Bibliografías temáticas / Yiddish Collection

Literatura académica sobre el tema "Yiddish Collection"

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Publicado: 25 de julio de 2024

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Artículos de revistas sobre el tema "Yiddish Collection"

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Seigel, Amanda (Miryem-Khaye). "Nahum Stutchkoff's Yiddish Play and Radio Scripts in the Dorot Jewish Division, New York Public Library". Judaica Librarianship 16, n.º 1 (31 de diciembre de 2011): 55–82. http://dx.doi.org/10.14263/2330-2976.1004.

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The Nahum Stutchkoff collection in the Dorot Jewish Division of The New York Public Library contains Yiddish translations, plays, song lyrics, and radio programs created by Yiddish linguist and playwright Nahum Stutchkoff (1893–1965). This article describes the collection in the context of the Jewish Division’s holdings, using bibliographic details about his known works to trace Stutchkoff’s career as a Yiddish actor, translator, director, playwright, and linguist. Stutchkoff’s radio scripts in particular provide rare documentation of the golden era of Yiddish radio explored by Henry Sapoznik and Ari Y. Kelman. A detailed bibliography of Stutchkoff’s published and unpublished works is included.
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Berger, Shlomo. "The Oppenheim Collection and Early Modern Yiddish Books: Prague Yiddish 1550–1750". Bodleian Library Record 25, n.º 1 (abril de 2012): 37–51. http://dx.doi.org/10.3828/blr.2012.25.1.37.

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Métraux, Alexandre. "Opening Remarks on the History of Science in Yiddish". Science in Context 20, n.º 2 (junio de 2007): 145–62. http://dx.doi.org/10.1017/s0269889707001226.

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When introducing a collection of essays on Yiddish, Joseph Sherman asserted, among other things, that: Although the Nazi Holocaust effectively destroyed Yiddish together with the Jews of Eastern Europe for whom it was a lingua franca, the Yiddish language, its literature and culture have proven remarkably resilient. Against all odds, Yiddish has survived to become a focus of serious intellectual, artistic and scholarly activity in the sixty-odd years that have passed since the end of World War II. From linguistic and literary research in the leading universities of the world to the dedicated creativity of contemporary novelists and poets in Israel and America, from the adaptation of Yiddish words and phrases to the uses of daily newspapers in English to the elevation of Yiddish as a new loshn koydesh by Hasidic sects, from the publication of new writing to the translation of its established canonical works into modern European languages, Yiddish is continually reminding the world of its vibrancy, relevance and importance as a marker of Jewish identity and survival. (Sherman 2004, 9)
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Yudkoff, Sunny S. "Yankev Glatshteyn and the Threat of Yiddish Joy". Jewish Quarterly Review 114, n.º 2 (marzo de 2024): 293–323. http://dx.doi.org/10.1353/jqr.2024.a929056.

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Abstract: The following article investigates the topos of joy across the work of modernist Yiddish poet Yankev Glatshteyn, from its earliest iterations in his 1929 collection Kredos (Credo) to his 1961 volume Di freyd fun yidishn vort (The joy of the Yiddish word). Although read frequently as a poet of mourning, Glatshteyn’s oeuvre evinces a decades-long interest in the politics and poetics of Yiddish freyd . As this article demonstrates, the Yiddish word freyd indexes the poet’s anger with the universalizing legacies of the Enlightenment and their iterations in Soviet communism and National Socialism. Glatshteyn contends that to engage joy is to find oneself yoked to promises that overdetermine aesthetic form and erase ideological independence. Drawing on the language of Soviet Yiddish allegiance, he argues that to experience freyd is to exist in shpan (in harness) to words and ideas that are not one’s own. In dialogue with critical studies of joy, this article tracks how freyd emerges in Glatshteyn’s work as a deleterious affective state that threatens to dissolve the Yiddish poetic self.
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Rosenblatt, Eli. "A Sphinx upon the Dnieper: Black Modernism and the Yiddish Translation of Race". Slavic Review 80, n.º 2 (2021): 280–89. http://dx.doi.org/10.1017/slr.2021.79.

