↑ Pavis (1998, 345). Drawing on the "semeiotics"of Charles Sanders Peirce, Pavis goes on to suggest that "the specificity of theatrical signs may lie in their ability to use the three possible functions of signs: as icon (mimetically), as index (in the situation of enunciation), or as symbol (as a semiological system in the fictional mode). In effect, theatre makes the sources of the words visual and concrete: it indicates and incarnates a fictional world by means of signs, such that by the end of the process of signification and symbolization the spectator has reconstructed a theoretical and aesthetic model that accounts for the dramatic universe" (1998, 346).
↑ Brown (1998, 441), Cartledge (1997, 3–5), Goldhill (1997, 54).
↑ Cartledge (1997, 3, 6), Goldhill (1997, 54) and (1999, 20-xx), and Rehm (1992. 3).
