Relevant bibliographies by topics / Jewish authors – history and criticism

Academic literature on the topic 'Jewish authors – history and criticism'

Author: Grafiati
Published: 26 July 2024

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Journal articles on the topic "Jewish authors – history and criticism"

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Kozerod, O. V. "Fighting Judaism in Soviet Ukraine in the years of the NEP." Ukrainian Religious Studies, no. 16 (December 5, 2000): 41–48. http://dx.doi.org/10.32420/2000.16.1112.

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Questions of the history of the struggle against the Jewish national tradition were considered in many works of the Soviet authors of the 20-ies of the twentieth century. Among them, first of all, are those who studied various problems of the theory and practice of anti-religious propaganda in Soviet Ukraine, the history of the development of atheism. This is a monograph by Boris Zavadovsky "Moses or Darwin" and M. Sheynman "On Rabbis and Synagogues". In the late 20's and early 1930's, collections entitled "Antireligiozer Lerwukh", "Komsomolisha Agada" appeared, in which issues of the history of Judaism were considered, its main sources, criticism of its main elements from the point of view of materialistic approaches was carried out. One of the main tasks formulated by the authors of these studies was the opposition of the Jewish tradition to the new communist ideology, the hegemony of which at that time was an important part of the realities of the sociopolitical life of Ukraine.
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Ghifari, Muhammad, and Ulfah Zakiyah. "The Origin of Isnad in Orientalist Perspective: Critical Study of Michael Cook’s Thought." Mashdar: Jurnal Studi Al-Qur'an dan Hadis 3, no. 1 (June 30, 2021): 33–52. http://dx.doi.org/10.15548/mashdar.v3i1.2609.

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This article review Michael Cook’s thoughts on the early history of the use of isnad. Michael Cook disagrees with the opinions of the hadith scholars who said that the system of isnad only exists in Islam and is not found in other religions. Michael Cook believes that Islam is not the only sole owner of the isnad system. Long before Islam came the system of isnad had been used by previous religions, that is, it had been used by Jews in transmitting Mishnah. Even Michael Cook concluded that Islam had plagiarized the Jewish isnad system. The Islamic isnad system is very closely related to the Jewish isnad system which both have similarities and similarities in many ways. Therefore, Michael Cook believes that the Islamic isnad is a plagiarism of the Jewish isnad system. In this paper, the author explores Cook’s idea which generates two problems, namely what and how are the fundamental ideas (main points) of Michael Cook related to the initial use of isnad? And the second, how is the methodological foundation of Jews in carrying out criticism of isnad? In this study, the authors used a type of qualitative research, or what is known as library research. By using two data sources, namely primary data and secondary data.
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Novikova, Valeriia. "The History of the Jewish communities in the Mamlūk Sultanate (1250–1517): approaches and discourses." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 2 (2024): 165. http://dx.doi.org/10.31857/s086919080027672-6.

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The article discusses the main approaches and discourses that are used in writing the history of Jewish communities in the Mamlūk Sultanate (1250–1517). The review on the topic includes the classics of the Jewish history, studies of contemporary authors in English, Arabic and Hebrew. Two main approaches are distinguished. There are two approaches. The first is the “theory of decline,” which characterizes the reign of the Mamluks as a period of systematic decline of the entire Mamluk society, which subsequently influenced the state of the Jewish community itself. approach that describes the period as time of oppression and isolation of the community. The second approach defines the period as a time of oppression, discrimination and isolation of the community.The criticism of A. Mazor and N. Hofer on the “theory of decline” and oppression of the community is considered there. That historical approaches are placed in certain discourses. Among them, might be highlighted the Jewish national, Zionist, orientalist, Islamic discourses, M. Cohen's «neo-lacrimous concept», as well as the reaction on them among Arab historians. The conclusions identify problems associated with the historical period under study, and also discuss issues related to expanding the methodological base in historical research. The works of modern researchers who apply methods from other social sciences, for example, discourse analysis, narrative analysis and case study, are presented. The identification of typical approaches, theoretical and ideological frameworks will allow to reconsider the period under study in the history of Jewish communities.
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Wright, Benjamin G. "The Septuagint as a Hellenistic Greek Text." Journal for the Study of Judaism 50, no. 4-5 (November 6, 2019): 497–523. http://dx.doi.org/10.1163/15700631-12505130.

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AbstractAs a response to the tradition of scholarship that focused on questions of LXX origins, translation techniques and textual criticism, this article looks at how the LXX translations in antiquity were already in certain respects marked as Greek texts at their production, constructed as Greek literary texts in their origins, and subsequently employed in the same ways as compositional Greek texts by those who engaged them. It shows how the author of Aristeas constructs the LXX as a Greek text, how it functioned as such for Aristobulos and Philo. Already the translators demonstrate in their use of poetic language that they could produce literary Greek. Subsequently, Jewish Hellenistic authors employed the LXX alongside other Greek texts, and treated it with the methods of Hellenistic scholarship.
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Nam, JungAe. "The Jewishness in Characters, Themes, and Literary Styles of Arthur Miller's Plays." Korean Society of Culture and Convergence 45, no. 12 (December 31, 2023): 985–97. http://dx.doi.org/10.33645/cnc.2023.12.45.12.985.

