Get Semiotics at the Circus (Semiotics, Communication and PDF

By Paul Bouissac

ISBN-10: 3110218291

ISBN-13: 9783110218299

ISBN-10: 3110218313

ISBN-13: 9783110218312

What do circus performances converse? they're wealthy in severe talents and shrewdpermanent staging, They set off robust feelings, They make appealing experience, This book_ that is grounded within the own circus adventure of the author_ makes use of semiotics_ pragmatics_ and cultural stories to provide an explanation for why we're irresistibly interested in the circus, It indicates how semiotics should be utilized to appreciate and increase our leisure,

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Additional resources for Semiotics at the Circus (Semiotics, Communication and Cognition)

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In all acts the participants are carefully groomed so that signs of age or pain are masked as much as possible. The circus does not display life stories but actions by agents who are icons of their specialties and deeply engage their viewers neuro-motor competence (Wilson and Knoblich 2005). , the items comprising the “text” of an act, but it applies also to the actions performed, as it has been suggested above. All the components of our concept of Action (intention, freedom, plan, completion, achievement.

This fable of a lost and found again harmony between a man and a woman was implemented by articulating its semiotic unfolding entirely by visual means. It 20 Chapter 1 The production of circus space has used the system of oppositions provided by the spatial matrix of the circus to signify both the problem and its resolution. The only words uttered were “little bird” and “big bird”. In fact, these words were redundant since the sound and the artifact are sufficient to convey the contrast. To better understand the use of spatial categories in the producing of such an act, let us pay attention to what was not done.

It is also a common experience to discover upon a second viewing of a show that many details had been overlooked during the first one. This does not mean, of course, that the information has not been processed by the spectator’s brain but simply that it has not registered as an explicit memory. A reason for this feeling of information saturation is undoubtedly the fact that, in terms of communication theory, the channels conveying a circus performance are practically noiseless, that is, they are totally filled with relevant information to the point of creating an overload.

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Semiotics at the Circus (Semiotics, Communication and Cognition) by Paul Bouissac

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