aToronto studies in semiotics and communication 606 $aMotion pictures$xSemiotics 606 $aMotion pictures$xAesthetics 608 $aElectronic books. 615 0$aMotion pictures$xSemiotics. 615 0$aMotion pictures$xAesthetics. 676 $a791.43014 700 $aEhrat$b Johannes$f1952-$0778090 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910806970403321 996 $aCinema and Semiotic$91686884 997 $aUNINA LEADER 01928nam0-2200361---450 001 9910296060303321 005 20250627121633.0 012 $aI.I, 4103 a.*. m.l. (3) 1776 (R)$2fei$5IT-NA0338: B II 10 100 $a20181217d1776----km-y0itay50------ba 101 0 $alat 102 $aGB 140 $aa-----------------bb0------- 200 1 $aCharacteres generum plantarum, quas in itinere ad insulas maris Australis, collegerunt, descripserunt, delinearunt, annis MDCCLXXII-MDCCLXXV. Johannes Reinoldus Forster ... et Georgius Forster 210 $aLondini$cprostant apud B. White, T. Cadell, & P. 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