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This study aims to identify Jewish characteristics in Arthur Miller's eight major plays, focusing on their characters, themes, and writing styles. As a Jewish American immigrant, Miller has been praised for portraying the American ego or culture. Until now, criticism of Miller's plays has taken his imperfect American self for granted as the standard of universality. Critics analyzed only the form and content revealed on the surface of the plays, which have become ambiguous due to the author's double identities. Miller presents a typical American middle-class character on the surface of his works but, in deep structure, projects the collective Jewish ideology and prophetic discourses oriented toward the Old Testament. This study redefines the propositions of 'Modern Tragedy,' 'Common Man,' and 'Whole Social Drama' that Miller claimed to emphasize the universality of his works. The analysis of Miller's plays' characters, themes, and writing styles reveals that he reflects his Jewish identity more strongly than his American ego.
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Kabalek, Kobi. "Commemorating Failure: Unsuccessful Rescue of Jews in German Film and Literature, 1945–1960*." German History 38, no. 1 (April 23, 2019): 96–112. http://dx.doi.org/10.1093/gerhis/ghz021.

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Abstract Scholars have so far interpreted postwar depictions of Germans saving Jews from Nazi persecution mainly as apologetic references that allowed Germans to avoid addressing problematic aspects of their history. Yet although such portrayals appear in many postwar German accounts, depictions of successful rescues of Jews are relatively rare in literary and filmic works produced between 1945 and the early 1960s. This article argues that in presenting failed rescue of Jews, several German authors aimed to contribute to the re-education and moral transformation of the German population. The article’s first part shows that narratives of failed rescue were considered particularly useful for arousing Germans’ empathy with the Nazis’ Jewish victims. The article’s second part examines those works that went further and tailored stories of unsuccessful rescue to criticize Germans for not doing more to resist the regime. Although these works presented Germans as victims, as was common in many contemporaneous depictions, it would be misleading to view them merely as apologetic accounts. Rather, the widespread reluctance to commemorate the persecution of Jews urged several authors to retain the common image of Germans as victims in order to avoid alienating their audience. At the same time, using narratives of failed rescue, these writers and filmmakers explored new ways to allow Germans to speak about the Holocaust and reflect on their conduct. Attempts to both arouse a moral debate and avoid directly speaking about Germans’ collective responsibility might seem irreconcilable from today’s perspective, but not for Germans of the 1940s and 1950s.
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Ziemann, Zofia. "Polish Kafka? O pewnym stereotypie anglojęzycznej recepcji Schulza." Schulz/Forum, no. 15 (September 24, 2020): 26–43. http://dx.doi.org/10.26881/sf.2020.15.02.

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The paper revisits a popular trope of the anglophone reception of the work and figure of Bruno Schulz, offering an overview of its history based on examples from literary criticism and paratextual framing since the first edition of Celina Wieniewska’s translation in 1963 to the present. It is argued that although in the beginning the mentions of Kafka naturally had a marketing potential, helping to introduce a then unknown author to Englishspeaking readers, the analogy was not used in a cynical or superficial way, nor was Schulz ever presented as Kafka’s poor relative. Its early proponents (Isaac Bashevis Singer, Cyntha Ozick, and Philip Roth) genuinely believed in Schulz’s affinity with Kafka and the Central European Jewish tradition at large. At least since the early 1990s, Schulz has been listed on a par with Kafka, other high modernists, and other eminent authors from the Austro-Hungarian Empire, often becoming a point of reference for reviewers of translated fiction. If the phrase “Polish Kafka” still sometimes appears in this shorthand form, it is usually presented as a cliché and/or critically elaborated. In contrast to the contemporary understanding of “Polish Kafka” in Poland as almost an evocation of an inferiority complex, in the anglophone realm the comparison to Kafka has been an expression of bona fide admiration for Schulz.
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Shishkin, Dmitry V. "Dialogue with «the leader»: letters and notes to G. E. Zinoviev as a means of communication between citizens and authorities. 1918–1921." Herald of an archivist, no. 1 (2024): 85–97. http://dx.doi.org/10.28995/2073-0101-2024-1-85-97.

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The article examines the practice of communication between the population and G. E. Zinoviev, the first chairman of the Petrograd Soviet after the October Revolution, during the Civil War (1918-1921). Based on the material of written appeals to the leader ("letters to the authorities") the problematic components of the public image of the head of the local government and their solutions within the framework of Zinoviev's campaigning activities. Researchers had previously used this type of source mainly to reconstruct public sentiment in subsequent eras of New Economic Policy and Industrialization, without focusing on the importance of this form of dialogue with the population for the authorities themselves during the period of war communism, especially at the regional level. The article describes three types of written appeals: letters and notes received at meetings. Analyses of both type based on the peculiarities of the communicative situation in which the appeals were written: the possibility of establishing authorship, the proximity of the authors to the addressee at the time of creation, the format of the appeal and its goals. The study analyzed 349 records (142 letters and 207 notes) from G. E. Zinoviev's personal funds stored in the State Archive of the Russian Federation (GARF) and the Russian State Archive of Socio-Political History (RGASPI); in the funds of the departments headed by him during the specified period, in the Central State Archive of St. Petersburg (CGA SPb). For letters, the most common motives for their appearance are identified: the plight of the author and his family; dissatisfaction with the work of Soviet, party and military bodies; the desire to acquire a certain position in society (a place in the service, in the Red Army); the reaction to Zinoviev's speech or publication of employees–intellectuals. As an important underlying motive, the desire of the authors of the letters to establish personal contact with the leader through a meeting or to emphasize a previous acquaintance was revealed, which may illustrate a crisis of trust in society to the authorities or the lack of a culture of written appeal. The popular aspects of criticism of the head of the Petrograd Soviet contained in letters and notes are highlighted: privileges in the supply of food, the use of personal vehicles, Jewish origin and the discrepancy of statements with policy. In the final part of the article, Zinoviev's self-presentation techniques are analyzed in the context of the above-mentioned criticism. Such a characteristic feature is noted as the use of the letters received by the leader to demonstrate solidarity with the population, as well as the consonance of the claims made to him with his own criticism of the "attached" communists.
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Zakharov, Vladimir N. "The Idea of Ethnopoetics in Contemporary Research." Проблемы исторической поэтики 18, no. 3 (July 2020): 7–19. http://dx.doi.org/10.15393/j9.art.2020.8382.

