Relevant bibliographies by topics / Jews in poetry

Academic literature on the topic 'Jews in poetry'

Author: Grafiati
Published: 25 July 2024
Last updated: 30 July 2024

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Journal articles on the topic "Jews in poetry"

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Snir, Reuven. "“These Hearts, Can They Reach Tranquility?”." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 15, no. 28 (October 18, 2021): 205–32. http://dx.doi.org/10.35699/1982-3053.2021.36589.

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The article examines the Arabic literary poetry written by Iraqi Jews in Israel during the 1950s after their immigration from Iraq. This temporal revival of Arabic poetry by Jews was the swan song of the Arab-Jewish culture as we are currently witnessing its demise– a tradition that started more than fifteen hundred years ago is vanishing before our eyes. Until the twentieth century, the great majority of the Jews under the rule of Islam adopted Arabic as their language; now Arabic is gradually disappearing as a language mastered by Jews.
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Decter, Jonathan. "The Jewish Ahl al-Adab of al-Andalus." Journal of Arabic Literature 50, no. 3-4 (November 11, 2019): 325–41. http://dx.doi.org/10.1163/1570064x-12341390.

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Abstract This article studies the use of adab and related terminology among medieval Jewish authors with particular attention to shifts in cultural and religious sensibilities, matters of group cohesion and self-definition, and the contours of adab discourse across religious boundaries. The article demonstrates that, although Jews in the Islamic East in the tenth century internalized adab as a cultural concept, it was in al-Andalus that Jews first self-consciously presented themselves as udabā. The article focuses on works of Judeo-Arabic biblical exegesis, grammar, and poetics as well as Hebrew poetry composed after the style of Arabic poetry.
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Levinson, Julian. "On the Uses of Biblical Poetics: Protestant Hermeneutics and American Jewish Self-Fashioning." Prooftexts 40, no. 1 (2023): 190–226. http://dx.doi.org/10.2979/ptx.2023.a899253.

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Abstract: This article shows how new trends in Protestant biblical hermeneutics in nineteenth-century America helped to raise the cultural status of modern-day Jews, while inspiring bold new directions in American Jewish literary culture. The interpretive framework under discussion emerged in the work of Bishop Robert Lowth and Johann Gottfried Herder, whose studies of biblical poetry became highly influential in the United States when they were both published at the height of the Second Great Awakening. By reconceptualizing biblical poetry (especially in the works of the biblical prophets) as sublime art, their approach created the possibility for valorizing the biblical tradition for its aesthetic power alongside its religious teachings. Since Jews were commonly seen as continuous with biblical Israel, this approach meant that Jews could be seen as heirs to a glorious literary tradition, a point that American Jewish poets, such as Emma Lazarus, emphasized when they launched their own poetic experiments modeled on the biblical prophets.
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Samson, Horst. "„In den Lüften liegt Man nicht eng“. Anmerkungen zur unauflösbaren Tragik des Dichters Paul Celan." Studia Universitatis Babeș-Bolyai Philologia 66, no. 3 (September 20, 2021): 9–34. http://dx.doi.org/10.24193/subbphilo.2021.3.01.

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"“In the Air Where You Won’t Lie Too Cramped.” Notes on the Irresolvable Tragedy of the Poet Paul Celan. Paul Celan's work is characterized by reflections on the power and possibilities of language and poetry in general in processing personal tragedy and painful borderline experiences, especially the experience of the Holocaust. These experiences range from the persecution of Jews, the deportation and murder of his parents, to the ""Goll Plagiarism Affair"" or to mental illness in the last years of his life. These experiences of persecution and extermination of the Jews and Celan's involvement in the tragedy of his people are reflected in many of his poems, especially in Todesfuge. Keywords: Celan, Shoa, modern German poetry and language, tragedy "
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Nazki, Dr Sameeul Haq. "Daddy-Daughter, Hitler-Jews in Sylvia Plath’s Poetry: Exploring Paternal Influence and Holocaust Imagery." June-July 2024, no. 44 (June 15, 2024): 1–11. http://dx.doi.org/10.55529/jpps.44.1.11.

