Artykuły w czasopismach na temat „French Jewish poetry”

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.

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.

Abstract This article, dealing with the translation of Postholocaust Yiddish poetry into non-Jewish languages like French, English and German, must necessarily sketch in a linguistic, literary and social background to prepare the ground for the complete understanding of the special task involved in the rendering of Jewish expression. (Conversion into Hebrew presents a far different challenge, described in a related study). Discussed here are literary movements like European Expressionism and Yiddish “Introspectivism” as practiced in the United States as well as the linguistic basis of these in Yiddish speech and poetic prosody and embodied in the translations of Cynthia Ozick (English), Charles Dobzynski (French) and Gabriele Kohlbauer-Fritz (German).

This article deals with the meaning of contemporary Yiddish poetry and its translation into several non-Jewish languages — French, German and English — stressing the perfected realization of this meaning through educated insight into a completely different culture and language. Also discussed are the contributions of Hasidism, Expressionism and Yiddish Introspectivism as well as the fact that both poetry and language are in the process of disappearing and thus require special care.

Abstract: French astrophysicist Jean-Claude Pecker, who passed away in early 2020, left behind a rich body of work that reflects his active engagement with areas beyond the scientific, among them the visual arts, social activism, and poetry. This paper follows Pecker as he grapples with the loss of his parents in the Holocaust and articulates the impact of this loss on his life and work. My discussion draws primarily on Pecker’s poetry collections Galets poétiques and Lamento 1944–1994 , with occasional references to other writings, among them a provisional draft of the opening chapter from Pecker’s memoir and letters recounting his family history. Allusions to Pecker’s Jewish heritage are absent from the poetry collections yet are prominently present in other writings in the context of antisemitism as the core of his “feeling Jewish” on the one hand and the rejection of Judaism among all other religions on the other. Reflecting on the violence that afflicted his life during the war years and admitting his deep pessimism regarding the future of both humanity and the environment, the elderly Pecker conveys in his writings a sense of diminished agency both in his own life and in that of the sun, the celestial body broadly considered a mainstay of his scientific work. Contextualizing Pecker among his peers, I suggest that while the themes of deportation and death figure centrally in the poems, Pecker is less in conversation with Holocaust poetry or poets and more in dialogue with a group of French artist-friends, united in the knowledge of nature’s timeless beauty and in the recognition of the presence within humanity of love, friendship, and the unlimited capacity for inflicting harm and great pain.

The article presents a profound and artistically very successful phenomenon of the reception of Marc Chagall’s works in Polish poetry form the 1950s to the 1980s. Different from the reception of Chagall in other “Western” literatures (examples discussed in the article derive from French poetry), the Polish reception is marked first of all by the events of the Second World War and the Holocaust. As during the war almost all material and cultural traces of the Jewish presence in Poland were annihilated, the works of Chagall became a point of reference for many poets (e.g. Jerzy Ficowski, Joanna Kulmowa, Janusz S. Pasierb, Tadeusz Śliwiak), enabling them to express a part of Polish culture which was tragically deprived of its own forms of expression and existence.

The paper deals with the Alexandreis, a successful 12th-century Alexander-epic by French poet and scholar Walter of Châtillon. It argues that the essential ambiguity of the text manifests itself as an analogy to biblical and exegetical typology. To reflect both the production and the reception of the typological epic, Walter modifies the ancient concept of poetry as an enduring monument. This is demonstrated by analysing three cases of authorial self-reflection: the prose prologue, Alexanders visit in Troy, and the Greek-Jewish sculptor-painter Apelles.

In the Huguenot refugee community in The Netherlands, known as a hotbed of the early Enlightenment, literary interest in Judaism was ubiquitous, yet actual Dutch Jews were relegated to a marginal position in the exchange of ideas. It is this paradoxical experience of cultural participation and social exclusion that a major unpublished source allows to depict. The ex-converso Abraham Gómez Silveyra (1651–1741), a merchant endowed with rabbinic education and proficiency in French, composed eight manuscript volumes of theological reflections in Spanish literary prose and poetry. This huge clandestine series, which survives in three copies, shows the author’s insatiable curiosity for Christian thought. While rebutting Isaac Jacquelot’s missionary activity, he fraternizes with Pierre Jurieu’s millenarianism, Jacques Basnage’s historiography, and Pierre Bayle’s plea for religious freedom. Gómez Silveyra, however, being painfully aware of his voicelessness in the public sphere, enacts Bayle’s utopian project as a closed performance for a Jewish audience.