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<p>In recent decades, ethnopoetics has become one of the new philological disciplines. Its idea first appeared in the treatise of Nicolas Boileau &ldquo;The Art of Poetry&rdquo; (1674), in which the classicist theorist formulated the requirement of local and historical color in art. His rule was followed by many poets, playwrights and novelists of Modern history. In Anglo-American criticism, the term ethnopoetics was introduced in 1968. Jerome Rotenberg, who, along with Dennis Tedlock and Dell Himes, founded the principles and methods of studying American Indian poetry. In the 2000s. this concept has entered encyclopedic dictionaries in English and other European languages, but this word is still not in Russian terminological dictionaries. So far, the concept of poetics, which restricts the semantics of words forming a term, has received recognition. Already in the process of formation of ethnopoetics, its subject was expanded at the expense of middle Eastern and Jewish folklore, and later the oral creativity of other peoples. The word formation model (ἔ&theta;&nu;&omicron;&sigmaf;/ ethnos&nbsp;+&nbsp;&pi;&omicron;&iota;&eta;&tau;&iota;&kappa;ή/poetics) cancels limited interpretations of the term. In modern usage, the term ethnopoetics is used in a wide range of meanings that have not yet been marked by lexicographers, but convey the full semantics of the words forming the term. The idea of ethnopoetics gave rise to not one, but several of its concepts. The author of the article develops his earlier understanding of ethnopoetics as a discipline that should study the national identity of the oral and written text, describe in the categories of poetics the specific things that make national literature national. It is characterized by concepts and conceptospheres, they form the mentality, reveal the cultural code of national literatures. The analysis of ethnopoetics opens up great opportunities in the comparative analysis of thesauri of different authors and their works.</p>
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Valman, Nadia. "SEMITISM AND CRITICISM: VICTORIAN ANGLO-JEWISH LITERARY HISTORY." Victorian Literature and Culture 27, no. 1 (March 1999): 235–48. http://dx.doi.org/10.1017/s1060150399271136.

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IN THE JEW IN THE TEXT:Modernity and the Construction of Identity (1995) Linda Nochlin and Tamar Garb noted that although questions of race, colonialism, and Eurocentrism were now prominent in cultural studies, the ways in which the “Jew” had been represented in modern culture remained relatively unexplored (6). Over the last few years, however, exploration of this kind has burgeoned, bringing with it important challenges both for Jewish studies and for English literary history. The nineteenth century has proved a particularly rich resource for such research, and the importance of this period for considering the relationship between modernity and the “Jew” is underlined by Nochlin:
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Dissertations / Theses on the topic "Jewish authors – history and criticism"

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Traves, Julie. "Writing himself and others : Philip Roth and the autobiographical tradition in Jewish-American fiction." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26763.

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Philip Roth's parody of autobiography in the Zuckerman series is part of a larger debate concerning the problems of Jewish art. As Roth manipulates personal and personified autobiography, he both underlines and undermines Jewish traditions of reading and writing. To be sure, Zuckerman's struggle for artistic identity articulates a long-standing Jewish concern with the tensions of collective representation. It is from a culture consistently threatened by alienation and extermination that Roth finds his terms of reference. Zuckerman and his creator are subject to a whole discourse of Jewish textuality: to Jewish notions about the relationship between the individual and the group; between fact and fiction and between aesthetics and morality.
However, the Zuckerman books are at once part of a continuum of Jewish culture and a unique response to the pressures of contemporary American Judaism. Through his humorous manipulations of autobiographical fiction, Roth finally counter-turns the very compasses by which he has oriented himself. He offers a potent commentary on the fatuity of Jewish "facts" and on the fictitious nature of the collectivized Jewish voice. For Roth, it is not only the Jew's experience, but his/her imagination, his/her individual frame of understanding, that determines ethnic identity. In the end, Roth challenges the cohesion of the Jewish cultural text. He places himself in a house of mirrors, where life and art, self and group, Jewish reverence and Jewish rebellion, endlessly reflect off one another.
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Soloway, Jason A. "Negotiating a hyphenated identity, three Jewish-Canadian writers." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ39887.pdf.

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Schroeder, Elfrieda Neufeld. "Fragmented identity, a comparative study of German Jewish and Canadian Mennonite literature after World War II." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ60565.pdf.

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Kay, Devra. "Women and the vernacular : the Yiddish tkhine of Ashkenaz." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670310.

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Molkou, Elizabeth. "Contributions d'ecrivains juifs a la problematique de l'autofiction." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37784.

