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This book is a comprehensive introduction to the analysis of fictional worlds in a set of fifteen arts, including theatre, opera, figurative ballet, mime, audio drama, figurative drawing/painting, figurative sculpture, strip cartoon, animation, puppet theatre, still photography, photo-novel, silent movie, cinema and TV drama.

Due to their extreme differences, the combination of different arts in the description of a single fictional world, and the translation from one medium to another, arc considered problematic.
 

While such differences do not concern fictional creativity, which applies the same poetic and rhetoric rules whatever the medium, it is widely accepted that the problem lies in the extreme differences between the mediums of description.
 

In contrast, this study explores their common grounds.
 

These arts are iconic: in nature, and if 'iconicity' is redefined in terms of imprinting images on matter and mediation of language, and as reflecting the common roots of these mediums in a preverbal mode of imagistic thinking, therein is an explanation of their possible combination and translation from one medium to another without impairing the receivers' reading, interpreting and experiencing capacities.

Eli Rozik analyzes numerous fictional worlds in all these arts, produced during the last 2,500 years of artistic creativity, especially in theatre, art and cinema.
 

The Fictional Arts presupposes that principles underlying the generation of descriptions of fictional worlds by the theatre medium, as proposed in two earlier works {Generating Theatre Meaning and Fictional Thinking), also apply to all the iconic/fictional arts.
 

The textbook format of the volume has been purposefully designed to address the needs of undergraduate and postgraduate students, suiting the structure of university courses and providing all necessary information to access the images/artistic works discussed in the volume via the web and Google.
 

This inter-art journey from theatre theory to the arts is compelling reading for all those involved and engaged in artistic creativity.

Eli Rozik is Ph.D. and professor emeritus of theatre studies. He was twice head of the Department of Theatre Studies and Dean of the Faculty of the Arts at Tel Aviv University.
 

He specializes in theatre theory, particularly in non-verbal communication in performance analysis, and has published numerous articles in international leading journals in Europe and the US.
 

His books include The Language of Theatre (1992), The Roots of Theatre -Rethinking Ritual and Other Theories of Origin (2002), Metaphoric Thinking (2008), Generating Theatre Meaning(2008) and most recently Fictional Thinking 

תוכן עניינים (PDF)

״אפרת שטרן משרטטת את דיוקנה של חברה שחוגגת כל הדרך אל האבדון. תיאור מבריק ומסויט של חיינו, בהומור מקאברי מחורז. הנאה צרופה.״
גדליה בסר, במאי ושחקן

״שיריה הסאטיריים של אפרת שטרן הם משב רוח רענן. בהתבוננות חדת-חושים ומבלי להיזקק לשפה בוטה, היא מצליפה בפגמים ועוולות, מגחיכה אותם לעין-כל וקוצרת הנהוני התפעלות והסכמה מכל עבר.״
אליהו הכהן, חוקר תולדות הזמר העברי

״מנעד רחב של שירים שנונים ונשכניים, שהחריזה והמשקל המוקפדים מסייעים להם להעמיד מול הקוראים מראה שאינה מחמיאה. כמו האיורים של דומייה שמלווים את הטקסט, השירים קורצים אל האקטואליה, אך התכנים הם על-זמניים.״
מאיה ערד, סופרת וחוקרת ספרות

 ״משעשע ומזעזע. מאשפת החצים שלה, אפרת שטרן יורה חצים מושחזים באשפה שלנו.״
דן וולמן, במאי קולנוע

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Today, with the advent of digital media technologies and the ability t conceptualize, express and produce complex forms using digital means, the question of the status of the architectural form is once again under consideration. Indeed, the computer "liberated" architecture from the tyranny of the right angle, and enabled the design and production of non-standard buildings, based on irregular geometry. Yet the questions concerning the method of form expression in contemporary architecture, and its meaning, remain very much open.

Performalism takes up this discussion, defines it and presents changes in form conception in architecture, followed by their repercussions. In the context of the architectural discourse, this book posits that today we can define architectural form and performance as an "ism'.'Supported by a wealth of case studies from some of the top firms across the globe and contributed to by some of the top names in this field, this book critically examines the implications and influences of computer-based design on form as performance.

Highly illustrated throughout, and with a unique emphasis on professional practice, this book is essential reading for all architects, aspiring and practicing.

Yasha J. Grobman is an architect and a Senior Lecturer in the Faculty of Architecture and Town Planning at theTechnion, Israel Institute of Technology. He is principal and co-founder of Axelrod Grobman Architects. He holds a Master of Architecture from the Architectural Association Design Research Laboratory (DRL), and a PhD from theTechnion, Israel Institute ofTechnology. His research and practice focuses on digital architecture and performance-oriented architectural design and manufacturing.

Eran Neuman is an architect and the head of the Azrieli School of Architecture atTel Aviv University. He is co-founder of Open Source Architecture, an international architectural research and design office. His research focuses on the history, theory and philosophy of modern architecture, in particular the influence of science and technology on architecture, digital architecture, architectural representations and design methodologies.

ARCHITECTURE/DIGITAL DESIGN/ARCHITECTURAL GRAPHICS

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Feminist art and theoretical aspects of feminism are linked via a unique and reciprocal bond whose influence extends far beyond their own bounds into the social, cultural, political and economic realms, as well as into the personal lives of women and men alike. This linkage was forged in different places around the world in the 1960s and 1970s. It was especially influential in the United States, during a decade which witnessed the emergence and growth of the Women’s Liberation, Civil Rights, LGBT, and hippie movements and the protest against the Vietnam War. In response to these events, large numbers of women artists joined the ranks of contemporary political-feminist activists, their art directly reflecting the concerns of feminist theory and practice.

This volume adopts an interdisciplinary approach through which it compares American feminist art and artists with their European counterparts. In order to elucidate the geographical divide, this book takes as a test case the work of Mary Kelly who, while born in the USA, produced much of her work while living in Britain and under the influence of European thought.

Challenging traditional disciplinary boundaries, it moves beyond an art-history survey to discuss the artistic field in relation to feminist theory and politics, revealing the continuing relevance of both areas for the contemporary reader. While concentrating upon the second wave of feminism in Europe and the USA, it also addresses aspects of the third wave and the current state of the feminist movement, particularly in respect to the Israeli art scene.

Tal Dekel lectures in the Department of Art History and in the Women and Gender Studies Program at Tel Aviv University, Israel. She specializes in modern and contemporary art and visual culture, taking a particular interest in art and gender, multiculturalism and transnationalism. Her most recent work focuses on globalization and its manifestations in Israeli society and artists within two minority groups in Israel - the Ethiopian community and migrant women workers.