Název: The legacy of the Linguistic Circle of Prague
Zdrojový dokument: Theatralia. 2012, roč. 15, č. 2, s. 24-36
Rozsah
24-36
-
ISSN1803-845X (print)2336-4548 (online)
Trvalý odkaz (handle): https://hdl.handle.net/11222.digilib/124410
Type: Článek
Jazyk
Licence: Neurčená licence
Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.
Abstrakt(y)
My contention is that the epistemological and theoretical foundations of theatre semiotics was very much developed by the Prague School during the 1930s by scholars such as Petr Bogatyrev (1971, 1976, 1976a), Jindřich Honzl (1971, 1976, 1976a), Jiři Veltruský (1976, 1976a, 1976b, 1989, 1990) and indeed later by the works of Jan Mukařovský, Felix Vodička and others; that is, they introduced the paradigm (in the sense of Thomas Khun, 1970), and what followed in the early 1970s was 'normal science': the development of those foundations, and no important breakthrough came afterwards. They did the ground and seminal work, very much as the Russian Formalists did pertaining to narrative, literary history and poetic analysis. Thus, my intention in this paper is to underline this contribution and the importance that, without any doubt, the Circle would have had if their work could have been known and published before the advent of the so called School of Paris.
Reference
[1] BAKHTIN, Mikhail Mikhailovich. 1990. Art and Answerability. Austin: University of Texas Press, 1990.
[2] BAKHTIN, Mikhail Mikhailovich. 1986. Speech Genres and Other Late Essays. Austin: University of Texas Press, 1986.
[3] BAKHTIN, Mikhail Mikhailovich. 1984. Problems of Dostoevsky's Poetics. Minneapolis: University of Minnesota Press, 1984.
[4] BARTHES, Roland. 1964. Le théâtre de Baudelaire [The Theatre of Baudelaire]. In Essais critiques. Paris: Éditions du Seuil, 1964: 41‒47.
[5] BARTHES, Roland. 1964a. Littérature et signification [Literature and Meaning]. In Essais critiques. Paris: Éditions du Seuil, 1964: 258‒276.
[6] BOGATYREV, Petr. 1976. Forms and Functions of Folk Theatre. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 51‒56.
[7] BOGATYREV, Petr. 1976a. Semiotics of Folk Theatre. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 32‒50.
[8] BOGATYREV, Petr. 1971. Les signes du theatre [The Signs of the Theatre]. Poétique 8 (1971): 517‒530.
[9] DE TORO, Fernando. 1995. Theatre Semiotics. Text and Staging in Modern Theatre. Frankfurt/Toronto: Vervuert Verlag and Toronto University Press, 1995.
[10] DE TORO, Fernando. 2011. Semiótica del teatro: Cuarta edición corregida y aumentada. Buenos Aires: Editorial Glerna, 2011.
[11] ECO, Umberto. 1977. Semiotics of Theatrical Performance. The Drama Review 21 (1977): 1: 107‒117. | DOI 10.2307/1145112
[12] HAJIČOVÁ, Eva, Tomáš HOSKOVEC, Oldřich LEŠKA, Peter SGALL, and Zdena SKUMALOVÁ. 1999. Prague Linguistic Circle Papers. Vol. 3. Amsterdam/Philadelphia: John Benjamin, 1999.
[13] HELBO, André. 1975. Sémiologie de la représentation [Semiology of Representation]. Bruxelles: Editions Complexe, 1975.
[14] HELBO, André. 1990. Semiotique et théâtrologie. Cadre méthologique et méthodologie du cadre [Semiotics and Theatre Studies. Metodological frame and metodology of frame]. Manuscript, 1990.
[15] HONZL, Jindřich. 1976. Dynamics of the Sign in the Theatre. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 74‒93.
[16] HONZL, Jindřich. 1976a. The Hierarchy of Dramatic Devices. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 118‒127.
[17] HONZL, Jindřich. 1971. La mobilité du signe théâtral [The Mobility of the Theatrical Sign]. Travail théâtral 4 (1971): 5‒20.
[18] INGARDEN, Roman. 1973. The Cognition of the Literary Work of Art. Evanston: Northwestern University Press, 1973.
[19] INGARDEN, Roman. 1973a. The Literary Work of Art. Evanston: Northwestern University Press, 1973.
[20] KHUN, Thomas. 1970. The Structure of the Scientific Revolutions. 2nd ed. enlarged. Chicago: University of Chicago Press, 1970.
[21] KOWZAN, Tadeusz. 1968. Le signe au théâtre [The Sign of Theatre]. Diogène 61 (1968): 59‒90.