The kaleidoscope of pseudonyms behind which he hid himself on the pages of the Russian- Jewish weekly Rassvet is a reflection of the multifaceted personality of Zakharia Klyuchevich. Historian, archaeologist, linguist, teacher, political activist, journalist, caricaturist, painter, poet, screenwriter, biologist, it is difficult to find an area into which he did not venture. The spectrum of languages he mastered, or tried ​​as an author, is equally colorful: from his native Russian to quasi-native French, through English, Hebrew, German, Yiddish, Polish, Ancient Greek, Turkish, up to Albanian and Etruscan, two languages he tried to link by identifying the latter as a protolanguage of the former. The amount of material left behind by this polyhedric author is voluminous. Correspondence in various languages (Italian, Russian, English, and French), diaries, theater screenplays (Hebrew, English), essays (French), poetry (French, Russian, and Hebrew), authored language textbooks (French-Hebrew, Russian-Hebrew), sketches, paintings, and newspaper clippings are preserved at the Jabotinsky Institute in Tel Aviv. Through a thorough analysis of this material, we will try to draw the portrait of this ish eshkolot, this Renaissance type of intellectual, who has been forgotten in their treatises by historians of literature, Zionism, art and archeology, perhaps precisely because of the difficulty in tracing his movements and activities, the excessive chameleon-like nature of his occupations and cryptonyms.

The study aims to present a comprehensive analysis of the North African Judeo-Arabic dialects in their internal diversity and in their communal use in daily interaction as well as in specialized genres of oral and written discourse. Internal diversity pertains to the various daily and elaborated genres of discourse and types of texts that developed in Jewish communities from the sixteenth century, generating different lects, polylects, and archilects in poetry, in journalism, and in daily interaction; combinations of lects constitute the repertories of three distinct communal sociolects: rabbinic, males,’ and females’ sociolects. Internal diversity also includes the changing linguistic Arabic matrix and the external components it integrated and which hybridized the dialects: Hebrew-Aramaic, Berber, Turkish, and Romance (Castilian, Portuguese, Italian, French). Three oral texts illustrating various Judeo-Arabic lects are presented and discussed.

In the modern world, Globalization, Colonialism, Technology, Politics and Economy have changed many cultural identities and contributed to the appearance of multilingual literature. Code-Switching could occur in different institutional languages, slangs, dialects, and sociolects; so, translators should find strategies to tackle this literary phenomenon and preserve the source text identity. But how could the translator (who is a reader and a transmitter at the same time) deal with these types of literary texts? And how could he/she produce a target multilingual text that preserves the identity and the magic expressed in the source text? The multilingual text is a specific genre of literature which combines two or more languages in the desire to express a multilingual and multicultural reality inherent to a particular group of individuals. Multilingual Literature appeared for the first time during the Middle Ages, but it was called originally Macaronic literature. The term 'Macaronic' is commonly used to indicate any hybrid language that mixes the vernacular with Latin. This mixture was frequent during the Middle Ages in all romance literature. Macaronic literature is therefore a phenomenon that represents the cultivated, highly educated and sophisticated categories of society like academics, novelists and poets. However, translators who used to identify the translation as an inter-linguistic transfer between two formal systems (source and target institutional languages) have faced obstacles in working with multilingual texts in which the author uses code-switching as an alternative to reflect the unfair categorization of people and registers in modern societies). This paper aims to examine the different strategies proposed by Venuti, Cincotta, Bojanin, Qoates and other scholars to transfer the code-switching device in the literary texts; and eventually proposes an integrated strategy that will preserve the code-switching aspect in the translation process, namely in Farah CHAMMA’s poem ‘I am No Palestinian’. Our strategy aims at creating such equilibrium between the translator’s creativity and identity losses, which will allow the target reader to be an active participant in the understanding process and revealing the otherness of the source text. The poem of Farah CHAMMA is chosen as a case study in this research, because it reflects the human being struggle for independence and freedom. However, the independence in this context does not mean the liberation from the colonizer who enters with his armed forces and military weapons to your country, the colonizer nowadays enters your brain trough globalization, migration, media, internet, and all these factors contributed to the fusion of the traditional notion of identities. The Islamic Arabic identity is contaminated by the French, English, Spanish, German, Italian, Christian and Jewish identities due to this kind of colonialism which destroys all the identity and patriotism fundamentals such as: ethics, religion, thought, and of course language. This is why Farrah writes in her poem that she had lost her language and all the Arabic Palestinian identity that comes with, she masters many foreign languages but her mother tongue. She thinks, acts and does like the British, the French, The Portuguese poets and artists do, but she just knows little tales about the Palestinian poet Ziad RAFFIF who defends the Palestinian issue in his literary works. So, the poet Farah Chamma used the multilingualism in her poetry to draw a picture of the struggle that exists within herself, and to show us how a language can embody an identity with all its features. The multiplicity of identities may create a new identity for the writer of the source text. Thus, the translator will not deal anymore with all the different cultures that belong to the languages of the text, but he must instead, discover the new identity of this community that uses this kind of speech system i.e., the Code-Switching system.