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This article examines the context and content of the 1936 Soviet Yiddish publication of Neger-Dikhtung in Amerike, which remains to this day the most extensive anthology of African-Diasporic poetry in Yiddish translation. The collection included a critical introduction and translations of nearly one hundred individual poems by twenty-nine poets, both men and women, from across the United States and the Caribbean. This article examines the anthology's position amongst different notions of “the folk” in Soviet Yiddish folkloristics and the relationship of these ideas to Yiddish-language discourse about race and racism, the writings of James Weldon Johnson and W.E.B. Du Bois, with whom Magidoff corresponded, and the Yiddish modernist poetry of Shmuel Halkin, who edited the book series in which the anthology appears. When placed alongside Du Bois's and others’ visits to the Soviet Union in the 1930s, the appearance of African-American and Caribbean poetry in Yiddish translation shows how a transatlantic Jewish avant-garde interpreted and embedded itself within Soviet-African-American cultural exchange in the interwar years. Magidoff served as a Soviet correspondent for NBC and the Associated Press from 1935. He was accused of espionage and expelled from the USSR in 1948.
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Gasztold, Brygida. "The Continuing Story of the Yiddish Language: The Yiddish Book Center in Amherst, Massachusetts". Text Matters, n.º 5 (17 de noviembre de 2015): 28–40. http://dx.doi.org/10.1515/texmat-2015-0003.

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The focus of my article is a unique place, the Yiddish Book Center in Amherst, Massachusetts, which connects Yiddish culture with the American one, the experience of the Holocaust with the descendants of the survivors, and a modern idea of Jewishness with the context of American postmodernity. Created in the 1980s, in the mind of a young and enthusiastic student Aaron Lansky, the Yiddish Book Center throughout the years has become a unique place on the American cultural map. Traversing the continents and crossing borders, Lansky and his co-workers for over thirty years have been saving Yiddish language books from extinction. The Center, however, has long stopped to be merely a storage house for the collection, but instead has grown into a vibrant hub of Yiddishkeit in the United States. Its employees do not only collect, distribute, digitalize and post online the forgotten volumes, but also engage in diverse activities, scholarly and cultural, that promote the survival of the tradition connected with Yiddish culture. They educate, offering internships and fellowships to students interested in learning Yiddish from across the world, translate, publish, and exhibit Yiddish language materials, in this way finding new users for the language whose speakers were virtually annihilated by the Holocaust. To honour their legacy, a separate project is aimed at conducting video interviews that record life testimonies of the speakers of Yiddish. Aaron Lansky’s 2004 memoir, Outwitting History, provides an interesting insight into the complexities of his arduous life mission. Today, the Center lives its own unique life, serving the world of academia and Yiddishkeit enthusiasts alike.
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Frenkel, Aleksandr. "Edited and Annotated Correspondence between Sholem Aleichem and Judah Leib Gordon". Judaic-Slavic Journal, n.º 1 (2018): 154–78. http://dx.doi.org/10.31168/2658-3364.2018.1.4.3.

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The exchange of letters between the Yiddish writer Sholem Aleichem (1859– 1916) and the Hebrew poet Judah Leib (Leon) Gordon (1830–1892) took place in 1888– 1890 and deals with the challenging problems facing Jewish literature at the end of the nineteenth century. This correspondence is published here for the first time in its entirety, bringing together the original letters from the National Library of Israel (Jerusalem), Beth Shalom Aleichem (Tel-Aviv) and the private collection of Isaak Kofman (Santa Clara, CA). Two letters, originally written in Yiddish and Hebrew, are presented here in Russian translation. The other seven letters are presented in the original Russian with numerous insertions in Yiddish, Hebrew and Aramaic.
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Leket-Mor, Rachel. "IsraPulp: The Israeli Popular Literature Collection at Arizona State University". Judaica Librarianship 16, n.º 1 (31 de diciembre de 2011): 1–53. http://dx.doi.org/10.14263/2330-2976.1003.