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This study investigates the metaphorical connections between the Daddy-Daughter relationship and the Hitler-Jews dynamic in Sylvia Plath’s poetry. Plath is renowned for her evocative and melancholic poetry, which explores intricate topics of Holocaust imagery and paternal influence. The purpose of this research is to examine the complex interactions between historical trauma, familial ties, and individual suffering in Plath’s poetry. Plath’s confessional technique allows her to infuse her very personal issues with wider socio-political implications. Plath explores the tense relationship between a daughter and her father while tying Nazi Germany and the Holocaust into the story. The figure of the father becomes a symbol of oppressive authority, reminiscent of both her father and the tyrannical figure of Hitler. The amalgamation of personal and historical pain mirrors Plath’s personal battles with authoritative fatherhood and the aftermath of World War II. Plath’s poems conjure themes of persecution, pain, and the quest for identity through allusions to Hitler and the Jews. Her mastery is evident in the manner in which personal and historical narratives overlap and inform each other in her work by looking at the issue of “Daddy-Daughter and Hitler-Jews”. This study strives to expand comprehension of her poetic vision and its continuing relevance in modern debate through an analysis of her use of language, imagery, and symbolism. Thus the goal is to offer new perspectives on Plath’s work that both captivate and challenge readers across generations, inviting them to engage with her poetry in a more nuanced and profound manner.
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Shepkaru, Shmuel. "Susan L. Einbinder. Beautiful Death: Jewish Poetry and Martyrdom in Medieval France. Princeton and Oxford: Princeton University Press, 2002. x, 219 pp." AJS Review 28, no. 2 (November 2004): 371–73. http://dx.doi.org/10.1017/s0364009404290213.

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Can medieval Jewish poetry teach us history? Asked differently, can scholars draw on medieval poetry (piyyutim) to reconstruct historical events? In Beautiful Death, Einbinder narrows down this matter to the case of Ashkenazic martyrological poetry. To answer this question, Einbinder has analyzed over seventy Hebrew poems from northern France, England, and Germany; they span the period following the First Crusade (1096), ending with the Rindfleisch massacres of 1298 in Germany and King Philip IV's expulsion of the French Jews in 1306.
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Kolářová, Jana. "On the Image of Jews in Latin Humanist Poetry." Slovo a smysl 19, no. 39 (June 30, 2022): 109–22. http://dx.doi.org/10.14712/23366680.2022.1.8.

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Edzard, Alexandra. "A Judeo-French Wedding Song from the Mid-13th Century: Literary Contacts between Jews and Christians." Journal of Jewish Languages 2, no. 1 (June 9, 2014): 78–98. http://dx.doi.org/10.1163/22134638-12340022.

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The subject of this article is a bilingual Judeo-French wedding song, edited by David Simon Blondheim in 1927. It is studied in its linguistic (Hebrew and French) and cultural (Jewish and Christian France) context. In the Jewish tradition, the song belongs to a widely used form of poetry in which two or more languages alternate. A similar bi- and multilingualism can also be found in medieval Christian poetry in France and in Muslim poetry in Moorish Spain. The present study concentrates on poems in which French can be found together with other languages. The article demonstrates influence from Christian multilingual poetry on the Judeo-French wedding song. In addition, it discusses how Jewish and Christian poets proceed when using more than one language and what reasons there are for the use of multiple languages within a single text.
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Moshkin, Alex. "The Poetics of Marginality in Israel: Ars Poetika and the Russophone Poets of the 1.5 Generation." Shofar: An Interdisciplinary Journal of Jewish Studies 42, no. 1 (2024): 175–99. http://dx.doi.org/10.1353/sho.2024.a932342.