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The present literary production in France indicates the return of the subject, which has been proclaimed dead since the New Novel. With the proliferation of autobiographical texts in the nineteen-eighties, a generalized movement towards an aesthetic genre valuing this particularity was noticed. This proliferation renders the scope of this literary form immense. It covers a range from strictly historical texts, including autobiographies, memoirs and intimate journals to semi-referential texts, qualified as autobiographical fictions, "autofictions" or again "factual fictions". Midway between the autobiography and the novel, autofiction, this little studied literary practice, inaugurates a new writing form which we believe constitutes one of the boldest modern incarnations of the writing of the self. This thesis considers the possibility of a correlation existing in the problematics of autofiction and those of Jewishness in writing. Already off-centered, the Jewish writer, can be seen as the emblematic figure of the writer himself. Drawing on a corpus of four writers (Serge Doubrovsky, Marcel Benabou, Regine Robin and Patrick Modiano), we examine the structure, as well as its functionning rules, woven through texts sharing Jewish authorship. These writers pose, each from his own specific perspective, the problem of Jewishness in writing. This correlation brings to light the exemplary nature of these texts with regards to the more generalized and thus far unprecedented strategy that is autofiction. The intersection of these historically marked problems, autofiction and Jewishness in writing, leads us inevitably to further reflection upon the tragedy of modernity, the Shoah and its omnipresent shadow in the works of our corpus.
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Meir, Amira. "Medieval Jewish interpretation of pentateuchal poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.

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This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.
The effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).
While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.
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Spergel, Julie. "Canada's "second history": the fiction of Jewish Canadian women writers." Hamburg Kovač, 2009. http://d-nb.info/997540079/04.

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Weekes, Ann Owens. "BEGINNING A TRADITION: IRISH WOMEN'S WRITING, 1800-1984 (EDGEWORTH, JOHNSTONE, KEANE, IRELAND)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183990.

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In search of an Irish women's literary tradition, this dissertation examines the fiction of Irish women writers from Maria Edgeworth in 1800 to Jennifer Johnston in 1984. Contemporary anthropological, psychoanalytical, and literary theory suggests that women, even those of different cultures, excluded from public life and limited to the domestic sphere, would develop similar interests. When these interests ran counter to those of the dominant group, the women would have had to develop a technique to simultaneously express and encode these interests and concerns. This technique in literature, and specifically in the writers considered, often results in a muted plot. On the overt level the plot reifies the values and tenets of the establishment, but, at the muted level, the plot often expresses contradictory and subversive values. In 1800, Maria Edgeworth employs a "naive" narrator who both expresses male disinterest in the awful situations of the women he depicts and also distances the author from any implied criticism of this male perspective. Edgeworth combines her subtle expose with a critique of the desires encoded as "human," but actually merely "male," in canonical literature. At the end of the nineteenth century, E. OE. Somerville and Martin Ross again use an arguably deceptive narratorial device, as does Molly Keane in 1981. Elizabeth Bowen employs a more subtle narratorial device in The Last September, but one which still distances the author from her text. The re-vision of texts, literary and historical, indeed the re-visioning of history, recurs in Bowen, Keane, Kate O'Brien, Julia O'Faolain and Jennifer Johnston. Finally, one can trace similarities of both theme and technique over the whole period, despite the modifications of time and social change. We can also point to the major thematic and structural change which occurs when, in the past ten to fifteen years, writers have reversed the placement of muted and overt plot.
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Poetini, Christian. "Weiterüberleben, Jean Améry und Imre Kertész." Doctoral thesis, Universite Libre de Bruxelles, 2013. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209520.

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Synopsis :

La thèse démontre la force du discours de la survivance à travers tant l’essai que le roman, respectivement chez deux auteurs représentatifs et exemplaires. Jean Améry est l’initiateur d’un discours où l’accent est mis sur l’expérience de la privation totale de liberté et sur le suicide comme paroxysme de l’acte libre voulu par le survivant des camps de concentration. Imre Kertész fonde, lui, une écriture synonyme de stratégie de survie. Le suicide y constitue le moyen fictionnel, pour l’être survivant, de regagner sa liberté et son propre « destin ».

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La thèse se propose d´analyser l´articulation littéraire du thème de la survivance, thème étudié à travers un corpus déterminé. « Articulation littéraire » est à entendre ici au sens de vecteur d’écriture dans l’acception la plus riche, à savoir depuis la représentation, les procédés littéraires jusqu’au processus lui-même. Le titre original du texte s’articule autour du vocable « Weiterüberleben », lequel opère une synthèse entre les deux facettes « survivre » et « continuer à vivre ».

A cet égard, le choix du terme « survivance » en français semblait très approprié. Celui-ci s’oppose dans un premier temps au mot usuel de « survie » par l’accent qu’il met sur l’action, la durée, la continuité ainsi que l’irréversibilité de cette expérience.

Dans un deuxième temps, dire « survivance » signifie introduire d’emblée un impact philosophique intentionnel qui place le phénomène étudié dans le sillage conceptuel de Derrida – différance, restance, absence, démeurance. A ce titre, la survivance peut être considérée comme trace et hantise au même moment.

Dès lors, le mouvement exprimé dans le titre sert de matrice ;dans le « discours sur la survivance », la survie n’est plus la condition d’écriture mais le véritable objet et, si l’on veut, l’objectif de cette écriture. Ce discours articule a) une reconquête de la dignité et liberté qui contient la possibilité du suicide, b) le vœu de continuer à faire vivre la mémoire à la Shoah et aux survivants et c) l’écriture comme stratégie de survie et résistance contre l’oubli.

Le centre de gravité de ce travail est l’étude du rapport entre l´expérience des survivants des camps de concentration et l’écriture de celle-ci. Il s´agit dès lors de se pencher sur les formes d´écriture qui traitent de cette problématique. Le témoignage, d´abord :quel est son rôle en tant que mise en parole d’une expérience ?A côté du témoignage, on observe l´émergence du traitement fictionnel de la thématique.