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Based on research literature, the article reviews the history of Hebrew popular literature since the 1930s, its connections with Yiddish Schund literature and its effects on the development of Modern Hebrew literature and Israeli identity, especially in light the New Hebrew ethos. The article features the research collection of Hebrew pulps at Arizona State Univeristy, demonstrates the significance of collecting popular materials in research libraries, and suggests possible new study directions. An appendix lists some of the materials available at the IsraPulp Collection.
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Nazaruk, Piotr. "The Silence of Judaica". Studia Żydowskie. Almanach 10, n.º 9-10 (31 de diciembre de 2020): 171–73. http://dx.doi.org/10.56583/sz.697.

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"The National Library of Poland holds a vast collection of Yiddish prints, both pre and post-war, issued mainly in contemporary and former territories of Poland. Thanks to the effort of the Library and years of digitizing the material, about 25 thousand Yiddish newspaper issues, hundreds of books, posters and leaflets were published online and made available for free at the Library’s digital library polona.pl. Although the researcher’s dream has not yet been fulfilled and the Yiddish OCR system has not yet been implemented in polona.pl, Yiddish scholars in Poland received a powerful and user-friendly research tool. Furthermore, by publishing scans of newspapers from big cities and smaller towns, polona.pl has revealed a forgotten or suppressed multi-linguistic and social landscape of pre-war Poland. Even if some Poles living in, for instance, present day town of Chełm knew about their town’s rich Jewish history and its importance in Jewish folklore already ten or so years ago, the image was surely vague. Today, by a single click, one can literally immerse oneself into the world of pre-war Polish-Jewish reality of a small town and – even withoutunderstanding Yiddish, but simply by browsing the papers and reading Polish fragments appearing there from time to time – find out that it was more complex than one might think [...]".
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Frieden, Ken. "Itzik N. Gottesman. Defining the Yiddish Nation: The Jewish Folklorists of Poland. Detroit: Wayne State University Press, 2003. xxiii, 247 pp." AJS Review 28, n.º 2 (noviembre de 2004): 403–4. http://dx.doi.org/10.1017/s0364009404410216.

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Itzik Gottesman's Defining the Yiddish Nation will be indispensable to anyone interested in the collection of Jewish ethnographic materials. Focusing on the early twentieth century in Poland, Gottesman discusses the underlying ideology, the methodology, and the practice of folklore study.
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Tesis sobre el tema "Yiddish Collection"

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Fornhoff-Levitt, Michèle. "Le théâtre yiddish de l'entre-deux-guerres à Paris (1919-1939). La judéité mise en scène". Electronic Thesis or Diss., Sorbonne université, 2023. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2023SORUL113.pdf.

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La présente thèse étudie, sous un angle interdisciplinaire, la manière dont le théâtre yiddish moderne à son apogée pendant la période de l’entre-deux-guerres, représente et met en spectacle la yidishkeyt – la judéité (lit. ‘yiddishité’) des Juifs ashkénazes yiddishophones d’Europe de l’Est – sur les scènes de l’Ouest, en l’occurrence celles de Paris, considérée alors comme la capitale occidentale de l’art et du divertissement. L’étude approfondie des actants (artistes, publics et salles), du répertoire, de la dramaturgie et des codes théâtraux vise à cerner, plus spécifiquement, le caractère transnational et diasporique de cette identité culturelle à travers sa théâtralisation, sa performance et sa réception lorsqu’elle quitte, au fil des migrations, son espace d’ancrage pour investir un territoire nouveau, souvent hostile. La conception du théâtre yiddish comme système socio-culturel occupant un espace à la fois autonome et dialogique par rapport à la culture théâtrale française permet d’analyser ce théâtre hautement mobile, réseauté et fédérateur, et d’appréhender les transferts culturels de part et d’autre à travers le regard d’un public juif et non-juif. Cette double perspective éclaire tour à tour l’idiosyncrasie et la polyvalence de la yidishkeyt théâtrale, ainsi que son affinité indéfectible avec la mémoire collective et ‘nationale’ du peuple juif, sinon avec le judaïsme lui-même
This thesis studies, from an interdisciplinary angle, the way in which modern Yiddish theater at its height during the interwar period, represents and performs Yidishkeyt – the Jewishness (lit. 'Yiddishness') of Yiddish-speaking Ashkenazi Jews from Eastern Europe – on the stages of the West, in this case those of Paris, considered in that period as the Western capital of art and entertainment. The in-depth study of the actors (artists, public and halls), the repertoire, the dramaturgy and theatrical codes aims to identify more specifically the transnational and diasporic character of this cultural identity through its dramatization, its performance, and its reception when it leaves, along with the human migrations, its place of anchorage to invest an often-hostile new territory. The conception of Yiddish theater as a socio-cultural system occupying a space that is both autonomous and dialogical in relation to French theatrical culture makes it possible to analyze this highly mobile, networked, and bonding theater, and to understand the cultural transfers on both sides – through the eyes of a Jewish and non-Jewish public. This dual perspective illuminates not only the idiosyncrasy but also the versatility of theatrical Yidishkeyt, as well as its unwavering affinity with the collective and ‘national’ memory of the Jewish people, if not with Judaism itself
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Libros sobre el tema "Yiddish Collection"

