- Dr. Yoseph Milman, Doctor EmeritusPh.D., Literature, The Hebrew University of Jerusalem, 1983.Research InterestsThe poetics of the Absurdedit
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This article discusses Sartre's poetic principles both as they are expressed theoretically and as they are applied critically. It tries to show that the mixing of ethical and esthetic criteria we find in Sartre's critical essays... more
This article discusses Sartre's poetic principles both as they are expressed theoretically and as they are applied critically. It tries to show that the mixing of ethical and esthetic criteria we find in Sartre's critical essays does not result from an eclectic approach to the work of art or to a lack of logical consistency. Rather, the normative duality we see in his critical essays stems from the double nature of the linguistic sign and of the art of language as he sees them. This duality expresses his dialectic approach to linguistic works of art, according to which ethical and esthetic values represent two fundamental aspects (connected to each other and arising form each other) of the esthetic object ‐ as a ‘non‐real’ being ‐ and of the‘esthetic joy’‐ as an actualization of the basic freedom inherent in the esthetic experience.
Research Interests: Philosophy, Epistemology, Poetics, Dialectic, Dualism, and 3 moreLiterary studies, Normative, and Work of Art
The subject of this paper is alienation as a poetic issue and its expression in Hanoch Levin's "theatre of protest." The first part of the article is devoted to the definition of the concepts "theatre of... more
The subject of this paper is alienation as a poetic issue and its expression in Hanoch Levin's "theatre of protest." The first part of the article is devoted to the definition of the concepts "theatre of protest"—drama which has a subversive ideological message conveyed through poetic innovation—and "alienation"—the feeling of dis-empathy felt by the audience, and directed at a) the world presented on the stage, b) the "implied playwright," and c) the playwright himself. In the second part of the article several aspects of alienation (thematic, stylistic, rhetorical) will be examined in Hanoch Levin's "plays of protest" (Execution, Everybody Wants to Live). An attempt will be made to show how such plays undermine the basic assumptions of the traditional Aristotelian poetics of drama and demonstrate their "revolutionary" nature, in both the ideological and aesthetic sense of the term (Adorno, Marcuse, Sartre).
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In the poems left by Leah Goldberg published posthumously in the collection Sheʾerit Hahaim, there are a number of "death-poems" that give expression to some kind of "death experience." A study of these poems reveals a... more
In the poems left by Leah Goldberg published posthumously in the collection Sheʾerit Hahaim, there are a number of "death-poems" that give expression to some kind of "death experience." A study of these poems reveals a radical change in relation to death and its poetic expression that took place in the poet's later work. From a thematic point of view, the elevated view of death that sees it as an integral part of the eternal cycle of life is replaced by a view that sees it as pointless and lacking all glory. It presents death as a state of diminishment until complete meaningless extinction. From the aesthetic point of view, the densely figurative, well-wrought, high poetic language gives way to spare statement and presents "poetic fragments" that are disjointed, incomplete, and border on silence. This paper intends to examine the nature and significance of this profound change in the poetry of Leah Goldberg and to enquire into the connection between it and the modernistic worldview and poetics that Leah Goldberg apparently began to feel close to in the twilight of her life.
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Research Interests:
This is a comparative cross-cultural and cross-generic study which examines the works of Robbe-Grillet, Pinter, and Zach, in reference to the basic principles of the poetics of the Absurd as set out by Sartre and Camus. The assumption... more
This is a comparative cross-cultural and cross-generic study which examines the works of Robbe-Grillet, Pinter, and Zach, in reference to the basic principles of the poetics of the Absurd as set out by Sartre and Camus. The assumption underlying this approach is that in modern literature as a whole, the opacity of the text is often an intentionally-achieved effect, which is the result of a rich and sophisticated rhetorical-stylistic apparatus. The unintelligibility of the text in the Absurd constitutes an essential part of its impact, merging into the thematics and, to a great degree, fashioning the very meaning of the work.
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... of the estranging effect of the description of the objects in 'Le Mannequin', see my analysis of this subject in Opacity in the Writings ofRobbe-Grillet, Pinter and Zach: A Study in the Poetics of Absurd Literature... more
... of the estranging effect of the description of the objects in 'Le Mannequin', see my analysis of this subject in Opacity in the Writings ofRobbe-Grillet, Pinter and Zach: A Study in the Poetics of Absurd Literature (Lewiston, NY, Queenston, Ont., and Lampeter: Mellen Press, I99I), pp. ...
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Alienation in Nathan Zach's poetry is directed at the world, poetry, language, the poet himself and even at the reader. It is “total alienation” which expresses itself and functions through a variety of poetic means — by virtue of the... more
Alienation in Nathan Zach's poetry is directed at the world, poetry, language, the poet himself and even at the reader. It is “total alienation” which expresses itself and functions through a variety of poetic means — by virtue of the impression the text makes upon the reader in the reading process no less than the explicit thematic elements. Zach's poetry subverts the nature of the traditional lyric. It removes the feeling of empathy, which is the main channel of contact between the addressor and the addressee in the lyrical message, and thereby undermines the very principle of lyrical communication. Alienation functions here as a “significant form” that conveys the message of a lack of belief in the possibility of creating a meaningful contact between the lyricist and his readers. However, together with this, such alienated and alienating poetry expresses a type of special modern sensitivity, which many Israeli readers of recent generations find themselves, paradoxically, capable of identifying with.