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Abstract: The article examines contemporary Israeli poetry by post-Soviet Jews who migrated to Israel after the collapse of the USSR. Complicating the dominant assessment of post-Soviet literature in Israel as an isolated and "ghettoized" phenomenon, an analysis of the poetry by Soviet-born, Hebrew-language poets Rita Kogan, Alex Rif, and Arik Eber reveals the strong influence of Hebrew literature in general, and of the Mizrahi poets of Ars Poetika in particular. Through close textual analysis and interviews with Rif, Kogan, and Eber, the article demonstrates how their verse has adopted and adapted the dominant building blocks of Ars Poetika—resistance to Ashkenazi hegemony, protest against exclusion and discrimination, and embrace of one's own culture and identity—to the situation of Russian-speaking Jews in Israel. Ultimately, the chapter shows how the cultural affinity with poets of Ars Poetika allows post-Soviet immigrants to both construct themselves as part of the Israeli-Jewish population and at the same time express their post-Soviet particularity, thereby bringing into relief the two halves of the poets' hyphenated Russian-Israeli cultural identities. Reflecting on this cultural cross-pollination, the chapter concludes by reading the poetry of Rif, Kogan, and Eber as part and parcel of contemporary Israeli literature.
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Lieber, Laura S. "With One Voice: Elements of Acclamation in Early Jewish Liturgical Poetry." Harvard Theological Review 111, no. 3 (July 2018): 401–24. http://dx.doi.org/10.1017/s0017816018000172.

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AbstractIn this essay, the Rosh Hashanah Shofar service poems by the Jewish poet Yose ben Yose (fourth or fifth century CE, Land of Israel) are read through the lens of the Late Antique practice of acclamation. Yose's surviving body of works is limited, but he was influential within the Jewish tradition, and his poems have long been noted for their use of formal features such as fixed-word repetitions and refrains—features which align not only with poetic norms from the biblical period to Late Antiquity but also with the practice of acclamation. Jews attended (and performed in) the theater and games; they were familiar with rhetorical and oratorical training and related literary norms; and they were integrated socially, commercially, and politically into diverse and varied communities. The affinity of Jewish liturgical poetry from antiquity for other forms of poetic composition reflects Jews’ general embeddedness in Late Ancient culture. Reading Yose's poetry as shaped by the conventions of acclamation highlights how Yose and his congregants were not only distinctly Jewish but also thoroughly Roman.
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Dissertations / Theses on the topic "Jews in poetry"

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McCallum-Bonar, Colleen Heather. "Black Ashkenaz and the Almost Promised Land: Yiddish Literature and the Harlem Renaissance." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1207704355.

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Litwak, Jessica. "My Heart is in the East: Exploring Theater as a Vehicle for Change, Inspired by the Poetic Performances of Ancient Andalucía." Antioch University / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=antioch1432152428.

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Marciniak, Dariusz. "Die Diktion des poeta doctus : zur Essayistik und Rhetorik von Walter Jens /." Münster : Lit, 2000. http://catalogue.bnf.fr/ark:/12148/cb39018283t.

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Carmesund, Ulf. "Refugees or Returnees : European Jews, Palestinian Arabs and the Swedish Theological Institute in Jerusalem around 1948." Doctoral thesis, Uppsala universitet, Teologiska institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-129819.

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In this study five individuals who worked in Svenska Israelsmissionen and at the Swedish Theological Institute in Jerusalem are focused. These are Greta Andrén, deaconess in Svenska Israelsmissionen from 1934 and matron at the Swedish Theological Institute from 1946 to 1971, Birger Pernow, director of Svenska Israelsmissionen from 1930 to 1961, Harald Sahlin director of the Swedish Theological Institute in 1947, Hans Kosmala director of the Swedish Theological Institute from 1951 to 1971, and finally H.S. Nyberg, Chair of the Swedish board of the Swedish Theological Institute from 1955 to 1974. The study uses theoretical perspectives from Hannah Arendt, Mahmood Mamdani and Rudolf Bultmann. A common idea among Lutheran Christians in the first half of 20th century Sweden implied that Jews who left Europe for Palestine or Israel were not just seen as refugees or colonialists - but viewed as returnees, to the Promised Land. The idea of peoples’ origins, and original home, is traced in European race thinking. This study is discussing how many of the studied individuals combined superstitious interpretations of history with apocalyptic interpretations of the Bible and a Romantic national ideal. Svenska Israelsmissionen and the Swedish Theological Institute participated in Svenska Israelhjälpen in 1952, which resulted in 75 Swedish houses sent to the State of Israel. These houses were built on land where until July 1948 the Palestinian Arab village Qastina was located. The Jewish state was supported, but, the establishment of an Arab State in Palestine according to the UN decision of Nov 1947 was not essential for these Lutheran Christians in Sweden.  The analysis involves an effort to translate the religious language of the studied objects into a secular language.
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RONDENA, ELENA. "La letteratura concentrazionaria." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/290.