Symbolism was first a literary, then an artistic movement, which brought together a large number of writers and artists from all over the world based on its aesthetic program. Thanks to its cosmopolitan character, symbolism, originally French, would conquer all of Europe and America, both Spanish and Anglo-Saxon. This movement was French in essence and expression, but foreigners participated in it from the very beginning: Greeks like Jean Moréas, the pseudonym of Papadiamantopulos, Flemings like Rodenbach, Maeterlink, Verhaeren, Max Elskamp, Albert Mockel and Van Lerberghe, Anglo – Saxons such as Stuart Merrill and Francis Viele-Griffi, Jews such as Gustave Kahn, Spaniards such as Armand Godoy and many others, among whom should be mentioned the work also written in French by the Italian Gabriele D'Annunzio, the English Oscar Wilde and the Romanian Alexandru Macedonski (contributor to one of the first magazines of the current, „La Wallonie”). Mallarmé meant for the evolution of poetry what Einstein would mean later for revolutionizing physics. He took the decisive step that spirituality required for poetry to move to a higher level.

Kavita Ezekiel Mendonca was born in Bombay to Prof. Nissim Ezekiel and Daisy Ezekiel. She was raised in a Bene-Israel Jewish family in Bombay, India.* She attended Queen Mary’s School, St. Xavier’s College, Bombay University and Oxford Brookes University, U.K. She holds Bachelor’s and Master’s degrees in English, American Literature and Education. Her career spanned over four decades in Indian colleges, American International Schools and Canada, teaching English, French and Spanish. She also held the position of Career Counsellor at the International School in India, where she taught Advanced Placement and other courses in English for sixteen years.She is a published poet. Her first book, Family Sunday and other Poems, was published in 1989, with a second edition in 1990. She has read her poems over All India Radio Bombay, and her poems have also appeared in Poetry India, SETU Magazine, Muse India and Destiny Poets, UK, to name a few. She has her poetry page at https://www.facebook.com/kemendoncapoetry.Kavita also writes short fiction. Her work is strongly influenced by her father’s work. (The late Nissim Ezekiel was an eminent poet, well-known in India and overseas). She lives in Calgary, Canada, with her family.This interview was conducted via emails in the rainy days of June 2020.

AbstractIn the years immediately following the Second World War, three books written by German professors of Romance Philology were published in Switzerland: Mimesis by Erich Auerbach in 1946, European literature and the Middle Ages by Ernst Robert Curtius in 1948, and Montaigne by Hugo Friedrich in 1949. Even if the subjects of these studies and the approaches of their authors are different, their aim is nevertheless the same: They want to contribute to the idea of continuity in European literature. It is certainly logical to conclude that Auerbach, banished from Germany by the Nazi authorities because of his Jewish heritage, Curtius, surviving the years from 1933 to 1945 in »inner emigration«, and Friedrich, serving as interpreter in the German army, learned the lessons of the past and evoke the heritage of literature as an antidote to ideological blindness and fanaticism. Friedrich, whose study of Montaigne’s Les Essais forms the center of the following article, is internationally known first and foremost for his bestseller Structure of modern poetry (1957), translated into thirteen languages, but also his work Montaigne, which is the first comprehensive study of Montaigne’s personality and work in German and, even today, far from being outdated. Strangely enough, the book is actually only available in the English translation by Dawn Eng. It helps the modern reader to understand not only the complex composition of Montaigne’s essays, but also their epoch-making place in French moralistic literature.

