Abstract
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 same deep structure, the same rules of ellipsis, and the specific constraints of iconic media, as follows: (a) iconic metaphor on the level of characterization (including costume, set, etc.); (b) iconic metaphor on the level of nonverbal interaction; (c) iconic metaphor on the level of verbal interaction; (d) verbal metaphor in iconic dialogue; (e) iconic allegory; and (f) the metaphoric nature of the spectator's experience. I illustrate these kinds of iconic metaphor using examples from theatre, while supporting their general application with examples from other iconic arts.
About the author
Eli Rozik (b. 1932). His research interests include theatre theory, nonverbal communication, and performance analysis in particular. His recent major publications include The Roots of Theatre (2002); ‘Mapping the complex relations between theatre and religion’ (2002); ‘Acting: The quintessence of theatricality’ (2002); ‘Origins of theatre’ (2003); and ‘Theatrical experience as metaphor’ (2004).
© Walter de Gruyter