Une interrogation sur les modes d´émergence littéraire de ce sujet nécessite le passage par une historiographie parcourant les principales tentatives antérieures de représentation. Le témoignage a d´ores et déjà offert des possibilités intéressantes en tant que vecteur de représentation mais a également révélé ses limites. La fiction a montré quelle portée elle peut avoir ;si elle permet entre autres une ouverture du discours, elle se heurte aussi à des obstacles tels que les problèmes de la factualité, de la vérité, de l´authenticité.

Tout en puisant chez bon nombre d´autres écrivains, la thèse se base sur un corpus de deux auteurs emblématiques pour ce qu´ils ont apporté dans le domaine concerné :Jean Améry et Imre Kertész.

Le choix de Jean Améry se justifie notamment par le fait qu’il est l’initiateur d´un discours de la survivance où l´accent est mis sur l´expérience de la privation totale de liberté et sur le suicide comme paroxysme de l´acte libre voulu par le survivant. Kertesz, prix Nobel 2002, apparaît comme l’héritier d´Améry mais, dans une sorte de retournement, transforme le discours négatif de celui-ci en un discours positif par une analyse en termes de dialogicité et d´intertextualité.

Notre point de départ dans l’œuvre d’Améry est son essai sur la torture (« Par-delà le crime et le châtiment », 1966). C’est là qu’il insiste sur l’irréversibilité du moment subjectif qu’est la torture (« Celui qui a été torturé reste torturé ») ;Améry construit à cet endroit le fondement de la « perspective de la victime » et pose, dans le voisinage immédiat, la question de savoir comment surmonter l’insurmontable.

Avec le concept de « contre-violence », Améry explore le paradoxe de la libération – ou la « réversibilité de l’irréversible » – à travers les crises existentielles de son protagoniste (et alter ego) Lefeu (artiste-survivant); son roman-essai « Lefeu ou la démolition » donne lieu à l’analyse de ce phénomène paradoxal, cher à l’auteur.

L´exposé des quatre concepts fondamentaux d´Améry, également fondateurs de tout discours sur l´Holocauste – la perte de la confiance existentielle, le ressentiment, l´exil et la judéité – prépare la voie à une analyse détaillée du discours sur le suicide déployé dans « Porter la main sur soi ». En franchissant les frontières de la psychologie et les limites de la langue, Améry procède à une phénoménologie du suicide qui souligne la liberté individuelle mais qui écarte en même temps l´individu de la société.

Imre Kertész, dont l´œuvre marque le passage vers la fiction par sa trilogie « Etre sans destin », « Le refus », « Kaddish pour l´enfant qui ne naîtra pas », place l´individu dans toute sa fragilité face à l´Histoire nazie et communiste en faisant de celui-ci un survivant « sans destin », c´est-à-dire sans existence personnelle. Regagner son propre destin devient la modalité de la survivance.

Une analyse détaillée de son essai « L’Holocauste comme culture » inscrit d’emblée Imre Kertész dans la filiation de Jean Améry. Cet essai peut être lu comme un manifeste éthico-esthétique ;il insiste sur la nécessité de transposer l’expérience vécue dans l’espace littéraire. A cette condition seulement, le survivant réussit à survivre grâce et à travers les œuvres qu’il crée. Il y réussit en effet à figurer la « catharsis » ou à transfigurer la matière brute du vécu pour pouvoir continuer à survivre.

Tout en refusant catégoriquement le suicide pour des raisons éthiques, Kertész met paradoxalement en scène au cœur de Liquidation le suicide d´un écrivain né à Auschwitz. Il pose ainsi la question de « ce qui reste » de l’expérience de la survie après la disparition des survivants et, donc, au-delà de la possibilité d’en témoigner.

L’analyse monographique de ces deux auteurs permet, d’une part, de démontrer la relation référentielle qui lie Kertész à Améry, d’autre part, d’étudier la problématique à travers deux générations, deux appartenances historiques et deux univers culturels différents. Elle débouche ainsi sur une histoire interculturelle et transgénérationelle de la survivance à l’époque des totalitarismes.


Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished

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Marron, Rosalyn Mary. "Rewriting the nation : a comparative study of Welsh and Scottish women's fiction from the wilderness years to post-devolution." Thesis, University of South Wales, 2012. https://pure.southwales.ac.uk/en/studentthesis/rewriting-the-nation(acc79b10-cd63-48ee-b045-dabb5af2f77c).html.

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Since devolution there has been a wealth of stimulating and exciting literary works by Welsh and Scottish women writers, produced as the boundaries of nationality were being dismantled and ideas of nationhood transformed. This comparative study brings together, for the first time, Scottish and Welsh women writers’ literary responses to these historic political and cultural developments. Chapter one situates the thesis in a historical context and discusses some of the connections between Wales and Scotland in terms of their relationship with ‘Britain’ and England. Chapter two focuses on the theoretical context and argues that postcolonial and feminist theories are the most appropriate frameworks in which to understand both Welsh and Scottish women’s writing in English, and their preoccupations with gendered inequalities and language during the pre- and post-devolutionary period. The third chapter examines Welsh and Scottish women’s writing from the first failed referendum (1979) to the second successful one (1997) to provide a sense of progression towards devolution. Since the process of devolution began there has been an important repositioning of Scottish and Welsh people’s perception of their culture and their place within it; the subsequent chapters – four, five, six and seven – analyse a diverse body of work from the symbolic transference of powers in 1999 to 2008. The writers discussed range from established authors such as Stevie Davies to first-time novelists such as Leela Soma. Through close comparative readings focusing on a range of issues such as marginalised identities and the politics of home and belonging, these chapters uncover and assess Welsh and Scottish women writers’ shared literary assertions, strategies and concerns as well as local and national differences. The conclusions drawn from this thesis suggest that, as a consequence of a history of sustained internal and external marginalization, post-devolution Welsh and Scottish women’s writing share important similarities regarding the politics of representation. The authors discussed in this study are resisting writers who textually illustrate the necessity of constantly rewriting national narratives and in so doing enable their audience to read the two nations and their peoples in fresh, innovative and divergent ways.
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Books on the topic "Jewish authors – history and criticism"

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Waten, Judah L. Fiction, memoirs, criticism. St. Lucia, Qld: University of Queensland Press, 1998.