Ilmar Laabani pärandi hulgas Eesti Kirjandusmuuseumi Eesti Kultuuriloolises Arhiivis on säilinud mõned näited tema saksakeelsest kirjavahetusest kahe saksa-juudi luuletajaga: kolm koopiat kirjadest tema eakaaslasele Paul Celanile (1920–1970) ja mõned kirjamustandid Nelly Sachsile (1891–1970), kes mõned aastad hiljem pälvis Nobeli kirjanduspreemia. Laaban rootsindas mõlema luuletaja tekste ning tõlkis valiku nende luuletustest ka eesti keelde. Artikkel käsitleb Laabani kirjanduslikku dialoogi Celani ja Sachsiga, mis kujunes kirjade, kohtumiste ning eeskätt luuletõlgete kaudu. Artikli teises pooles analüüsitakse Celani luule eestindusi, mille Laaban avadas Manas 1957–1958. --- In the archive of the Estonian poet Ilmar Laaban, conserved at the Estonian Literary Museum in Tartu, we find three copies of his drafts of letters (in German) to his contemporary, the German Jewish poet Paul Celan (1920–1970) and four drafts (in German) of letters to the German Jewish poet and Nobel laureate Nelly Sachs (1901–1970). Laaban was personally acquainted with both Celan and Sachs, translated their poetry into Swedish, and published a small selection of each in Estonian translation. Celan’s first meeting with Laaban in Paris in 1951 is mentioned in Celan’s letter to Hannelore Scholz (Celan 2019, 94), and in one of Laaban’s letters (1952). Their correspondence began in 1954 and lasted until Celan’s death in 1970. Though it might seem that such a spare, if not to say skeletal group of letters barely constitutes an analysable sample, this article responds with the claim that it offers significant traces of these poets’ “elective affinities”. Indeed, this portion of Laaban’s epistolarium stands as a synecdoche of much richer dialogues. “Dialogical moments” occur both in epistolary communication and in the translation process. Letters usually carry metacommunicative signals, references to other letters, or other texts, expanding the possibilities of interpretation and contextualisation. When researching epistolaria it is not unusual to find only the letters of one party. Reasons are varied: general carelessness with one’s papers, improper sorting of a personal archive, an accident, or an intentional culling and erasure of epistolary texts. In Laaban’s case it is difficult to decide on the reason, as his correspondence (and the whole of his personal archive) only became better tended when he began living with Aino Tamjärv in 1981. There is a tone of warmth in Laaban’s drafts of letters to Sachs, and they both use the informal personal pronoun Du. The only surviving letter from Sachs to Laaban, a postcard for his birthday in 1955 points to a long-lasting friendship, including visits. Laaban’s letters to Celan are more distant, use the formal pronoun Sie and are primarily concerned with choices about translations into Swedish from Celan’s first published poetry collection, Mohn und Gedächtnis (The Poppy and Memory). The first part of this article closely examines the archival evidence on the correspondences, using additional material from the clean copies of Laaban’s letters from the Celan archive in Marburg, mentions of Laaban in Celan’s Collected Letters, as well as Sachs and Celan’s correspondence with each other from 1954 until Celan’s death by suicide in 1970; Sachs died in Sweden the same year. Such analysis yields several textual rhizomes for future research and calls for a more determined search for Laaban’s published Swedish translations of Celan’s and Sachs’ poetry in literary periodicals in Sweden. Contextually, it must be mentioned that Laaban corresponded with literary scholars, visual artists, critics, and journalists who were proponents of surrealism as a generative mode of post-war culture. The focus of the letters Laaban received is narrower here: discussion is limited to the history of surrealism, criteria for a verbal or visual text to be deemed surrealist, and the extent of the network of artists and writers throughout post-war Europe that aspired to its ideals. Laaban reminds his correspondents that surrealism is alive and well in Europe’s peripheries, including the Scandinavian countries. Indeed, Laaban’s first encounter with Celan and his works was in the context of surrealism. According to Celan, Laaban wrote and spoke impeccable French and Estonian, and he regarded him as a Swede, or rather a highly educated Estonian living in Stockholm In contrast to these academic-sounding debates, Laaban’s letters to Celan and Sachs address the question of the in-betweenness and intermittency of exile experience. In addition, there is the broader issue of human illness, suffering and destruction (Zerstörung) in a dark chapter of history that is barely past. Though the Holocaust (avant la lettre) and destruction of Europe’s Jews are not specifically broached, in the experience of one or multiple exiles, Laaban is a “fate-companion” of Celan and Sachs. The second part of this article is an analysis of Laaban’s lengthy article on Celan in the first two issues of the Estonian-language cultural journal Mana (1957–1958), an exile publication with broad international aims that attempted to break away from a singular focus on exile writers and confining arguments about the validity of exile vs homeland. Accompanying the article, as a significant step toward the Estonian reception of key post-war European writers, is a small selection of Laaban’s Estonian translations of Celan’s poetry.

