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Co je divadlo utlačovaných? Jaká je jeho metoda? Jak vzniká představení a kdo jsou jeho ne-herci a ne-diváci? Na tyto a další otázky odpovídají autorky z pohledu jokera - tedy průvodce divadelních skupin a moderátora představení divadla utlačovaných. Jeho role spočívá jednak v práci se skupinou, která připravuje divadelní představení, jednak v práci s diváky. Podle tohoto rozdělení je strukturována i tato kniha. Popis jednotlivých fází vzniku představení je proložen rozhovory s dalšími divadelníky a také konkrétními příklady z realizovaných představení. Ve druhé části knihy sdílí své zkušenosti šest jokerů, kteří aktivně metodu divadla utlačovaných používají.

Theater --- Semiotics.

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This groundbreaking book challenges the disciplinary boundaries that have traditionally separated scientific inquiry from literary inquiry. It explores scientific knowledge in three subject areas-the natural history of aging, literary narrative, and psychoanalysis. In the authors' view, the different perspectives on cognition afforded by Anglo-American cognitive science, Greimassian semiotics, and Lacanian psychoanalysis help us to redefine our very notion of culture. Part I historically situates the concepts of meaning and truth in twentieth-century semiotic theory and cognitive science. Part II contrasts the modes of Freudian case history to the general instance of Einstein's relativity theory and then sets forth a rhetoric of narrative based on the discourse of the aged. Part III examines in the context of literary studies an interdisciplinary concept of cultural cognition. Culture and Cognition will be essential reading for literary theorists, historians and philosophers of science; semioticians; and scholars and students of cultural studies, the sociology of literature, and science and literature.

Discourse analysis, Narrative. --- Semiotics.

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How might an understanding of semeiosis enrich our understanding and appreciation of the literary work? Micael Cabot Haley investigates the creative working of metaphor from the perspective of the semeiotic theory of Charles Sanders Peirce. Haley bringes Peirce's sign theory, categories, philosophical realism, and objective idealism to bear upon metaphor, illustrating the role of figruative semeiosis as a creative principle of semantic growth in literature, language, and consciousness. The Peircean metaphor is shown to be a "metaicon," which appears in poetry as a perennially fresh srchetypal metaphor, generating a myriad of poetic diagrams and images. Peirce's central man-as-symbol metaphor is revealed as grounded in a symmetrical metaicon controlling and guiding abductive discovery of many kinds. Haley applies this Peircean scheme to actual literary uses of metaphor by such poets as William Shakespeare, John Keats, and T. S. Eliot, revealing in abundant detail just how Peircean conception works itself out in practice. Haley's clear-headed, perspicacious analysis takes a first step toward the founding of a Peircean semeiotic of figurative language.

Semiotics. --- Literary theory

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What do the bizzare etymologies of Jean-Pierre Brisset, made-up languages for literary fiction, The Dialectic of Enlightenment, Latin grammarians, Horace’s Epodes, and the Papyrus of Ani have in common? Absolutely nothing. Yet, taken together they provide an unusually coherent picture of a hitherto unacknowledged non-tradition of linguistic investigation. At these moments, particularly within the traditions of European writing which can loosely be termed “avant-garde,” philology goes rogue, hearkening to unearthly imperatives and barely comprehended intimations, and producing results well beyond those generated by more respectable – and supposedly more grounded – philological endeavors. ‘Pataphilology: An Irreader seeks to document and analyze such moments of philological speculation, invention, and détournement. In using the term ‘pataphilology, Gurd and van Gerven Oei are not proposing a facile analogy with ‘pataphysics, where ‘pataphilology would be philology’s wacky twin, always out for a lark, never doing anything real. This would presuppose an operation (even if parenthetical) on philology analogous to a shift from physics to ’pataphysics, something which Alfred Jarry, to whom this volume owes the latter neologism, appears to contradict in his initial definition: “Pataphysics […] is the science of that which is superinduced upon metaphysics, whether within or beyond the latter’s limitations, extending as far beyond metaphysics as the latter extends beyond physics.” Any way you cut it, ‘pataphysics is a physics that demands — or, better, that relies on — an utmost philological sensitivity to writing, unheard etymologies, unstable translations, incomplete formalizations, and haphazard decryptions. This volume seeks, then, to document how philological practices — no matter how non-standard, disreputable, or academically useless — have played a role in the production of avant-garde literature and knowledge, as well as forgotten, alternative, or fictitious scholarly projects. Ranging from the papyrus of Ani to the future languages of speculative fiction, from the fictional tablets of Armand Schwerner to the Attic Nights of Aulus Gellius, from Horace to Lacan, ’Pataphilology: An Irreader is a cabinet of philological curiosity — and a map of the ever-changing constellations that emerge when human language loses its chains.

Semiotics / semiology --- Philology. --- Alfred Jarry --- grammar --- philology --- pataphysics --- etymology --- semiotics

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Deconstruction. --- Criticism --- Semiotics and literature