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Palavestra, Predrag. Jewish writers in Serbian literature. London: ASWA, 2003.

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Spergel, Julie. Canada's "second history": The fiction of Jewish Canadian women writers. Hamburg: Kovač, 2009.

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JPS guide: American Jewish fiction. Philadelphia, PA: The Jewish Publication Society, 2009.

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Hope, Herzog Hillary, Herzog Todd, and Lapp Benjamin 1958-, eds. Rebirth of a culture: Jewish identity and Jewish writing in Germany and Austria today. New York: Berghahn Books, 2008.

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Cairns, Lucille. Post-war Jewish women's writing in French. London: Legenda, 2011.

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Cairns, Lucille. Post-war Jewish women's writing in French. London: Legenda, 2011.

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1948-, Anand Tarlochan Singh, ed. Contemporary American-Jewish novel. Jalandhur: ABS Publications, 1994.

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International Society for the Study of Deuterocanonical and Cognate Literature. International Conference. History and identity: How Israel's later authors viewed its earlier history. Berlin: Walter de Gruyter, 2006.

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Hetenyi, Zsuzsa. In a maelstrom: The history of Russian-Jewish prose (1860-1940). Budapest: Central European University Press, 2008.

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Book chapters on the topic "Jewish authors – history and criticism"

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Scrivener, Michael. "Jewish Representations, Literary Criticism and History." In Jewish Representation in British Literature 1780–1840, 11–25. New York: Palgrave Macmillan US, 2011. http://dx.doi.org/10.1057/9780230120020_2.

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Brinkmann, Tobias. "Jewish Migrations or Wandering Jews?" In Between Borders, 206–33. Oxford University PressNew York, 2024. http://dx.doi.org/10.1093/oso/9780197655658.003.0010.

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Abstract This chapter discusses the 1940s, a decisive phase in the history of Jewish migrations. On the eve of the Holocaust, several later influential authors of studies about Jewish and general migration reached New York. Their personal flight from Nazi persecution provides background for a discussion of two contrasting “resettlement” plans developed by academics on behalf of the Nazi regime and the Roosevelt administration during the war. Jewish scholars made substantial contributions to the American “M Project.” During the Holocaust the view that throughout history Jewish migrations were primarily the result of persecution became influential. Among the critics of this hypothesis was Eugene Kulischer, one of the founding figures of modern migration studies. In 1943 he coined the term “displaced persons.”
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Wodziński, Marcin. "The Beginnings: Anti-Hasidic Criticism in the Last Years of the Polish–Lithuanian Commonwealth." In Haskalah and Hasidism in the Kingdom of Poland, translated by Sarah Cozens and Agnieszka Mirowska, 9–33. Liverpool University Press, 2005. http://dx.doi.org/10.3828/liverpool/9781904113089.003.0002.

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This chapter discusses anti-hasidic criticism in the last years of the Polish–Lithuanian Commonwealth. Opposition to hasidism is almost as old as the hasidic movement itself. However, it was not the supporters of the Jewish Enlightenment ideology, the maskilim, but representatives of the rabbinical elite who were the first to begin an organized wave of opposition. Their hasidic opponents therefore called them ‘mitnagedim’ (opponents). The first maskilic voices to criticize the hasidic movement were heard at almost the same time as those of the mitnagedim, or perhaps, as some historians suggest, slightly earlier. The chapter then explores the anti-hasidic criticism of Salomon Maimon, Mendel Lefin, and Jacques Calmanson. Calmanson was the first advocate of the Haskalah associated with central Poland and Warsaw to speak out on the hasidic question. The history of subsequent maskilic polemics on the subject of hasidism in the Kingdom of Poland is, broadly, the history of the reception of the works by these three authors.
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Parente, Fausto. "Spencer, Maimonides, and the History of Religion." In History of Scholarship, 277–304. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199284313.003.0009.

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Abstract SPENCER’S DE LEGIBUS HEBRAEORUM RITUALIBUS AND ITS MODERN EVALUATION John Spencer’s De legibus Hebraeorum ritualibus et earum rationibus was published in Cambridge in 1685 in three books. It set out to demonstrate that the majority of Jewish ritual laws were of Egyptian origin.1 A second, expanded edition with an additional fourth book was brought out posthumously in 1727 by Leonard Chappelow.2 It contained, among other material, a dissertation on the origins of phylacteries, which Spencer wrote shortly before his death in 1693. In 1732 the German theologian Ch. M. Pfaff (the author of the famous forgery of the Irenaeus fragments) republished it with a Dissertatio praeliminaris in which he set out at length his own and others’ criticism of the book.3
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Galipeau, Claude J. "Introduction." In Isaiah Berlin’s Liberalism, 1–10. Oxford University PressOxford, 1994. http://dx.doi.org/10.1093/oso/9780198278689.003.0001.