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Mlotek, Zalmen, Cecelia Raker, Lidiya Yankovskaya, Gabrielle Orcha, Abraham Goldfaden, Nahma Sandrow y Debra Caplan. Shulamis: A Yiddish operetta. Cambridge, Mass: Harvard College Library, 2009.

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Baker, Zachary M. Essential Yiddish books: 1000 great works from the collection of the National Yiddish Book Center. Amhert, Mass: National Yiddish Book Center, 2006.

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1931-, Kumove Shirley, ed. Words like arrows: A collection of Yiddish folk sayings. New York: Schocken Books, 1985.

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Kumove, Shirley. More words, more arrows: A further collection of Yiddish folk sayings. Detroit: Wayne State University Press, 1999.

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Library, Harvard College. The range of Yiddish: Catalog of an exhibition from the Yiddish collection of the Harvard College Library. Cambridge, Mass: Harvard College Library, 1999.

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1944-, Goldberg David, ed. The Field of Yiddish: Studies in language, folklore, and literature : fifth collection. Evanston, Ill: Northwestern University Press, 1993.

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Lewis, Glinert, ed. Mamme dear: A turn-of-the-century collection of model Yiddish letters. Northvale, N.J: J. Aronson, 1997.

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1739, Wallich Moshe d. y Katz Eli, eds. Book of fables: The Yiddish fable collection of Reb Moshe Wallich, Frankfurt am Main, 1697. Detroit: Wayne State University Press, 1994.

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Goldie, Sigal y McGill University Libraries, eds. A garment worker's legacy: The Joe Fishstein Collection of Yiddish Poetry : the catalogue. Montreal: McGill University Libraries, 1998.

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Stanley, Bergman, Abramowicz Dina, Ross Norman A. 1942- y Yivo Institute for Jewish Research., eds. Yiddish children's literature from the Yivo Institute for Jewish Research: Guide to the microfiche collection. New York, N.Y: Clearwater Pub. Co., 1988.

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Capítulos de libros sobre el tema "Yiddish Collection"

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Elbaum, Jacob y Chava Turniansky. "The Destruction of the Temple". En Midrash Unbound, 407–28. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781904113713.003.0020.

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This chapter looks at a Yiddish booklet for the Ninth of Av. This is a hitherto unresearched Yiddish collection of aggadot on the destruction of the Temple in a booklet of twelve pages with no title page, no title, and no mention of the author, the year, or the place of publication. The significance of this booklet lies in two main factors. First, it includes the fullest collection of sequences of talmudic narrative in Yiddish that is known of up to its time. Second, it coincides entirely—except for a few small differences in vocabulary and style—with the distinct cluster of stories entitled Khurbn or Khurbn beys hamikdesh that appears in the Tsene-rene after the discussion of the book of Lamentations. If this collection is an original component of the Tsene-rene, and perhaps even if not, there is much to be learned from it about the manner in which this foundational text of Yiddish literature was consolidated.
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Riegel, Julia. "‘Jewish Musicians are the Crowning Achievements of Foreign Nations’". En Polin: Studies in Polish Jewry Volume 32, 309–20. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781906764739.003.0017.

