Eli Rozik
Biographic Data
| ID | 1120510 |
|---|---|
| NAME | Eli Rozik |
| GIVEN NAMES | Eli |
| FAMILY NAME | Rozik |
| SIGNATURE | ROZIK E |
| AFFILIATIONS | Tel Aviv University |
| VERIFIED | No |
| TOTAL WORKS | 26 |
| TOTAL CITATIONS | 11 |
| WORKS AS AUTHOR | 25 |
| WORKS AS EDITOR | 1 |
| FIRST PUBLICATION YEAR | 1983 |
| LATEST PUBLICATION YEAR | 2014 |
| H-INDEX | 2 |
Minimal acting
Following Richard Schechner, a current view is that the common denominator of theatre and performance art lies in their encounter of live performers and live spectators; i.e., in being subspecies of “performance.” That theatre is a performing art cannot be denied. However, I suggest here that (a) the category of “performance” is too abstract in order to learn anything about each of these artistic activities; (b) in contrast to performance art, th…
Semantic Expansions of Ekphrasis
Claire Barbetti’s book sets out to redefine “ekphrasis” and apply the term to medieval literature, especially to the dream vision and mystical vision genres. “To the medieval mind,” she writes, “su
Nietzsche's Theory of Art
The Shared Cognitive Intent of Science and Theatre
Science and theatre are generally thought to share no common cognitive ground for the simple reason that the former appeals to the intellect, whereas the latter appeals to the emotions. Contrary to this view, I claim that like scientific texts, theatrical texts evince a cognitive intent and that, despite obvious differences, both types show similarities on three cognitive levels: (a) the use of equivalent systems of representation and communicati…
Sacred Narratives in Secular Contexts
Although sacred narratives are thought to have lost their numinous aura for secular receivers (readers/listeners), their presence is evident whenever mythology, usually taken to reflect a mode of thinking typical of primeval cultures, and its associated themes are used in fictional works. This study aims at elucidating sacred narratives for people who do not subscribe to their sacredness. It attempts to show (1) that myths reflect a fictional mod…
The Preverbal Roots of Fictional Thinking
This study suggests the rules that govern the fictional mode of thinking and ponders its possible preverbal roots. Fictional thinking is grafted upon the preverbal imagistic mode of representation, which reflects the spontaneous ability of the brain to produce images and employ them in thinking practices. The human brain spontaneously produces imagistic/fictional worlds that embody thoughts or, rather, bestow cultural form on the amorphous stirri…
The Riddle of Nonverbal Thought
The homogeneous nature of the theatre medium
To date, traditional theatre semiotics has not succeeded in creating an intelligible and effective method of performance analysis. I believe, nonetheless, that a semiotic method that aims at revealing the mechanisms of generating theatre meaning is viable and even obligatory. I contend that the problem stems from the erroneous theoretical assumption that theatre draws upon different component codes and is, therefore, a heterogeneous medium. I sug…
Cognitive Theories of Metaphor
Basic kinds of iconic metaphor in the theatre and other iconic arts
The literal application of the notion of ‘metaphor’ to the iconic system of signification and communication requires, first, to release the theory of verbal metaphor from its linguistic bias and, second, to propose a theory capable of explaining adequately both verbal and iconic metaphor. I suggest such a comprehensive theory, which attempts to compensate for these limitations, as well as a set of basic kinds of iconic metaphors that reflect the …
Problematic Egocentric Narratives
Back to 'cinema is filmed theatre
Following its invention, cinema was initially conceived and approached as photographed theatre. After a reasonable period of self-establishment, however, it has become commonplace that cinema essentially differs from theatre, and is thus a new and independent dramatic art form. Eventually, while the advent of performance art created the illusion of a basic affinity to theatre, on the grounds of spectators actually experiencing real bodies on a st…
Theatrical experience as metaphor
Mapping the complex relations between theatre and religion
Acting
SubStance - Issue 98/99 (Volume 31, Number 2&3), 2002
Segmentation of the theatrical performance-text
Dans le cadre des etudes semiotiques sur le theâtre, l'A. s'interroge sur le statut de l'unite minimale d'un texte et demontre que cette unite n'est pas de l'ordre du signe mais de la phrase iconique qui presuppose les notions de sujet, predicat, description et reference et constitue la description iconique d'un indice fictionnel. Il montre egalement que l'action dramatique est erigee a partir des descriptions iconiques de ces actes fictionnels, …
Speech act metaphor in theatre
The adoption of theatre by Judaism despite ritual
The performance-text as a macro speech act
Ellipsis and the surface structures of verbal and nonverbal metaphor
Le propos de l'A. est la decsription des regles de l'ellipse qui sous-tendent la generation des structures de surface de la metaphore verbale et non verbale. Il montre que metaphore verbale et metaphore non verbale possede une structure profonde commune, mais que certains elements de cette structure profonde n'existent pas dans la communication non verbale
Mask and Disguise in Ritual, Carnival and Theatre
(1997). Mask and Disguise in Ritual, Carnival and Theatre. South African Theatre Journal: Vol. 11, No. 1, pp. 183-198
The adoption of theater by Judaism despite ritual
The Notion of ‘Reference’
Poetic metaphor
Theatrical conventions
Acting
SubStance - Issue 98/99 (Volume 31, Number 2&3), 2002
Speech act metaphor in theatre
Ellipsis and the surface structures of verbal and nonverbal metaphor
Le propos de l'A. est la decsription des regles de l'ellipse qui sous-tendent la generation des structures de surface de la metaphore verbale et non verbale. Il montre que metaphore verbale et metaphore non verbale possede une structure profonde commune, mais que certains elements de cette structure profonde n'existent pas dans la communication non verbale
Poetic metaphor
Back to 'cinema is filmed theatre
