| Introduction A semiotician at the circus |
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1 | (10) |
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Chapter 1 The production of circus space |
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11 | (10) |
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1.1 The constraints of nomadic life |
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11 | (3) |
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1.2 The spatial algorithm of the circus |
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14 | (2) |
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16 | (2) |
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1.4 Olli and Illi: playing with space and desire |
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18 | (3) |
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Chapter 2 The time of the circus. Cognitive and emotional dimensions of acrobatics and other circus acts |
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21 | (23) |
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22 | (2) |
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2.2 A brain to brain affair |
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24 | (5) |
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29 | (5) |
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2.4 The timeless tools of time |
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34 | (4) |
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2.5 Clowns at work: the melodic structure of social interactions |
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38 | (5) |
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2.6 Concluding remarks: circus time and cognition |
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43 | (1) |
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Chapter 3 In what sense is a circus animal performing? |
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44 | (11) |
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3.1 Meaning, text, and context |
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44 | (2) |
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46 | (4) |
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3.3 A symphony of signs: the art of deceit and the pitfalls of self-deception |
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50 | (5) |
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Chapter 4 Horses' feathers: from tacit knowledge to circus metaphors |
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55 | (13) |
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4.1 A theoretical prelude |
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55 | (3) |
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4.2 Birds, horses, and feathers |
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58 | (2) |
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4.3 Horses, ostriches, and chorus girls |
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60 | (5) |
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4.4 Circus horses in times of cultural changes |
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65 | (3) |
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Chapter 5 Circus and cycles |
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68 | (14) |
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5.1 Horse and bicycle: preliminary analogies |
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68 | (3) |
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5.2 History, cultural evolution, and the circus |
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71 | (1) |
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5.3 The introduction of the bicycle in circus spectacles |
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72 | (3) |
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5.4 Pondering the strange history of the bicycle |
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75 | (3) |
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5.5 The semiotics of the bicycle |
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78 | (2) |
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5.6 The bicycle enters the kingdom of the horse |
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80 | (2) |
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Chapter 6 The pyramid and the wheel: the visual discourse of circus acrobatics |
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82 | (21) |
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6.1 The representation of law and anarchy |
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83 | (1) |
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6.2 The language of the pyramid |
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84 | (2) |
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6.3 The Tangier troupe: from order to chaos and back |
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86 | (3) |
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6.4 The staging of acrobatics as social metaphors |
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89 | (1) |
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6.5 Revolution(s) on a trampoline |
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90 | (2) |
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6.6 Triumph and tragedy: the semiotics of fear and danger |
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92 | (2) |
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6.7 Under the semiotic magnifying lens |
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94 | (1) |
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6.8 Gender economy and tacit rules: norms and transgressions in the air |
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95 | (5) |
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6.9 The predictive power of semiotics |
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100 | (1) |
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6.10 Order and chaos on wheels |
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101 | (2) |
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Chapter 7 The logic of clown faces |
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103 | (17) |
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7.1 The structure of European clowns' make-up |
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104 | (2) |
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7.2 From structuralism to biosemiotics |
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106 | (2) |
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7.3 Icons of biomorphology |
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108 | (2) |
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7.4 White faces and white patches: the management of leucosignals in clown make-up |
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110 | (3) |
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7.5 A cross-cultural probe of clown make-up and its transformations |
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113 | (4) |
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7.6 Expanding the scope: toward a global semiotic theory of clown make-up |
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117 | (3) |
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Chapter 8 Incident, accident, failure: life and death at the circus |
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120 | (29) |
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8.1 The representation of negative experience in performance |
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121 | (1) |
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8.2 A science of the individual |
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122 | (3) |
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8.3 Toward a model of negative experience |
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125 | (2) |
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8.4 When failure means success: the staging of a negative experience |
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127 | (5) |
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8.5 The semiotic dissection of George Carl's comic act |
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132 | (2) |
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8.6 Anatomy of a negative masterpiece |
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134 | (2) |
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8.7 Subjective vs. objective situations |
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136 | (5) |
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141 | (8) |
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Chapter 9 There's no business like show business: the marketing of performance |
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149 | (13) |
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9.1 Marketing the performing arts |
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149 | (5) |
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9.2 The golden rules of performance |
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154 | (1) |
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9.3 How to capture an audience |
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155 | (3) |
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158 | (4) |
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Chapter 10 The researcher as spectator: the pragmatics of circus performances |
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162 | (15) |
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10.1 Toward a theory of live performances |
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163 | (3) |
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10.2 The predicaments of description |
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166 | (4) |
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10.3 The rules of performance |
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170 | (2) |
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10.4 How to make a verbal copy |
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172 | (3) |
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10.5 From rules of performance to rules of description |
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175 | (2) |
| Conclusion Circus in perspective |
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177 | (8) |
| References |
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185 | (10) |
| Subject index |
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195 | (2) |
| Author index |
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197 | |