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Abstract Sir Isaiah Berlin is a British man of letters of Russian-Jewish origins. Born in Riga, Latvia, in 1909, his family emigrated to Britain in 1919, fleeing the Russian Revolution. He was brought up and educated in Britain, and has spent most of his professional life studying and lecturing at Oxford University, or at universities in America and Israel while on leave. To the international scholarly community he is best known as the author of ‘Two Concepts of Liberty’ (1958),1 yet his professional interests cover many fields in addition to moral and political philosophy: music and literary criticism, historiography, scholarship in the history of ideas, cultural interpretation, translation, teaching, university and arts administration, diplomacy, community work, and broadcasting.
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"The Authors." In History, Memory, and Jewish Identity, 365–70. Academic Studies Press, 2019. http://dx.doi.org/10.1515/9781618114754-016.

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KAPLAN, LOUIS. "Reframing the Self-Criticism:." In Jewish Identity in Modern Art History, 180–99. University of California Press, 2023. http://dx.doi.org/10.2307/jj.2711633.12.

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Dweck, Yaacob. "History of a Failure." In The Scandal of Kabbalah. Princeton University Press, 2011. http://dx.doi.org/10.23943/princeton/9780691145082.003.0009.

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This epilogue argues that the failure of Ari Nohem was manifold. Modena failed to convince his immediate audience, and by extension the Jewish community of Venice, and by further extension Jewish communities throughout Europe and the Mediterranean, to abandon their embrace of a new Jewish theology that masqueraded under the guise of tradition. This was hardly surprising: no critic, no matter how stinging or how subtle, can convince people to change their beliefs or to abandon their practices. Modena had also failed to convince other scholars and other critics—the very people who might have been most receptive to his argument. To describe Ari Nohem as a failure is neither to indict the book nor to celebrate it. It is an attempt to understand it as a work written by an author constrained by the limits of his own particular moment in history.
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Huss, Boaz. "The History of Zohar Criticism." In Zohar: Reception and Impact, 239–93. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9781904113966.003.0008.

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This chapter looks at those Jewish scholars who rejected the value of the Zohar altogether and did everything in their power to subvert its revered status. It surveys the criticism of the Zohar, focusing on the measures the maskilim took against kabbalah in general, and against the Zohar in particular, in the late eighteenth and early nineteenth centuries. Such criticism was part of the maskilic struggle against traditional Jewish circles, especially the hasidic movement in eastern Europe. The rejection of the Zohar played an important role in their endeavour to create a modern European, enlightened Jewish identity. It also allowed them to distinguish themselves from traditional east European Jewish culture, in which that work had gained canonical status.
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"Index of Modern Authors." In Was 70 CE a Watershed in Jewish History?, 541–48. BRILL, 2012. http://dx.doi.org/10.1163/9789004217447_023.

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Conference papers on the topic "Jewish authors – history and criticism"

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M. Ali Jabara, Kawthar. "The forced displacement of Jews in Iraq and the manifestations of return In the movie "Venice of the East"." In Peacebuilding and Genocide Prevention. University of Human Development, 2021. http://dx.doi.org/10.21928/uhdicpgp/1.

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The character of the Jew was absent from Iraqi cinematic works, while it was present in many Arab cinematic works produced in other Arab countries, and the manner of presenting these characters and the goals behind choosing that method differed. While this character was absent from the Iraqi cinematic narration, it was present in the Iraqi novelist narration, especially after the year 2003. Its presence in the Iraqi narration was diverse, due to the specificity of the Iraqi Jewish character and its attachment to the idea of being an Iraqi citizen, and the exclusion and forced displacement that Jews were subjected to in the modern history of Iraq. This absence in the cinematic texts is a continuation of this enforced absence. The Jewish character was never present in the Iraqi cinematic narration, as far as we know, except in one short fictional movie, which is the subject of this research. The research dealt with the movie “Venice of the East 2018” by screenwriter Mustafa Sattar Al-Rikabi and director Bahaa Al-Kazemi. We chose this movie for several reasons, some technical and some non-technical. One of the non-technical reasons is that feature cinematic texts rarely dealt with Jewish characters. The movie is the only Iraqi feature movie, according to our knowledge, produced after 2003, dealt with these characters, and assumed that one of them would return to Iraq. Therefore, our choice was while we were thinking of a research sample dealing with the personality of the Iraqi Jew and what is related to him and how it was expressed graphically. As for the technical reasons, it is due to the quality of the cinematic language level that the director employed to express what he wants in this movie, whose only hero is the character of the unnamed Jewish man played by the Iraqi actor (Sami Kaftan). As well as, many of the signs contained in the visual text that provide indications that may be conscious or unconscious of the situation of this segment of Iraqis, and this will become clear in the course of the research. 4 The research is divided into a number of subjects, including historical theory and applied cinema. The historical subjects included a set of points, namely (the Jews who they are and where they live) and (their presence in Iraq). The research then passed on the existence of (the Jewish character in the Iraqi narrative narrative), and how the Iraqi novelist dealt with the Jew in his novels after 2003, and does the Iraqi narration distinguish between the Jew and the Israeli or the Zionist. The applied part of the research followed, and included a (critical view of the movie) and then passed on the cinematic narration of events in the last subject (the narration of the cinematography). We studied the cinematic narration from three perspectives (cinematic shots, camera movement, camera angle and point of view), the research concluded with a set of results from criticism and analysis. It is worth mentioning that this research is an integral part of a previous unpublished study entitled (Ethnographic movie as artistic memory), which is an ethnographic study of the personality of the Jew in the Iraqi short movie.
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Zlotnikova, Tatyana. "Power in Russia: Modus Vivendi and Artis Imago." In Russian Man and Power in the Context of Dramatic Changes in Today’s World, the 21st Russian scientific-practical conference (with international participation) (Yekaterinburg, April 12–13, 2019). Liberal Arts University – University for Humanities, Yekaterinburg, 2019. http://dx.doi.org/10.35853/ufh-rmp-2019-pc02.

