LEADER 04293nam 2200673Ia 450 001 9910814526603321 005 20200520144314.0 010 $a1-282-70651-9 010 $a9786612706516 010 $a3-11-021831-3 024 7 $a10.1515/9783110218312 035 $a(CKB)2480000000003914 035 $a(EBL)555760 035 $a(OCoLC)659563405 035 $a(SSID)ssj0000427966 035 $a(PQKBManifestationID)11316424 035 $a(PQKBTitleCode)TC0000427966 035 $a(PQKBWorkID)10413918 035 $a(PQKB)10277981 035 $a(DE-B1597)36332 035 $a(OCoLC)840440219 035 $a(DE-B1597)9783110218312 035 $a(MiAaPQ)EBC555760 035 $a(EXLCZ)992480000000003914 100 $a20100427i2010 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt 182 $cc 183 $acr 200 10$aSemiotics at the circus /$fby Paul Bouissac 205 $a1st ed. 210 $aBerlin ;$aNew York $cDe Gruyter Mouton$d2010 215 $a1 online resource (207 p.) 225 1 $aSemiotics, communication and cognition ;$v3 300 $aDescription based upon print version of record. 311 $a3-11-021829-1 320 $aIncludes bibliographical references and index. 327 $t Frontmatter -- $tContents -- $tIntroduction. A semiotician at the circus -- $tChapter 1. The production of circus space -- $tChapter 2. The time of the circus. Cognitive and emotional dimensions of acrobatics and other circus acts -- $tChapter 3. In what sense is a circus animal performing? -- $tChapter 4. Horses' feathers: from tacit knowledge to circus metaphors -- $tChapter 5. Circus and cycles -- $tChapter 6. The pyramid and the wheel: the visual discourse of circus acrobatics -- $tChapter 7. The logic of clown faces -- $tChapter 8. Incident, accident, failure: life and death at the circus -- $tChapter 9. There's no business like show business: the marketing of performance -- $tChapter 10. The researcher as spectator: the pragmatics of circus performances -- $tConclusion. Circus in perspective -- $t Backmatter 330 $aSemiotics is long on theoretical, often obscure discourses, but short on applications that demonstrate with clarity the applicability of its methods. This book confronts a challenging object, the circus, and endeavors to describe its performances in ways that explain how circus acts produce meaning and cause a deep emotional involvement for their audiences. The approach is not top-down, such as would be a method that would dogmatically apply a particular theory to fully explain the phenomena in terms of this theory alone. Epistemologically, this book is an example of the bottom-up strategy, which consists of considering first the objects and heuristically calling upon methodological resources in a broad theoretical array to come to grips with the problems that are encountered. Any circus act is a complex event that has cognitive and emotional dimensions. It is also a part of a history and an institution, and cannot be abstracted from its cultural and sociological contexts. Thus the range of relevant theoretical and methodological approaches must include structural semiotics, biosemiotics, pragmatics, socio-semiotics, cultural anthropology, the cognitive sciences, the psychology and sociology of emotions, to name only the most important. But the ultimate focus of this book is to enable the readers to better understand the meaning of circus performances and to appreciate the skills and creativity of this traditional popular art, which constantly renews itself from generation to generation. 410 0$aSemiotics, communication and cognition ;$v3. 606 $aCircus$xSocial aspects 606 $aPerforming arts$xSemiotics 606 $aPerforming arts$xAudiences 606 $aVisual communication 615 0$aCircus$xSocial aspects. 615 0$aPerforming arts$xSemiotics. 615 0$aPerforming arts$xAudiences. 615 0$aVisual communication. 676 $a791.3 686 $aER 755$2rvk 700 $aBouissac$b Paul$0165102 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910814526603321 996 $aSemiotics at the Circus$94078968 997 $aUNINA