[22] MATĚJKA, Ladislav, and Erwin R. TITUNIK (eds.). 1976. Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976.
[23] MUKAŘOVSKÝ, Jan. 1970. Aesthetic Function, Norm and Value as Social Facts. Ann Arbor: University of Michigan Press, 1970.
[24] MUKAŘOVSKÝ, Jan. 1970a. Littérature et sémiologie [Literature and Semiology]. Poétique 3 (1970): 386‒398.
[25] MUKAŘOVSKÝ, Jan. 1978. Structure, Sign, and Function. Translated and edited by John Burbank, and Peter Steiner. New Haven/London: Yale University Press, 1978.
[26] MUKAŘOVSKÝ, Jan. 2000. Signo, función y valor. Estética y semiótica del arte de Jan Mukařovský. Introduction and translation by Jarmila Jandová and Emil Volek (eds.). Bogota: Plaza y Janéz, 2000.
[27] TYNIANOV, Juri. 1965. De la évolution littéraire [On Literary Evolution]. In Tzvetan Todorov (ed.). Théorie de la littérature.Texte des Formalistes ruses réunis, présentés et traduits par Tzvetan Todorov. Paris: Éditions du Seuil, 1965: 120‒135.
[28] VELTRUSKÝ, Jiří. 1976. Basic Features of Dramatic Dialogue. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 128‒133.
[29] VELTRUSKÝ, Jiří 1976a. Construction of Semantic Contexts. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 134‒144.
[30] VELTRUSKÝ, Jiří 1976b. Dramatic Text as a component of Theatre. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 94‒117.
[31] VELTRUSKÝ, Jiří. 1989. Cualidades sonoras del texto y la actuación del actor [The Sound Qualities of the Text and the Performance of the Actor]. Gestos 4 (1989): 8: 33‒48.
[32] VELTRUSKÝ, Jiří. 1990. El drama como literatura. Translated by Milena Grass. Buenos Aires: Editorial Galerna, 1990.
[33] VELTRUSKÝ, Jiří. 1981. The Prague School Theory of Theatre. Poetics Today (1981): 2‒3: 225‒235.
[34] VODIČKA, Felix. 1976. Die Struktur der literarischen Entwicklung. Translated by Christian Tuschinsky, Meter Richter, and Frank Boldt. München: Wilhelm Fink Verlag, 1976.
[35] VODIČKA, Felix. 1970. Historia de la repercusión de la obra literaria [History of the Impact of Literary Work]. In Lingüística forma y crítica literaria. Madrid: Plaza Mayor, 1970: 47‒62.
[36] VODIČKA, Felix, and O. OBELIC. 1971. El mundo de las letras. Santiago, Chile: Editorial Universitaria, 1971.
[37] VOLOSHINOV, V. N. 1986. Marxism and the Philosophy of Language. Translated by Ladislav Matějka, and I. R. Titunik. Cambridge, Massachusetts: Harvard University Press, 1986.
[2] BAKHTIN, Mikhail Mikhailovich. 1986. Speech Genres and Other Late Essays. Austin: University of Texas Press, 1986.
[3] BAKHTIN, Mikhail Mikhailovich. 1984. Problems of Dostoevsky's Poetics. Minneapolis: University of Minnesota Press, 1984.
[4] BARTHES, Roland. 1964. Le théâtre de Baudelaire [The Theatre of Baudelaire]. In Essais critiques. Paris: Éditions du Seuil, 1964: 41‒47.
[5] BARTHES, Roland. 1964a. Littérature et signification [Literature and Meaning]. In Essais critiques. Paris: Éditions du Seuil, 1964: 258‒276.
[6] BOGATYREV, Petr. 1976. Forms and Functions of Folk Theatre. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 51‒56.
[7] BOGATYREV, Petr. 1976a. Semiotics of Folk Theatre. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 32‒50.
[8] BOGATYREV, Petr. 1971. Les signes du theatre [The Signs of the Theatre]. Poétique 8 (1971): 517‒530.
[9] DE TORO, Fernando. 1995. Theatre Semiotics. Text and Staging in Modern Theatre. Frankfurt/Toronto: Vervuert Verlag and Toronto University Press, 1995.
[10] DE TORO, Fernando. 2011. Semiótica del teatro: Cuarta edición corregida y aumentada. Buenos Aires: Editorial Glerna, 2011.
[11] ECO, Umberto. 1977. Semiotics of Theatrical Performance. The Drama Review 21 (1977): 1: 107‒117. | DOI 10.2307/1145112
[12] HAJIČOVÁ, Eva, Tomáš HOSKOVEC, Oldřich LEŠKA, Peter SGALL, and Zdena SKUMALOVÁ. 1999. Prague Linguistic Circle Papers. Vol. 3. Amsterdam/Philadelphia: John Benjamin, 1999.