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Affrontando lo studio della Letteratura Italiana risulta evidente l'omissione dai manuali, ad eccezione di Primo Levi, degli scritti di coloro che sono stati deportati tra il 1939 e il 1945 in seguito alle persecuzioni razziali. Il tempo trascorso dalla Shoah ha, invece, dimostrato la presenza di un ingente quantità di opere che costituiscono il corpus della Letteratura Concentrazionaria, ossia la letteratura dei campi di concentramento. Gli autori di questa letteratura sono poco conosciuti e considerati minori, ma la loro scrittura raggiunge spesso un'ineguagliabile altezza intellettuale, morale, stilistica. La narrazione dei loro ricordi traumatici è il risultato di precise decisioni: quali fatti raccontare, in che ordine cronologico, ma soprattutto attraverso quale forma. Questi testi concentrazionari, infatti, possono essere studiati da diversi punti di vista, quello più inusuale è la divisione per generi: racconto, autobiografia, saggio, romanzo, diario, lettera, poesia. Non sempre la distinzione fra questo o quel genere è netta, ma è molto significativo che a partire da una tragedia, quale l'Olocausto, si possa scegliere di raccontare la propria esperienza prestando attenzione al modo di esprimerla. È il primo segno che dimostra quanto anche di fronte al male l'uomo non perda il desiderio di ricercare il vero ed il bello.
Such a long time has passed since the end of the Shoah and it has become clear that there are a lot of works written in those years which now form the corpus of literature based on the experiences in concentration camps. The authors of these works are not very well-known and they are usually considered minor but their works have often reached highly intellectual, moral and stylistic results. The narration of their traumatic memories is the result of precise decisions, i.e. what to tell, in what chronological order, but especially in what forms. The texts based on the experiences in concentration camps can in fact be studied from different points of view. The most unusual is their study through genres: short story, autobiography, essay, novel, journal, letter, poetry. The distinction between one genre and another is not often clear-cut. What is interesting to underline is that in front of a tragedy, as the Holocaust was, it is possible to choose to tell one's own experience by paying special attention to the way of expressing it. This is evidence that in front of evil man does not ever lose the desire to look for truth and beauty.
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RONDENA, ELENA. "La letteratura concentrazionaria." Doctoral thesis, Università Cattolica del Sacro Cuore, 2008. http://hdl.handle.net/10280/290.

