Title: Beckett and the theatrical sign : the need for semiotics
Source document: Theatralia. 2019, vol. 22, iss. 2, Supplementum, pp. 9-22
Extent
9-22
-
ISSN1803-845X (print)2336-4548 (online)
Persistent identifier (DOI): https://doi.org/10.5817/TY2019-S-2
Stable URL (handle): https://hdl.handle.net/11222.digilib/142286
Type: Article
Language
License: CC BY-NC-ND 4.0 International
Notice: These citations are automatically created and might not follow citation rules properly.
References
[1] AUSLANDER, Philip. 2008. Liveness: performance in a mediatized culture. 2nd ed. New York: Routledge, 2008 (first edition published in 1999).
[2] AUSLANDER, Philip. 2012. Digital liveness: a historico-philosophical perspective. PAJ: A Journal of Performance and Art 102 (2012): 3–11.
[3] BAKOLA, Emmanuela. 2010. Cratinus and the art of comedy. Oxford: Oxford University Press, 2010.
[4] BECKETT, Samuel. 1986. The Complete Dramatic Works. London: Faber and Faber, 1986.
[5] DAVIS, Robin and Lance BUTLER (eds.). 1988. "Make sense who may". Essays on Samuel Beckett's later works. Colin Smythe: Gerrards Cross, 1988.
[6] DRÁBEK, Pavel. 2016. Prague School Theatre Theory and its Contexts (Afterword). In David Drozd, Tomáš Kačer and Don Sparling. Theatre theory reader: Prague School writings. Prague: Karolinum Press, 2016: 533–635.
[7] DROZD, David, Tomáš KAČER and Don SPARLING (eds.). 2016. Theatre theory reader: Prague School writings. Prague: Karolinum Press, 2016.
[8] HALLIWELL, Stephen. 1998. Aristotle's Poetics. 2nd ed., London: Duckworth, 1998.
[9] HONZL, Jindřich. 2016a [1940]. The mobility of the theatrical sign. In David Drozd, Tomáš Kačer and Don Sparling. Theatre theory reader: Prague School writings. Prague: Karolinum Press, 2016: 129–146.
[10] HONZL, Jidřich. 2016b [1943]. The hierarchy of theatrical devices. In David Drozd, Tomáš Kačer and Don Sparling. Theatre theory reader: Prague School writings. Prague: Karolinum Press, 2016: 157–164.
[11] KNOWLSON, James. 1996. Damned to fame. The life of Samuel Beckett. New York: Simon and Schuster, 1996.
[12] KUHN, Thomas. 1962. The structure of scientific revolutions. Chicago: The University of Chicago Press, 1962.
[13] KUNDERT-GIBB, John. 1999. No-thing is left to tell. Zen/chaos theory in the dramatic art of Samuel Beckett. Madison: Associated University Presses, 1999.
[14] LEHMANN, Hans-Thies. 1999. Postdramatisches Theater. Frankfurt a. M.: Verlag der Autoren, 1999. (English translation Postdramatic theatre. London: Routledge, 2006).
[15] O'GORMAN, Kathleen. 1988. The speech act in Beckett's Ohio Impromptu. In Robin Davis and Lance Butler (eds.). "Make sense who may". Essays on Samuel Beckett's later works. Colin Smythe: Gerrards Cross, 1988: 108–119.
[16] SCHEINER, Corinne. 2013. Self-Translation. In Anthony Uhlmann (ed.). Samuel Beckett in context. Cambridge: Cambridge University Press, 2013: 370–380.
[17] ŠLAISOVÁ, Eva. 2012. "Aktualizace" in English scholarly literature: interpretation, ignorance, and misunderstanding. Theatralia 15 (2012): 2: 154–167.
[18] SLOTE, Sam. 2013. The Joyce circle. In Anthony Uhlmann (ed.). Samuel Beckett in context. Cambridge: Cambridge University Press, 2013: 150–159.
[19] UHLMANN, Anthony (ed.). 2013. Samuel Beckett in context. Cambridge: Cambridge University Press, 2013.
[2] AUSLANDER, Philip. 2012. Digital liveness: a historico-philosophical perspective. PAJ: A Journal of Performance and Art 102 (2012): 3–11.
[3] BAKOLA, Emmanuela. 2010. Cratinus and the art of comedy. Oxford: Oxford University Press, 2010.
[4] BECKETT, Samuel. 1986. The Complete Dramatic Works. London: Faber and Faber, 1986.
[5] DAVIS, Robin and Lance BUTLER (eds.). 1988. "Make sense who may". Essays on Samuel Beckett's later works. Colin Smythe: Gerrards Cross, 1988.
[6] DRÁBEK, Pavel. 2016. Prague School Theatre Theory and its Contexts (Afterword). In David Drozd, Tomáš Kačer and Don Sparling. Theatre theory reader: Prague School writings. Prague: Karolinum Press, 2016: 533–635.
[7] DROZD, David, Tomáš KAČER and Don SPARLING (eds.). 2016. Theatre theory reader: Prague School writings. Prague: Karolinum Press, 2016.
[8] HALLIWELL, Stephen. 1998. Aristotle's Poetics. 2nd ed., London: Duckworth, 1998.
[9] HONZL, Jindřich. 2016a [1940]. The mobility of the theatrical sign. In David Drozd, Tomáš Kačer and Don Sparling. Theatre theory reader: Prague School writings. Prague: Karolinum Press, 2016: 129–146.
[10] HONZL, Jidřich. 2016b [1943]. The hierarchy of theatrical devices. In David Drozd, Tomáš Kačer and Don Sparling. Theatre theory reader: Prague School writings. Prague: Karolinum Press, 2016: 157–164.
[11] KNOWLSON, James. 1996. Damned to fame. The life of Samuel Beckett. New York: Simon and Schuster, 1996.
[12] KUHN, Thomas. 1962. The structure of scientific revolutions. Chicago: The University of Chicago Press, 1962.
[13] KUNDERT-GIBB, John. 1999. No-thing is left to tell. Zen/chaos theory in the dramatic art of Samuel Beckett. Madison: Associated University Presses, 1999.
[14] LEHMANN, Hans-Thies. 1999. Postdramatisches Theater. Frankfurt a. M.: Verlag der Autoren, 1999. (English translation Postdramatic theatre. London: Routledge, 2006).
[15] O'GORMAN, Kathleen. 1988. The speech act in Beckett's Ohio Impromptu. In Robin Davis and Lance Butler (eds.). "Make sense who may". Essays on Samuel Beckett's later works. Colin Smythe: Gerrards Cross, 1988: 108–119.
[16] SCHEINER, Corinne. 2013. Self-Translation. In Anthony Uhlmann (ed.). Samuel Beckett in context. Cambridge: Cambridge University Press, 2013: 370–380.
[17] ŠLAISOVÁ, Eva. 2012. "Aktualizace" in English scholarly literature: interpretation, ignorance, and misunderstanding. Theatralia 15 (2012): 2: 154–167.
[18] SLOTE, Sam. 2013. The Joyce circle. In Anthony Uhlmann (ed.). Samuel Beckett in context. Cambridge: Cambridge University Press, 2013: 150–159.
[19] UHLMANN, Anthony (ed.). 2013. Samuel Beckett in context. Cambridge: Cambridge University Press, 2013.