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This chapter discusses the treatment of the Jewish identity of various composers by the Yiddish folklorist and music critic, Menachem Kipnis. It describes Kipnis as a small, energetic man with a soft but beautiful singing voice and considered one of the most popular Jewish folklorists of interwar Poland. It also looks into Kipnis' book World-Famous Jewish Musicians, a collection of biographies of nineteenth-century composers with a Jewish background. The chapter examines the contradictions and idiosyncrasies of World-Famous Jewish Musicians compared with Kipnis's other works. It seeks to understand the balance Kipnis struck between praise for Jewish composers and quasi-nationalist emphasis on their Jewishness on the one hand, and his work as a folklorist in Poland, collecting songs from traditional, Yiddish-speaking Jews on the other.
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Hellerstein, Kathryn. "Gender and the Anthological Tradition in Modern Yiddish Poetry". En The Anthology in Jewish Literature, 259–80. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195137514.003.0014.

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Abstract In 1928 Ezra Korman (1888-1959), a teacher and literary critic living in Detroit, published a volume of Yiddish poems by women, entitled Yidishe dikhterins: antologye [Yiddish Women Poets: Anthology]. Clothbound, lavishly illustrated, replete with introductions, notes, and bibliographies, this book collected poems by seventy women who published between 1586 and 1927. The earliest figures represented in Korman’s anthology wrote popular devotional poetry in Krakow and Prague. The post-Haskalah poets in the late nineteenth century wrote on national and social themes, using metaphorically the images and conventions of devotional literature. The modern poets of 1910 to 1930 composed lyrics in America and in the Soviet Union, under the influences of socialism and cosmopolitan modernism. From the evidence of Korman’s collection, a reader might conclude that in 1928 women poets occupied an acknowledged and significant place in Yiddish literature and that there existed unambiguously a tradition of women writing poems in Yiddish. In fact, Korman’s anthology sets out to argue the case for such a tradition. But he was shouting into the wind.
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Shmeruk, Chone. "Yiddish Adaptations of Children’s Stories from World Literature". En Studies In Contemporary Jewry An Annual, 186–200. Oxford University PressNew York, NY, 1990. http://dx.doi.org/10.1093/oso/9780195061888.003.0008.

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Abstract In the original German prose version in the famous collection by the Brothers Grimm, no name other than Red Riding-Hood is mentioned.1 But in the rhymed Yiddish version, entitled “Royt mentele” (“Little Red Coat”), the girl is given a name to rhyme with the title: Yentele. In this version of the tale, the story takes place on Purim. Yentele is on her way to bring grandma the traditional basket of Purim treats: a homentash, a strudel, a Purim-cake and a fruit layer cake. There is no hunter as there is in the original; instead, the hero who saves Yentele and grandma is Yehiel, the water carrier.
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Grözinger, Karl Erich. "The Source Value of the Basic Recensions of Shivḥei ha Besht". En Hasidism Reappraised, 354–64. Liverpool University Press, 1996. http://dx.doi.org/10.3828/liverpool/9781874774204.003.0021.

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This chapter assesses Shivḥei haBesht, a collection of individual tales, told by a considerable number of distinct individuals. In spite of its admittedly legendary character, Shivḥei haBesht has served the scholars of early hasidism as an important, if not the main, basis for their reconstructions of the beginnings of the movement in the eighteenth century. Modern hasidic scholarship should therefore address itself to the question of the source value of the text of this important and early collection of narrative hasidic lore. The text is available in two versions: the Hebrew version published in Kopys in 1814, the understanding of which has been much enhanced by the publication of the important Mondshine edition; and the Yiddish version published in Korets in 1815. This has given rise to a number of questions. Is the Yiddish Korets edition a paraphrastic translation of the Hebrew Kopys edition, or does it represent an earlier, independent tradition? Did the editor of the Hebrew edition deliberately understate the notion of the founder of hasidism as a ba'al shem engaged in magical practices? All these questions would have a bearing on any attempt to gauge the source value of the tales as they have come down to us.
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Bassok, Ido. "Jewish Youth Movements in Poland between the Wars as Heirs of the Kehilah". En Polin: Studies in Polish Jewry Volume 30, 299–320. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9781906764500.003.0015.