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Affrontando lo studio della Letteratura Italiana risulta evidente l'omissione dai manuali, ad eccezione di Primo Levi, degli scritti di coloro che sono stati deportati tra il 1939 e il 1945 in seguito alle persecuzioni razziali. Il tempo trascorso dalla Shoah ha, invece, dimostrato la presenza di un ingente quantità di opere che costituiscono il corpus della Letteratura Concentrazionaria, ossia la letteratura dei campi di concentramento. Gli autori di questa letteratura sono poco conosciuti e considerati minori, ma la loro scrittura raggiunge spesso un'ineguagliabile altezza intellettuale, morale, stilistica. La narrazione dei loro ricordi traumatici è il risultato di precise decisioni: quali fatti raccontare, in che ordine cronologico, ma soprattutto attraverso quale forma. Questi testi concentrazionari, infatti, possono essere studiati da diversi punti di vista, quello più inusuale è la divisione per generi: racconto, autobiografia, saggio, romanzo, diario, lettera, poesia. Non sempre la distinzione fra questo o quel genere è netta, ma è molto significativo che a partire da una tragedia, quale l'Olocausto, si possa scegliere di raccontare la propria esperienza prestando attenzione al modo di esprimerla. È il primo segno che dimostra quanto anche di fronte al male l'uomo non perda il desiderio di ricercare il vero ed il bello.
Such a long time has passed since the end of the Shoah and it has become clear that there are a lot of works written in those years which now form the corpus of literature based on the experiences in concentration camps. The authors of these works are not very well-known and they are usually considered minor but their works have often reached highly intellectual, moral and stylistic results. The narration of their traumatic memories is the result of precise decisions, i.e. what to tell, in what chronological order, but especially in what forms. The texts based on the experiences in concentration camps can in fact be studied from different points of view. The most unusual is their study through genres: short story, autobiography, essay, novel, journal, letter, poetry. The distinction between one genre and another is not often clear-cut. What is interesting to underline is that in front of a tragedy, as the Holocaust was, it is possible to choose to tell one's own experience by paying special attention to the way of expressing it. This is evidence that in front of evil man does not ever lose the desire to look for truth and beauty.
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Ponichtera, Sarah Elizabeth. "Yiddish and the Avant-Garde in American Jewish Poetry." Thesis, 2012. https://doi.org/10.7916/D8WS91BB.

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This dissertation traces the evolution of a formalist literary strategy through the twentieth century in both Yiddish and English, through literary and historical analyses of poets and poetic groups from the turn of the century until the 1980s. It begins by exploring the ways in which the Yiddish poet Yehoash built on the contemporary interest in the primitive as he developed his aesthetics in the 1900s, then turns to the modernist poetic group In zikh (the Introspectivists) and their efforts to explore primitive states of consciousness in individual subjectivity. In the third chapter, the project turns to Louis Zukofsky's inclusion of Yehoash's Yiddish translations of Japanese poetry in his own English epic, written in dialogue with Ezra Pound. It concludes with an examination of the Language poets of the 1970s, particularly Charles Bernstein's experimental verse, which explores the way that language shapes consciousness through the use of critical and linguistic discourse. Each of these poets or poetic groups uses experimental poetry as a lens through which to peer at the intersections of language and consciousness, and each explicitly identifies Yiddish (whether as symbol or reality) as an essential component of their poetic technique.
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Books on the topic "Jews in poetry"

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Kirshenbaum, Binnie. Pure poetry. New York: Simon & Schuster, 2000.

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editor, Alcalay Ammiel translator, Shunra Dena translator, Sayar Shay Yishayahu translator, and Dewey Fred editor, eds. Jews: Poems, translations from Hebrew, 1982-2013. Somerville, Mass: Červená Barva, 2015.

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Zamvil, Stella. Silently you taught me much: Poems. McKinleyville, Calif: Fithian Press, 2008.

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Schwartz, Israel Jacob. Kentucky. Tuscaloosa: University of Alabama Press, 1990.

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Kaufman, Shirley. Longing for prophets. [Seattle, Wash.]: Designed and printed by Grey Spider Press, 1994.

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Mezei, András. Zsidó versek. Budapest: Tudor Lap- és Könyvkiadó, 1991.

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Kaufman, Shirley. Ezekiel's wheels. Port Townsend, Wash: Copper Canyon Press, 2009.

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Weinberger, Florence. The invisible telling its shape: Poems. Santa Barbara, Calif: Fithian Press, 1997.

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Schulstein, Moses. Le-yad pinḳasah shel Lublin: Ḥizayon dramati ba-ʻarimah shel efer. Tel-Aviv: [ḥ. mo. l.], 1985.

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András, Mezei. Zsidó versek. Budapest: TUDOR Lap- és Könyvkiadó, 1990.

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Book chapters on the topic "Jews in poetry"

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Wolf-Monzon, Tamar. "“Love for my despicable Jews”1." In The Poetry and Essays of Uri Zvi Grinberg, 95–120. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003157830-5.