Following its invention, cinema was initially conceived and approached as photographed theatre. After a reasonable period of self-establishment, however, it has become commonplace that cinema essentially differs from theatre, and is thus a new and independent dramatic art form. Eventually, while the advent of performance art created the illusion of a basic affinity to theatre, on the grounds of spectators actually experiencing real bodies on a st…
Theatrical experience as metaphor
Theatre as a language
Plusieurs steles puniques provenant du tophet de Carthage ont recemment ete republiees sans identification. L'auteur propose un certain nombre de remarques et de notes destinees a apporter une aide a l'identification de ces steles. Cette etude concerne trois steles du Musee d'Art et d'Histoire de Geneve, une stele du Musee de Louvain-la-Neuve et une inscription funeraire des reserves du Departement des Antiquites Orientales du Musee du Louvre
Theatrical conventions
The Notion of ‘Reference’
Poetic metaphor
The adoption of theater by Judaism despite ritual
Mask and Disguise in Ritual, Carnival and Theatre
(1997). Mask and Disguise in Ritual, Carnival and Theatre. South African Theatre Journal: Vol. 11, No. 1, pp. 183-198
The performance-text as a macro speech act
Ellipsis and the surface structures of verbal and nonverbal metaphor
Le propos de l'A. est la decsription des regles de l'ellipse qui sous-tendent la generation des structures de surface de la metaphore verbale et non verbale. Il montre que metaphore verbale et metaphore non verbale possede une structure profonde commune, mais que certains elements de cette structure profonde n'existent pas dans la communication non verbale
The adoption of theatre by Judaism despite ritual
Speech act metaphor in theatre
Segmentation of the theatrical performance-text
Dans le cadre des etudes semiotiques sur le theâtre, l'A. s'interroge sur le statut de l'unite minimale d'un texte et demontre que cette unite n'est pas de l'ordre du signe mais de la phrase iconique qui presuppose les notions de sujet, predicat, description et reference et constitue la description iconique d'un indice fictionnel. Il montre egalement que l'action dramatique est erigee a partir des descriptions iconiques de ces actes fictionnels, …
Mapping the complex relations between theatre and religion
Acting
SubStance - Issue 98/99 (Volume 31, Number 2&3), 2002
Theatrical experience as metaphor
Back to 'cinema is filmed theatre
Following its invention, cinema was initially conceived and approached as photographed theatre. After a reasonable period of self-establishment, however, it has become commonplace that cinema essentially differs from theatre, and is thus a new and independent dramatic art form. Eventually, while the advent of performance art created the illusion of a basic affinity to theatre, on the grounds of spectators actually experiencing real bodies on a st…
Basic kinds of iconic metaphor in the theatre and other iconic arts
The literal application of the notion of ‘metaphor’ to the iconic system of signification and communication requires, first, to release the theory of verbal metaphor from its linguistic bias and, second, to propose a theory capable of explaining adequately both verbal and iconic metaphor. I suggest such a comprehensive theory, which attempts to compensate for these limitations, as well as a set of basic kinds of iconic metaphors that reflect the …
Problematic Egocentric Narratives
Cognitive Theories of Metaphor
The homogeneous nature of the theatre medium
To date, traditional theatre semiotics has not succeeded in creating an intelligible and effective method of performance analysis. I believe, nonetheless, that a semiotic method that aims at revealing the mechanisms of generating theatre meaning is viable and even obligatory. I contend that the problem stems from the erroneous theoretical assumption that theatre draws upon different component codes and is, therefore, a heterogeneous medium. I sug…
The Preverbal Roots of Fictional Thinking
This study suggests the rules that govern the fictional mode of thinking and ponders its possible preverbal roots. Fictional thinking is grafted upon the preverbal imagistic mode of representation, which reflects the spontaneous ability of the brain to produce images and employ them in thinking practices. The human brain spontaneously produces imagistic/fictional worlds that embody thoughts or, rather, bestow cultural form on the amorphous stirri…
The Riddle of Nonverbal Thought
Sacred Narratives in Secular Contexts
Although sacred narratives are thought to have lost their numinous aura for secular receivers (readers/listeners), their presence is evident whenever mythology, usually taken to reflect a mode of thinking typical of primeval cultures, and its associated themes are used in fictional works. This study aims at elucidating sacred narratives for people who do not subscribe to their sacredness. It attempts to show (1) that myths reflect a fictional mod…
The Shared Cognitive Intent of Science and Theatre
Science and theatre are generally thought to share no common cognitive ground for the simple reason that the former appeals to the intellect, whereas the latter appeals to the emotions. Contrary to this view, I claim that like scientific texts, theatrical texts evince a cognitive intent and that, despite obvious differences, both types show similarities on three cognitive levels: (a) the use of equivalent systems of representation and communicati…
Nietzsche's Theory of Art
Minimal acting
Following Richard Schechner, a current view is that the common denominator of theatre and performance art lies in their encounter of live performers and live spectators; i.e., in being subspecies of “performance.” That theatre is a performing art cannot be denied. However, I suggest here that (a) the category of “performance” is too abstract in order to learn anything about each of these artistic activities; (b) in contrast to performance art, th…
Philosophy (23 works) · Art (21 works) · Linguistics (14 works) · Psychology (12 works) · Literature (10 works) · Aesthetics (9 works) · Language, Metaphor, and Cognition (9 works) · Theatre and Performance Studies (9 works) · Sociology (8 works) · Computer Science (6 works)