The special issue of Methis on literature and openness brings together the oeuvres of two remarkable Estonian authors with an international scope: Jaan Kaplinski and Ilmar Laaban. They were poets, translators, essayists, original thinkers and public intellectuals whose works have travelled far beyond the boundaries of Estonian literature. Jaan Kaplinski (1941–2021) published more than 60 books in Estonia and equally many abroad, as his work has been translated into more than 30 languages. Ilmar Laaban (1921–2000) fled Estonia for an exile in Sweden to escape Soviet occupation in the spring of 1943. He has left his mark on Estonian literary history with his surrealist collection of poetry Rroosi Selaviste (1957) and practising the genre of text sound poetry in Estonian, Swedish and French. Jaan Kaplinski’s name was put forward as a possible candidate for the Nobel prize in literature on several occasions. Laaban, who was well acquainted with contemporary European literature and its authors, translated into Swedish poems by the German-Jewish poet Nelly Sachs who received the Nobel prize in 1966, while Kaplinski rendered into Estonian poetry by Tomas Tranströmer, the Swedish recipient of the prize in 2011. Kaplinski also pointed out that it was the anthology 19 moderna franska poeter (1948), co-edited by Laaban and Erik Lindegren, that had given Tranströmer an impetus towards becoming a poet. In addition, similarities of outlook have also been observed between Tranströmer and Kaplinski himself. For instance, Ivar Ivask, a long-time editor-in-chief of the Oklahoma-based journal World Literature Today, underscored the significance of openness in Tranströmer’s poetry, while his dedicatory poems to Kaplinski and Laaban connect the authors with such notions as scope, infinity, openness, eternity and freedom. Openness appears as the core concept in this cluster of notions related to a lack of boundaries and contractedness in time, space and society that becomes manifest in the oeuvres of both Kaplinski and Laaban. Their works are also characterised by an intense engagement with the semantic possibilities afforded by different languages as well as employing linguistic regularities towards the end of formal innovation. 20th-century intellectual history, that provided the context for the creative growth of both authors, involved remarkable cases of addressing of the openness concept, notably by figures such as the philosopher Karl Popper and the semiotician Umberto Eco. Popper famously launched his concept of open society as one in which an individual has to face personal decisions, which opposes it to a magical or tribal totalitarian society. In the artistic realm, Eco discussed the open work that involves the audience’s collaboration with the author in detecting meaningful arrangements in the work, making artistic response an interactive process. Such plurality and multiplicity accompanies formal innovation that correlates with a modern, avant-garde feeling for life. The 20th century also gave rise to personality psychology that considers openness to be one of the key personality dimensions, the so-called Big Five. In psychology, openness involves receptivity to new experiences, creativity, intellectual curiosity, and an advanced aesthetic sense. Recent studies have shown that particularly the presence of the latter two components tends to be in correlation with an environmentally aware outlook. Kaplinski and Laaban belonged to different generations and spent their formative years in markedly different conditions yet were united in the attention they paid to language as a system of signs and to studying its possibilities in their creative work, which in Kaplinski’s case was framed by an explicitly ecological take on life. The present special issue on literature and openness comprises six studies concentrating on facets of Jaan Kaplinski’s and Ilmar Laaban’s creative universes by literary scholars from both sides of the Atlantic. In addition, the issue includes two articles that deal with representing trauma in literature and theoretical issues in digital humanities. The issue concludes with the section of theory mediation presenting a translation of Ilmar Laaban’s Swedish-language article “Musiken, samhället, revolutionen” (“Music, society, revolution”, 1969) that is accompanied by a commentary by Hasso Krull.

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