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THIS CHAPTER is a part of a research project focusing on 150 autobiographies out of the collection of about 350 by young Jews, which are in the possession of YIVO.1 Of the 150, 93 were written in Yiddish, 46 in Polish, and 11 in Hebrew; 109 were composed by young men and 41 by young women. They were sent to YIVO, then in Vilna, as entries in three contests the institute organized in 1932, 1934, and 1939. The contests, as was made clear,...
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Fay, Laurel E. "Public and Private (1948-1953)". En Shostakovich, 167–84. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195134384.003.0011.

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Abstract On 24 April 1948, facing his colleagues at the Composers’ Congress, Shostakovich had pledged to place melody at the heart of his future works, melody infused with the essence of folklore. He had promised to produce romances and songs. In May, the composer began querying a Jewish friend about the pronunciation of certain Yiddish words and the rhythmic flow of folk texts that he knew only in Russian translation. What he was studying was a collection of translated texts, Jewish Folk Songs, that had been published in Moscow in 1947.
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Zimmerman, Joshua D. "Wiktoria Śliwowska (ed.) The Last Eyewitnesses: Children of the Holocaust Speak". En Polin: Studies in Polish Jewry Volume 15, 503–6. Liverpool University Press, 2002. http://dx.doi.org/10.3828/liverpool/9781874774716.003.0041.

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This chapter showcases the accounts of child survivors in Nazi-occupied Poland, as written in The Last Eyewitnesses. The accounts all follow a similar format, beginning with a discussion of pre-war family background, continuing with harrowing tales of wartime survival, and concluding with a section on the survivor’s experiences in post-war Poland. The consistent format makes the collection a particularly useful tool for scholarly analysis as well as for classroom use. The testimonies depict the life of Jewish children from all regions of inter-war Poland, both urban and rural, in a wide variety of settings in Nazi-occupied Poland: in hiding, in ghettos, in the camps, in the forests. In addition, a full range of family backgrounds is represented, from those who came from assimilated families and had been raised in a Polish milieu to those from Yiddish-speaking Orthodox backgrounds.
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Shandler, Jeffrey. "Anthologizing the Vernacular: Collections of Yiddish Literature in English Translation". En The Anthology in Jewish Literature, 304–23. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195137514.003.0016.

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Abstract The cultural value that Jews have long invested in translation and their attraction to what David Stem terms the “anthological habit” converge in anthologies of Yiddish literature in translation. While these collections bear traits in common with other anthologies in the Jewish library, they are distinguished by the association of Yiddish with vemacularity, especially with the particulars of Ashkenazic vernacular speech and culture as they took shape within a variety of multilingual Diaspora milieus. Anthologies of modem Yiddish literature translated into English (the largest corpus of Yiddish belles lettres rendered in a non-Jewish language) seek to present the unique achievement of this modem secular literature to new audiences-not only to non-Jews and non-Ashkenazim, but to the growing number of descendants of Yiddish speakers who no longer speak or read Yiddish and who have a very different sense of Jewish linguistic and cultural vemacularity than did their recent forebears. For this reason, these collections are of interest not only as literary works of translation and canonization, but also as agents of cultural transmission.
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"Preserving Collective Knowledge in Migration: Collective Biography and Questionnaires". En Yiddish Revolutionaries in Migration, 185–208. BRILL, 2020. http://dx.doi.org/10.1163/9789004321397_008.

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Actas de conferencias sobre el tema "Yiddish Collection"

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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE". En 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE". En 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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