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Introduction – From Theatre to the
Iconic/Fictional Arts
Fictional thinking
Semiotic substratum
Structure of the book
Methodological considerations
Part
I –Poetic and Rhetoric Structures
Chapter 1 The Nature of Fictional
Thinking
Principles of fictional thinking
Structure and thematic specification
Archetypal and absurdist structures
The Binding of Isaac
The Passion of Christ
The Bacchae
Chapter 2 Deep and Surface Structures
A model of deep structure
Additional poetic rules
Basic surface structures
Dogville
Possible fallacies
Chapter 3 Structure
of Character
Layered structure
Unity of character
Citizen Kane
Modern Times
Characterization in the pictorial arts
Archetypal characterization
Change and development
Deus ex machina
Kinds of characters
A broad notion of ‘character’
Chapter 4 Complex Fictional Actions
Hegel’s notion of ‘conflict’
Antigone
Hegel and Aristotle
Alexander Nevsky
The Seventh Seal
Marat/Sade
Conflict in the pictorial arts
The conflict fallacy
Chapter 5 Fictional Time and Place
Descriptive vs. fictional time and place
Dramatic time and place
Function of the interval
Pictorial time and place
HG
Place in audio drama
Thematic function of time and place
Chapter 6 Intertextual Relations
Creative vs. hermeneutic interpretation
Mechanism of creative interpretation
Departures from source-texts
Jesus of Montreal
Legitimacy and plagiarism
Allusion
Illustration
Parody
Chapter 7 Fictional Experience as Metaphor
The metaphoric principle
Fictional expression
Metaphoric experience
Les Troyennes
Alexander Nevsky
Mechanism of fictional metaphor
Wild Strawberries
Poetic Implications
Chapter 8 Fictional Allegory
Elements of allegory
The Blind Leading the Blind
The Seventh Seal
Ecclesia and Synagoga
Allegoric figures
Mixing praxical and allegoric characters
Fable and parable
Animal Farm
Allegorizing interpretation
Chapter 9 Rhetoric Structure
Pragmatic interaction
Macro-speech act/action
Structural equivalence
Rhetoric structure
Rhetoric vs. ritual experience
Quem Quaeritis
The White Crucifixion
The quest for truth
Talk to Her
Dancing at Lughnasa
The Seventh Seal
Luncheon of the Boat Party
Poetic implications
Part II Semiotic Substratum
Chapter 10 The Imagistic Nature of Iconicity
Imagistic thinking
Imprinting and language mediation
Specific differentiae of iconic media
Dramatic, pictorial and recording/reproducing media
Chapter 11 Basic Iconic Units
Segmentation of real interaction
Typical iconic and units
Typical iconic objects
Macbeth and the witches
The Annunciation
Real objects in iconic texts
Chapter 12 Iconic Metaphor
Verbal metaphor
Iconic metaphor
Surface structures
Iconic speech act metaphor
Chapter 13 Iconic Symbol
Symbol formation
Symbolic interpretation
Metaphoric and metonymic symbols
Iconic motif
Citizen Kane
The Broken Column
Functions of symbol
Chapter 14 Iconic Convention
Reading and interpretation
Departures from similarity
Limitations and functions
Medium conventions
Systemic conventions
Ironic functions
Fellini’s 8 ½
Chapter 15 Iconic/Fictional Reference
Deflected vs. direct reference
Reference through attributes
The Art of Painting
Reference and self-reference
‘Performer’, ‘text’ and ‘character’
Chapter 16 Body Language
Basic analogy
Channels of nonverbal indication
Iconic body language
Dramatic body language: Macbeth
Pictorial body language
Silent theatre: A Passing Shadow
Modern Times
Iconic body-language metaphor
Chapter 17 Illusion and Textuality
The notion of ‘illusion’
Illusion in art
Illusion in theatre
Illusion in cinema
Chapter 18 Inter-medial Relations
Inter-medial translation
Romeo and Juliet
Inter-medial combination
Recording and reproduction
Chapter 19 The Receiver’s Vital
Role
Real vs. implied receiver
Implied receiver’s contribution
Implied receiver’s limitations
Dialogue between author and receiver
Part III Theoretical Implications
Chapter 20 - The Archaic Roots of Iconic/Fictional
Thinking
Fictional mode of thinking
Imagistic mode of representation
A possible development
Exposure to iconic/fictional texts
Chapter 21 The Notion of ‘Art’
The problem of the term ‘art’
Possible common denominators
The aesthetic option
Biological roots of the aesthetic
Objective properties vs. subjective experience
Range of the aesthetic
Specific difference of ‘art’
Function of the aesthetic experience
A tentative definition of ‘art’
List of Cited Works
List of Analyzed Works
Index
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