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Roi Tartakovsky

Biographic Data

ID1375025
NAMERoi Tartakovsky
GIVEN NAMESRoi
FAMILY NAMETartakovsky
SIGNATURETARTAKOVSKY R
AFFILIATIONSTel Aviv University
ORCID0000-0002-8258-4745
VERIFIEDYes
TOTAL WORKS7
TOTAL CITATIONS0
WORKS AS AUTHOR7
WORKS AS EDITOR0
FIRST PUBLICATION YEAR2019
LATEST PUBLICATION YEAR2026
H-INDEX0
  • ‘The key to the effects of poetry’

    Open Access•Roi Tartakovsky•ARTICLE•Language and Literature…•2026

    In Principles of Literary Criticism , IA Richards articulates succinctly what is perhaps his most pointed position on the centrality of sound in poetry: ‘in most cases’, he writes, the sound ‘is the key to the effects of poetry’. While Richards never says exactly why or how sound is so important, we can begin to understand this when we address what he says elsewhere in the book about sound. This article suggests that two interrelated points in Ri…

  • The AI Revolution

    Nir Evron, Roi Tartakovsky•ARTICLE•Poetics Today•2024

  • ‘Uncle Al is old, has brown eyes and dementia’

    Open Access•Roi Tartakovsky, Yeshayahu Shen•ARTICLE•Language and Literature…•2023

    Zeugma (‘yoking’) is a figure of speech which, unlike metaphor, typically involves a verb followed by two discrepant objects or items in a coordinating conjunction (‘You held your breath and the door for me’). A reversal of the given order of the two items will often have a considerable effect on the tone and emotional quality of the zeugma. Still, accounts of zeugma all but ignore the question of order. This essay asks about the connection betwe…

  • The Storm Sank My Boat and My Dreams

    Roi Tartakovsky, Yeshayahu Shen•ARTICLE•Metaphor and Symbol•2023

    Zeugma (“The storm sank my boat and my dreams”) is a well-recognized figure of speech whose mechanism of operation is less well understood. We suggest treating zeugma as a breach of syntactic iconicity: the syntactic form of the coordinative construction statement implies an equivalence or semantic proximity between the two objects of the verb (boat and dreams), while the objects supplied are semantically very distant. Unlike nominal metaphors an…

  • Duchamp Is My Lawyer

    Roi Tartakovsky•ARTICLE•Common Knowledge•2023

    A few years ago, I found myself sitting next to a renowned Language poet at a poetry reading in a crowded downtown Manhattan venue. A longtime fan, I introduced myself and shared with him that I had just taught some of his infamously challenging poems in a poetry class at Tel Aviv University and that students were very responsive. When I mentioned that it was hard to get hold of some of his books but that we had found the poems online, he told me…

  • On the Verge of Verse

    Roi Tartakovsky•ARTICLE•Style•2022

    Jewish-American poet Charles Reznikoff’s 1975 book Holocaust takes as its basis the transcripts of the Nuremberg trials and the Eichmann trial. Among the various subtle interventions on the way from source material to “documentary verse,” the least theorized but most dramatic is Reznikoff’s decision to lineate the original courtroom prose of the survivors. Reznikoff’s prose in chopped-up lines offers a unique opportunity to engage in the larger q…

  • Not as Clear as Day

    Roi Tartakovsky, David Fishelov et al.•ARTICLE•Metaphor and Symbol•2019

    This paper takes up the much-neglected figure of the closed simile, a simile in which the ground is explicitly stated, as in “the dress is as black as coal.” In the typical case, which we call standard, the ground is a highly-salient feature of the source term (e.g., black is a salient feature of coal), but our concern is with the non-standard closed similes, those in which the ground is a non- or low-salient feature of the source (e.g., “black a…

No prominent works on this page.

  • Not as Clear as Day

    Roi Tartakovsky, David Fishelov et al.•ARTICLE•Metaphor and Symbol•2019

    This paper takes up the much-neglected figure of the closed simile, a simile in which the ground is explicitly stated, as in “the dress is as black as coal.” In the typical case, which we call standard, the ground is a highly-salient feature of the source term (e.g., black is a salient feature of coal), but our concern is with the non-standard closed similes, those in which the ground is a non- or low-salient feature of the source (e.g., “black a…

  • On the Verge of Verse

    Roi Tartakovsky•ARTICLE•Style•2022

    Jewish-American poet Charles Reznikoff’s 1975 book Holocaust takes as its basis the transcripts of the Nuremberg trials and the Eichmann trial. Among the various subtle interventions on the way from source material to “documentary verse,” the least theorized but most dramatic is Reznikoff’s decision to lineate the original courtroom prose of the survivors. Reznikoff’s prose in chopped-up lines offers a unique opportunity to engage in the larger q…

  • ‘Uncle Al is old, has brown eyes and dementia’

    Open Access•Roi Tartakovsky, Yeshayahu Shen•ARTICLE•Language and Literature…•2023

    Zeugma (‘yoking’) is a figure of speech which, unlike metaphor, typically involves a verb followed by two discrepant objects or items in a coordinating conjunction (‘You held your breath and the door for me’). A reversal of the given order of the two items will often have a considerable effect on the tone and emotional quality of the zeugma. Still, accounts of zeugma all but ignore the question of order. This essay asks about the connection betwe…

  • The Storm Sank My Boat and My Dreams

    Roi Tartakovsky, Yeshayahu Shen•ARTICLE•Metaphor and Symbol•2023

    Zeugma (“The storm sank my boat and my dreams”) is a well-recognized figure of speech whose mechanism of operation is less well understood. We suggest treating zeugma as a breach of syntactic iconicity: the syntactic form of the coordinative construction statement implies an equivalence or semantic proximity between the two objects of the verb (boat and dreams), while the objects supplied are semantically very distant. Unlike nominal metaphors an…

  • Duchamp Is My Lawyer

    Roi Tartakovsky•ARTICLE•Common Knowledge•2023

    A few years ago, I found myself sitting next to a renowned Language poet at a poetry reading in a crowded downtown Manhattan venue. A longtime fan, I introduced myself and shared with him that I had just taught some of his infamously challenging poems in a poetry class at Tel Aviv University and that students were very responsive. When I mentioned that it was hard to get hold of some of his books but that we had found the poems online, he told me…

  • The AI Revolution

    Nir Evron, Roi Tartakovsky•ARTICLE•Poetics Today•2024

  • ‘The key to the effects of poetry’

    Open Access•Roi Tartakovsky•ARTICLE•Language and Literature…•2026

    In Principles of Literary Criticism , IA Richards articulates succinctly what is perhaps his most pointed position on the centrality of sound in poetry: ‘in most cases’, he writes, the sound ‘is the key to the effects of poetry’. While Richards never says exactly why or how sound is so important, we can begin to understand this when we address what he says elsewhere in the book about sound. This article suggests that two interrelated points in Ri…

Philosophy (6 works) · Linguistics (4 works) · Language, Metaphor, and Cognition (3 works) · Linguistics and Discourse Analysis (3 works) · Poetry (3 works) · Psychology (3 works) · Art (2 works) · Cognitive psychology (2 works) · Computer Science (2 works) · Irony (2 works)

Ethnos_APP • Open Source Project • MIT License • Frontend v2.0.0 • Privacy and Cookies • API Documentation: api.ethnos.app/docs • API Source Code: GitHub • DOI: 10.5281/zenodo.17049435 • Frontend Source Code: GitHub • DOI: 10.5281/zenodo.17050053 • cruz.rio.br • Expectantes Misericordiae