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Scrivener, Michael. "Following the Muse: Inspiration, Prophecy, and Deference in the Poetry of Emma Lyon (1788–1870), Anglo-Jewish Poet." In The Jews and British Romanticism, 105–26. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-06285-7_6.

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Gordon, Robert S. C. "Pasolini as Jew." In The Scandal of Self-Contradiction, 37–58. Vienna: Turia + Kant, 2012. http://dx.doi.org/10.37050/ci-06_03.

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Pasolini’s first turn beyond Europe can be dated to three lengthy journeys to Asia and Africa undertaken between December 1960 and February 1963. The places he visited quickly bring to mind a long series of subsequent projects – poems, screenplays, films realized or unfinished – from throughout the remaining fifteen years of Pasolini’s life, during which he pitched himself in a wholly new light as a poet of the Third World.
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"Evening Jews." In American Yiddish Poetry, 353–57. University of California Press, 2023. http://dx.doi.org/10.2307/jj.5973112.127.

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"Without Jews." In American Yiddish Poetry, 321–23. University of California Press, 2023. http://dx.doi.org/10.2307/jj.5973112.116.

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YAHALOM, JOSEPH. "Hebrew Poetry in Medieval Egypt." In The Jews in Medieval Egypt, 209–43. Academic Studies Press, 2021. http://dx.doi.org/10.2307/j.ctv1zjg3dr.13.

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Kaufman, Rachel. "101 Crypto-Jewish Poetry. New Mexico, 1996." In Jews Across the Americas, 446–48. New York University Press, 2023. http://dx.doi.org/10.18574/nyu/9781479819331.003.0109.

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Kaufman, Rachel. "101. Crypto-Jewish Poetry (New Mexico, 1996)." In Jews Across the Americas, 446–48. New York University Press, 2023. http://dx.doi.org/10.18574/nyu/9781479819348.003.0115.

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Yahalom, Joseph. "10 Hebrew Poetry in Medieval Egypt." In The Jews in Medieval Egypt, 209–43. Academic Studies Press, 2021. http://dx.doi.org/10.1515/9781618117489-011.

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Goldstein, David. "Introduction." In Hebrew Poems from Spain, 1–8. Liverpool University Press, 2007. http://dx.doi.org/10.3828/liverpool/9781904113669.003.0001.

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This introductory chapter provides an overview of Spanish Hebrew poetry. The revival of Hebrew poetry was a direct consequence of two factors: the residence of the Jews in Muslim lands, and the Jews’ reappraisal of the Hebrew Bible. The Jews of Spain followed their Arabic masters in much of their poetic subject-matter, but they often transmuted it into specifically Jewish material. One encounters often their awareness of the passing of time, of the futility of life, and of the precious quality of the immortal soul. And, above all, one experiences with them their search for the knowledge of God, their sense of dependence on him as the Creator of the world, their consciousness of the relationship between God and the Jewish people, their desire to serve him with all their being, their remorse at their own iniquity, and their torment and their bewilderment at the sufferings of their people. The Spanish period not only saw the efflorescence for the first time since the ‘song of Songs’ of secular Hebrew poetry. It also provided for the first time the framework for the professional Jewish poet.
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Conference papers on the topic "Jews in poetry"

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Jasim MOHAMMED, Ahmed, and Hussein Ismael KADHIM. "THE IMPACT OF THE JEWISH FAITH IN MODERN HEBREW POETRY "SHABBAT FOR EXAMPLE." In I V . I N T E R N A T I O N A L C O N G R E S S O F L A N G U A G E A N D L I T E R A T U R E. Rimar Academy, 2022. http://dx.doi.org/10.47832/lan.con4-14.

