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What is a "Sebastian"?: A nonsensical look at the poetry of Yona Wallach

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Porat A.
The European Journal of Humour Research
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2017
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vol. 5
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issue 3
EN
This article compares the nonsense works of Lewis Carroll to the poetry of the canonical Hebrew poet Yona Wallach. Both writers present literary works which are not based on the logic of 'ordinary' reality, but rather on systems of unfamiliar, surreal and 'dreamlike' logic. However, Carroll's logical nonsense is famously comical and playful in nature. Unlike him, Yona Wallach's poetry is mostly regarded as 'serious', even tragic, with a 'doom-like' atmosphere hovering over it. Nonetheless, and precisely because of their considerable dissimilarity, the comparison between Yona Wallach and Lewis Carroll discloses their surprising similarity. In this artiel will examine two mechanisms in which they both play with the conventional meanings of words and use them incongruously, non-commonsensically.Throughout this article, Carroll reveals his serious and gloomy face whereas Wallach reveals her (hardly spoken of) logical and amused face.Thus, the contrasts between the comically playful accuracy of Carroll's work and Wallach's ambiguous and mostly "dark" poetry, sheds light on their respective mechanisms of signification and humor-making, in a manner indiscernible when each is treated in isolation.
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Differently Married: Revising Wittgenstein, Remembering Bergman

86%
Lipszyc A.
Eidos. A Journal for Philosophy of Culture
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2019
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vol. 3
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issue 1(7)
51–63
EN
In the first part of the paper the author offers a frank reassessment of Ludwig Wittgenstein’s philosophy. He dismisses the Tractatus as philosophically irrelevant but points to the unshaken validity of the main tenents of Wittgenstein’s later philosophy, especially the idea of speech acts being inevitably interwoven with extralinguistic, bodily practices. In the second part the author identifies radical limitations of Wittgenstein’s thought, which he tries to eliminate by combining it with Foucault’s understanding of power and Derrida’s understanding of iterability. The latter link opens the path to viewing language-games as theatrical spectacles. In the third part of the paper the author illustrates the revised model of language-games/spectacles by relating it to two films, Scenes from a Marriage (directed by Ingmar Bergman) and Faithless (written by Bergman and directed by Liv Ullmann). This connection enables the author to enrich the model with an affective dimension which comes to the fore in Bergman’s analysis of the breakup of a marriage.
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