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Contemporary Russian socio-cultural, cultural and philosophical, socio psychological, artistic and aesthetic practices actualize the Russian tradition of rejection, criticism, undisguised hatred and fear of power. Today, however, power has ceased to be a subject of one-dimensional denial or condemnation, becoming the subject of an interdisciplinary scientific discourse that integrates cultural studies, philosophy, social psychology, semiotics, art criticism and history (history of culture). The article provides theoretical substantiation and empirical support for the two facets of notions of power. The first facet is the unique, not only political, but also mental determinant of the problem of power in Russia, a kind of reflection of modus vivendi. The second facet is the artistic and image-based determinant of problem of power in Russia designated as artis imago. Theoretical grounds for solving these problems are found in F. Nietzsche’s perceptions of the binary “potentate-mass” opposition, G. Le Bon’s of the “leader”, K.-G. Jung’s of mechanisms of human motivation for power. The paper dwells on the “semiosis of power” in the focus of thoughts by A. F. Losev, P. A. Sorokin, R. Barthes. Based on S. Freud’s views of the unconscious and G. V. Plekhanov’s and J. Maritain’s views of the totalitarian power, we substantiate the concept of “the imperial unconscious”. The paper focuses on the importance of the freedom motif in art (D. Diderot and V. G. Belinsky as theorists, S. Y. Yursky as an art practitioner). Power as a subject of influence and object of analysis by Russian creators is studied on the material of perceptions and creative experience of A. S. Pushkin (in the context of works devoted to Russian “impostors” by numerous authors). Special attention is paid to the early twenty-first century television series on Soviet rulers (Stalin, Khrushchev, Brezhnev, Furtseva). The conclusion is made on the relevance of Pushkin’s remark about “living power” “hated by the rabble” for contemporary Russia.
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Ovodova, Svetlana. "Representation of Cultural Traumas in Contemporary Public Discourse: “New Frankness” of Meta-Modernism." In The Public/Private in Modern Civilization, the 22nd Russian Scientific-Practical Conference (with international participation) (Yekaterinburg, April 16-17, 2020). Liberal Arts University – University for Humanities, Yekaterinburg, 2020. http://dx.doi.org/10.35853/ufh-public/private-2020-04.

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The prerequisites for this study are criticism of postmodernism by theorists and philosophers of culture, and the actualisation of metamodernism as one of the most popular theories of postmodernism. The relevance of the study is determined by the appearance of a ‘new sensitivity’ having arisen from geopolitical events of the 2000s. Metamodernism theory authors declare the new structure of sensation to be different from the dominants of postmodernism and modernism. The article describes the transformation of the representation of cultural traumas in public discourse with the consideration of ideas of metamodernism and a new frankness. The article covers the methodological capabilities for using postmodernism and metamodernism discourses for analysing the principles of representation of cultural trauma within public discourse. Distinguishing features of new frankness are highlighted. Immortal Regiment action is analysed as an example of actualisation of personal experience and family history in public discourse. The concept of ‘new frankness’ increases the role and significance of the witness. The examples of works of contemporary mass culture and media resources are used to trace the actualisation of the witness’s narrative of cultural trauma. Warmth, depth, and affect, characteristic of metamodernism, actualise the demand for plausibility and personal experience of an event. An indirect effect of these hypotheses consists in that narratives on cultural trauma are multivariate as manifested in criticism of the conventional image of a historic event. Re-evaluating historical events from different points of view triggers mechanisms of latent trauma, potentially making almost any historical event a cultural trauma. The study resulted in the revelation of accentuation of sensitivity in narratives of cultural traumas, as opposed to manners prevailing in modernism and postmodernism discourses, i.e. practices of stigmatisation, suppression, and the commodification of cultural traumas.
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Aleksić, Jana. "UMETNIČKA EPOHA KRALjA MILUTINA U KULTURNOISTORIJSKOJ I ESTETIČKOJ OPTICI MILANA KAŠANINA." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.817a.

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Milan Kašanin (1895–1981) in his integral study of medieval Serbian culture pays significant attention to the works and authors who created in the time of King Stefan Uroš II Milutin Nemanjića (1282–1321). Kašanin’s analysis also includes medieval literary and artistic achievements whose central theme is the King's personality and symbols of rule, as well as the spiritual and socio-histor- ical characteristics of the era the era of this important founder and great artistic patron. The author of the monographs Serbian Literature in the Middle Ages (1975) and Stone Discoveries (1978) seeks to systematize knowledge of the cul- tural past, to explain the spiritual and historical forces of the time, to understand Byzantine influences on art forms and meanings, to find elements of original art within medieval Serbian culture and to establish the most reliable periodization of literary and artistic styles. Methodologically, in examining the key focuses of a historically limited period, such as the Middle Ages, Kašanin insists on mutual “illumination of art”. He also connects the poetic and spiritual-aesthetic features of specific literary achievements with medieval church and secular architecture, fresco painting or icon painting, but also with socio-political factors. Therefore, we tried to outline the analytical and methodological framework of Kašanin’s spiritual, historical, and aesthetic thought from the point of view of the history of literary criticism, concerning the way in which he had perceived and named the artistic forms of Milutin’s epoch, art forms in which Milutin’s age and literary achievements of monk Theodosius and archbishop Danilo II.
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