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This study is an attempt to shed light on a central and important issue in the lives of any nation or society or group of people, and it is the issue of "faith". One of the most important foundations in the Jewish faith is the "Sabbath" or day of rest for the Jews, which they respect and sanctify from all the other six days of the week. This study discusses the different representations of Saturday in Hebrew poetry. This study examined different representations of the theme of Saturday in Hebrew poetry with special emphasis on the significance of these representations shaped their worldview of the Jews on the topic flowing. Saturday is a day of rest and weekly holy people of Israel, the first deadline dates prescribed in the Torah. When there was a regular basis every seven days, on the seventh day a week. Saturday is the start of Friday's end, a little before sunset - the time called "Saturday Night", and tip the next day, with nightfall - long known as "Saturday". Jewish Saturday is considered the most sacred date. Saturday observance is one of the central commandments in Judaism; According to Judaism, this is the first commandment given to man, on the day he removed and weighed against all the commandments of the Torah. Judaism Saturday symbolizes the creation of the world by God and the holiness constant since the world was created by God. Reasons for the mitzvot and customs specific biblical command to sit origin consecrate this day and strike him from work, God's act of creation after the completion of the six days of creation. Saturday is used only for rest and refraining from doing work, and has been caught during today's Bible Holiness, pleasure, study Torah and elation. Observance of the Saturday, according to Judaism, is a practical admission creation of the world, reinforces the belief and non-observance leads to weakening of the Jewish faith, as well as keeping the Saturday brings a person to the Creator and secrete more physical nuns. Israel was set Saturday to officially rest. Sanctity of "on Saturday" is based - according to tradition - the thinking that thought that the God who created the heavens and the earth in six days, and Ahri-cc, he rested on the seventh day his work which he worked it, and he ordered them to stop all this day according craft books mentioned several books of the Bible. At the beginning of this study will be discussed at the origin of the word "Sabbath" (Saturday) in the Hebrew language, and the meaning of the word "Sabbath" in the Bible, Then, will be discussed on the types Saturday among the Jews, except they have a regular Sabbath day three ten types of Saturdays, expressing the various events and occasions and have various rituals and special customs. Too, will be discussed on the customs and rituals that the Jews do them during the entry to his departure on Saturday. Even so, it is during this study for some changes in different terms to Saturday, which the Jews call them the Sabbath. These names were used most by the Hebrew writers in modern times in their songs and stories that written in honor of this day, and Hebrew poets wrote poetry on Saturday: Bialik wrote the song "Saturday queen", poet Amir Gilboa wrote the song "Cch Cmo Sani the up" and others. By analysis of these literary works can be seen that the authors of these works depict through which all customs and ceremonies on Saturday in detail from beginning to end, especially the poet Bialik's poem "Saturday queen". And the end of the study conclusions and sources will come
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Galay, K. "THE FORGOTTEN EHRENBURG IN THE CONTEXT OF THE FRENCH MEDIA." In VIII International Conference “Russian Literature of the 20th-21st Centuries as a Whole Process (Issues of Theoretical and Methodological Research)”. LCC MAKS Press, 2023. http://dx.doi.org/10.29003/m3749.rus_lit_20-21/303-307.

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Abstract:
I.G. Ehrenburg was a writer, poet, publicist, whose creative legacy can be called an important asset of Russian literature of the twentieth century. The writer, who lived for a long time both in Russia and abroad, was also known in France - his figure was quite significant for the French readers and he was mentioned in various French weeklies. Moreover, he was invited as a journalist, wrote articles himself and gave interviews to French newspapers and magazines. A huge interest in the personality of Ilya Ehrenburg appeared during the Second World War: he was spoken of as a “combat writer”, as a supporter of Franco-Soviet relations, and as a great traveller. And, of course, the French media could not miss Ehrenburg's novel “The Fall of Paris”. In the 90s of the twentieth century, various biographical books about Ehrenburg are published, in which he, from one point of view, was called “a mediocre novelist”, “a weak writer”, but “the embodiment of the era”, and from another point of view - “a travelling Jew” and “a man of conviction”, “a nomad of the world” and “a missionary of culture”. In modern times, we only encounter references to the name of Ilya Ehrenburg as an outstanding journalist, a writer from the 'first wave' of emigration, who stood as a symbol of his era.
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