One of the most significant trends within linguistics in the 1970s has been the move away from the formalised models of language introduced by Chomsky towards an account of language that incorporates functional premises. As Charles Fillmore put it, in a 1972 paper, the emphasis on formalisation needs to be balanced by a consideration of what exactly it is that linguists want to formalise. Putting this another way, a contrast can be drawn between the stress laid in the 1960s on (...) the specification in formal terms of the common factors that underlie utterances and the stress laid in the 1970s on the specification in functional terms of the differences between language forms, as captured by such notions as dialect, style, level, etc. (shrink)

One of the most significant trends within linguistics in the 1970s has been the move away from the formalised models of language introduced by Chomsky towards an account of language that incorporates functional premises. As Charles Fillmore put it, in a 1972 paper, the emphasis on formalisation needs to be balanced by a consideration of what exactly it is that linguists want to formalise. Putting this another way, a contrast can be drawn between the stress laid in the 1960s on (...) the specification in formal terms of the common factors that underlie utterances and the stress laid in the 1970s on the specification in functional terms of the differences between language forms, as captured by such notions as dialect, style, level, etc. (shrink)

We aim to focus on the mimic gestures intentionally produced to be “monstrate” to others, thus attempting to propose a semiotic analysis on the actor’s face. We shall attempt to outline the extent to which, since the rise of cinema, the actor’s face has gained a foreground role as compared to the full-figured body, and the legacy of the nineteenth-century handbooks of scenic postures was crucial in this context, especially those of Antonio Morrocchesi and Alemanno Morelli. To deal with the (...) actor’s body as an instrument, means to make it a blank page to be used to re-design the character’s body, including the face. In this regard, it is worth mentioning the method of the pedagogue Jacques Lecoq—one of the greatest teachers of contemporary theatre—which consists in the use of a special mask during the training process: the so-called neutral mask. (shrink)