Research Interests: Philosophy, Literature, Poetry, Poetics, Alienation, and 4 moreLiterary studies, Virtue, Feeling, and Reading Process
This article discusses Sartre's poetic principles both as they are expressed theoretically and as they are applied critically. It tries to show that the mixing of ethical and esthetic criteria we find in Sartre's critical essays... more
This article discusses Sartre's poetic principles both as they are expressed theoretically and as they are applied critically. It tries to show that the mixing of ethical and esthetic criteria we find in Sartre's critical essays does not result from an eclectic approach to the work of art or to a lack of logical consistency. Rather, the normative duality we see in his critical essays stems from the double nature of the linguistic sign and of the art of language as he sees them. This duality expresses his dialectic approach to linguistic works of art, according to which ethical and esthetic values represent two fundamental aspects (connected to each other and arising form each other) of the esthetic object - as a ‘non-real’ being - and of the‘esthetic joy’- as an actualization of the basic freedom inherent in the esthetic experience.
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... The myth of the sacrifice of Isaac, like all other scriptural myths, is a literary text in every respect, conveying its mes-sage at all ... Similarly, in "A Poem to the Morning Star Child" he alludes to the midrash that... more
... The myth of the sacrifice of Isaac, like all other scriptural myths, is a literary text in every respect, conveying its mes-sage at all ... Similarly, in "A Poem to the Morning Star Child" he alludes to the midrash that associates God's grace towards his people Israel with the Sacrifice ("By ...
Research Interests:
In the poems left by Leah Goldberg published posthumously in the collection Sheʾerit Hahaim, there are a number of "death-poems" that give expression to some kind of "death experience." A study of these poems reveals a... more
In the poems left by Leah Goldberg published posthumously in the collection Sheʾerit Hahaim, there are a number of "death-poems" that give expression to some kind of "death experience." A study of these poems reveals a radical change in relation to death and its poetic expression that took place in the poet's later work. From a thematic point of view, the elevated view of death that sees it as an integral part of the eternal cycle of life is replaced by a view that sees it as pointless and lacking all glory. It presents death as a state of diminishment until complete meaningless extinction. From the aesthetic point of view, the densely figurative, well-wrought, high poetic language gives way to spare statement and presents "poetic fragments" that are disjointed, incomplete, and border on silence. This paper intends to examine the nature and significance of this profound change in the poetry of Leah Goldberg and to enquire into the connection between it and the modernistic worldview and poetics that Leah Goldberg apparently began to feel close to in the twilight of her life.
Research Interests:
Research Interests:
This is a comparative cross-cultural and cross-generic study which examines the works of Robbe-Grillet, Pinter, and Zach, in reference to the basic principles of the poetics of the Absurd as set out by Sartre and Camus. The assumption... more
This is a comparative cross-cultural and cross-generic study which examines the works of Robbe-Grillet, Pinter, and Zach, in reference to the basic principles of the poetics of the Absurd as set out by Sartre and Camus. The assumption underlying this approach is that in modern literature as a whole, the opacity of the text is often an intentionally-achieved effect, which is the result of a rich and sophisticated rhetorical-stylistic apparatus. The unintelligibility of the text in the Absurd constitutes an essential part of its impact, merging into the thematics and, to a great degree, fashioning the very meaning of the work.
… They do it together for a length of timeTo make up for it all.All the things their fathers dreamed of doingThey do to each other,From behind a lot, like beasts in the field.
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… They do it together for a length of timeTo make up for it all.All the things their fathers dreamed of doingThey do to each other,From behind a lot, like beasts in the field.
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Research Interests:
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... of the estranging effect of the description of the objects in 'Le Mannequin', see my analysis of this subject in Opacity in the Writings ofRobbe-Grillet, Pinter and Zach: A Study in the Poetics of Absurd Literature... more
... of the estranging effect of the description of the objects in 'Le Mannequin', see my analysis of this subject in Opacity in the Writings ofRobbe-Grillet, Pinter and Zach: A Study in the Poetics of Absurd Literature (Lewiston, NY, Queenston, Ont., and Lampeter: Mellen Press, I99I), pp. ...
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This article discusses Sartre's poetic principles both as they are expressed theoretically and as they are applied critically. It tries to show that the mixing of ethical and esthetic criteria we find in Sartre's critical essays does not... more
This article discusses Sartre's poetic principles both as they are expressed theoretically and as they are applied critically. It tries to show that the mixing of ethical and esthetic criteria we find in Sartre's critical essays does not result from an eclectic approach to the work of art or to a lack of logical consistency. Rather, the normative duality we see in his critical essays stems from the double nature of the linguistic sign and of the art of language as he sees them. This duality expresses his dialectic approach to linguistic works of art, according to which ethical and esthetic values represent two fundamental aspects (connected to each other and arising form each other) of the esthetic object - as a ‘non-real’ being - and of the‘esthetic joy’- as an actualization of the basic freedom inherent in the esthetic experience.