[13] HELBO, André. 1975. Sémiologie de la représentation [Semiology of Representation]. Bruxelles: Editions Complexe, 1975.
[14] HELBO, André. 1990. Semiotique et théâtrologie. Cadre méthologique et méthodologie du cadre [Semiotics and Theatre Studies. Metodological frame and metodology of frame]. Manuscript, 1990.
[15] HONZL, Jindřich. 1976. Dynamics of the Sign in the Theatre. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 74‒93.
[16] HONZL, Jindřich. 1976a. The Hierarchy of Dramatic Devices. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 118‒127.
[17] HONZL, Jindřich. 1971. La mobilité du signe théâtral [The Mobility of the Theatrical Sign]. Travail théâtral 4 (1971): 5‒20.
[18] INGARDEN, Roman. 1973. The Cognition of the Literary Work of Art. Evanston: Northwestern University Press, 1973.
[19] INGARDEN, Roman. 1973a. The Literary Work of Art. Evanston: Northwestern University Press, 1973.
[20] KHUN, Thomas. 1970. The Structure of the Scientific Revolutions. 2nd ed. enlarged. Chicago: University of Chicago Press, 1970.
[21] KOWZAN, Tadeusz. 1968. Le signe au théâtre [The Sign of Theatre]. Diogène 61 (1968): 59‒90.
[22] MATĚJKA, Ladislav, and Erwin R. TITUNIK (eds.). 1976. Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976.
[23] MUKAŘOVSKÝ, Jan. 1970. Aesthetic Function, Norm and Value as Social Facts. Ann Arbor: University of Michigan Press, 1970.
[24] MUKAŘOVSKÝ, Jan. 1970a. Littérature et sémiologie [Literature and Semiology]. Poétique 3 (1970): 386‒398.
[25] MUKAŘOVSKÝ, Jan. 1978. Structure, Sign, and Function. Translated and edited by John Burbank, and Peter Steiner. New Haven/London: Yale University Press, 1978.
[26] MUKAŘOVSKÝ, Jan. 2000. Signo, función y valor. Estética y semiótica del arte de Jan Mukařovský. Introduction and translation by Jarmila Jandová and Emil Volek (eds.). Bogota: Plaza y Janéz, 2000.
[27] TYNIANOV, Juri. 1965. De la évolution littéraire [On Literary Evolution]. In Tzvetan Todorov (ed.). Théorie de la littérature.Texte des Formalistes ruses réunis, présentés et traduits par Tzvetan Todorov. Paris: Éditions du Seuil, 1965: 120‒135.
[28] VELTRUSKÝ, Jiří. 1976. Basic Features of Dramatic Dialogue. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 128‒133.
[29] VELTRUSKÝ, Jiří 1976a. Construction of Semantic Contexts. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 134‒144.
[30] VELTRUSKÝ, Jiří 1976b. Dramatic Text as a component of Theatre. In Ladislav Matějka, and Irwing R. Titunik (eds.). Semiotics of Art. Prague School Contributions. Cambridge, Massachusetts/London: The MIT Press, 1976: 94‒117.
[31] VELTRUSKÝ, Jiří. 1989. Cualidades sonoras del texto y la actuación del actor [The Sound Qualities of the Text and the Performance of the Actor]. Gestos 4 (1989): 8: 33‒48.
[32] VELTRUSKÝ, Jiří. 1990. El drama como literatura. Translated by Milena Grass. Buenos Aires: Editorial Galerna, 1990.
[33] VELTRUSKÝ, Jiří. 1981. The Prague School Theory of Theatre. Poetics Today (1981): 2‒3: 225‒235.
[34] VODIČKA, Felix. 1976. Die Struktur der literarischen Entwicklung. Translated by Christian Tuschinsky, Meter Richter, and Frank Boldt. München: Wilhelm Fink Verlag, 1976.
[35] VODIČKA, Felix. 1970. Historia de la repercusión de la obra literaria [History of the Impact of Literary Work]. In Lingüística forma y crítica literaria. Madrid: Plaza Mayor, 1970: 47‒62.
[36] VODIČKA, Felix, and O. OBELIC. 1971. El mundo de las letras. Santiago, Chile: Editorial Universitaria, 1971.
[37] VOLOSHINOV, V. N. 1986. Marxism and the Philosophy of Language. Translated by Ladislav Matějka, and I. R. Titunik. Cambridge, Massachusetts: Harvard University Press, 1986.