Tadeusz Kowzan
Biographic Data
| ID | 1038116 |
|---|---|
| NAME | Tadeusz Kowzan |
| GIVEN NAMES | Tadeusz |
| FAMILY NAME | Kowzan |
| SIGNATURE | KOWZAN T |
| AFFILIATIONS | Université de Caen Normandie |
| VERIFIED | No |
| TOTAL WORKS | 11 |
| TOTAL CITATIONS | 3 |
| WORKS AS AUTHOR | 11 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 1968 |
| LATEST PUBLICATION YEAR | 2000 |
| H-INDEX | 1 |
Identité du personnage théâtral
Un signe peut-il précéder son référent
Apres avoir defini ce qui distingue le signe naturel du signe artificiel, l'A. analyse quelques exemples -du domaine artistique, de la signalisation routiere et du domaine litteraire- qui lui permettent de determiner les conditions de l'anteriorite ou de la posteriorite du signe par rapport a son referent
The Semiology of the Theater
As with any historical study, including that of knowledge and ideas, the progress of the semiology of the theater is subject to periodicity. The aim of any division into periods is to obtain a global view, even at the price of simplifications, but it can also bring out the hidden aspects of the phenomena under study.The semiology or semiotics of the theater, that is, the application of the idea of sign to the art of the spectacle, has a long past…
Iconisme ou mimétisme
Avant-garde, modernité, créativité
Theatrical Iconography/ Iconology
It has become banal to say that the object of the art of theatre, its artifact, is particularly fragile, that a theatrical performance- necessarily limited in time and not reproducible-is an ephemeral phenomenon. And yet it is a fact that the evanescence of the theatre arts explains better than any other circumstance the universality and the importance of iconography in this area. What could be more natural than the forever manifested desire to p…
Le spectacle théâtral, lieu de rencontre privilégié entre la littérature, les arts plastiques et la musique
Literature, Theatre, Cinema
It is a truism that the relationships between literature and visual entertainment are multiple, complex and variable, especially if we consider literature in the broad sense and keep in mind the enormous variety in the forms of spectacle. Actually, several dangers lie in wait for the one who, on the comparative level, deals with the problem of the relationships between a literary work and a work intended to be viewed as visual entertainment
Le texte et son interprétation théâtrale
L'A. applique le terme de texte aux enonces linguistiques. Il etablit une distinction entre texte ecrit et texte oral, chacun appartenant a un systeme different. Le texte ecrit est constitue par le texte principal et le texte secondaire. Illustration par quelques exemples de leur transcodage en signes extra-verbaux d'une representation theâtrale
"Art "En Abyme
What I like in a work of art, is when one finds the very subject of the work transposed, with specific reference to the characters in it. [...] Thus, in certain paintings by Memling or by Quentin Metzys a small convex dark mirror reflects on its own the interior of the room where the painted scene occurs. [...,] Then, indeed, in literature, in Hamlet, the scene of the play; and in a lot of other theatre plays as well. [...] In The Tall of the Hou…
The Sign in the Theater
The idea of sign, σημα (sema), has been popular in philosophy and the history of the sciences. Hippocrates and the Stoics, Plato and Aristotle, Saint Augustine and Descartes, Leibniz and Locke, Hegel and Humboldt figure among those who have dealt penetratingly with it. It has engendered a wide variety of sciences and disciplines: semiology, semiotics, semasiology, semantics, sematology which changed their name and content with the influence of ti…
The Sign in the Theater
The idea of sign, σημα (sema), has been popular in philosophy and the history of the sciences. Hippocrates and the Stoics, Plato and Aristotle, Saint Augustine and Descartes, Leibniz and Locke, Hegel and Humboldt figure among those who have dealt penetratingly with it. It has engendered a wide variety of sciences and disciplines: semiology, semiotics, semasiology, semantics, sematology which changed their name and content with the influence of ti…
The Sign in the Theater
The idea of sign, σημα (sema), has been popular in philosophy and the history of the sciences. Hippocrates and the Stoics, Plato and Aristotle, Saint Augustine and Descartes, Leibniz and Locke, Hegel and Humboldt figure among those who have dealt penetratingly with it. It has engendered a wide variety of sciences and disciplines: semiology, semiotics, semasiology, semantics, sematology which changed their name and content with the influence of ti…
"Art "En Abyme
What I like in a work of art, is when one finds the very subject of the work transposed, with specific reference to the characters in it. [...] Thus, in certain paintings by Memling or by Quentin Metzys a small convex dark mirror reflects on its own the interior of the room where the painted scene occurs. [...,] Then, indeed, in literature, in Hamlet, the scene of the play; and in a lot of other theatre plays as well. [...] In The Tall of the Hou…
Le texte et son interprétation théâtrale
L'A. applique le terme de texte aux enonces linguistiques. Il etablit une distinction entre texte ecrit et texte oral, chacun appartenant a un systeme different. Le texte ecrit est constitue par le texte principal et le texte secondaire. Illustration par quelques exemples de leur transcodage en signes extra-verbaux d'une representation theâtrale
Literature, Theatre, Cinema
It is a truism that the relationships between literature and visual entertainment are multiple, complex and variable, especially if we consider literature in the broad sense and keep in mind the enormous variety in the forms of spectacle. Actually, several dangers lie in wait for the one who, on the comparative level, deals with the problem of the relationships between a literary work and a work intended to be viewed as visual entertainment
Le spectacle théâtral, lieu de rencontre privilégié entre la littérature, les arts plastiques et la musique
Theatrical Iconography/ Iconology
It has become banal to say that the object of the art of theatre, its artifact, is particularly fragile, that a theatrical performance- necessarily limited in time and not reproducible-is an ephemeral phenomenon. And yet it is a fact that the evanescence of the theatre arts explains better than any other circumstance the universality and the importance of iconography in this area. What could be more natural than the forever manifested desire to p…
Avant-garde, modernité, créativité
Iconisme ou mimétisme
The Semiology of the Theater
As with any historical study, including that of knowledge and ideas, the progress of the semiology of the theater is subject to periodicity. The aim of any division into periods is to obtain a global view, even at the price of simplifications, but it can also bring out the hidden aspects of the phenomena under study.The semiology or semiotics of the theater, that is, the application of the idea of sign to the art of the spectacle, has a long past…
Un signe peut-il précéder son référent
Apres avoir defini ce qui distingue le signe naturel du signe artificiel, l'A. analyse quelques exemples -du domaine artistique, de la signalisation routiere et du domaine litteraire- qui lui permettent de determiner les conditions de l'anteriorite ou de la posteriorite du signe par rapport a son referent
Identité du personnage théâtral
Art (9 works) · Historical and Literary Analyses (5 works) · Historical and Literary Studies (5 works) · Humanities (5 works) · Philosophy (4 works) · Linguistics (3 works) · Visual Culture and Art Theory (3 works) · Art history (2 works) · French Urban and Social Studies (2 works) · Semiotics (2 works)