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Snir, Reuven. "“These Hearts, Can They Reach Tranquility?”". Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 15, n.º 28 (18 de outubro de 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, n.º 3-4 (11 de novembro de 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, n.º 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, n.º 3 (20 de setembro de 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, n.º 44 (15 de junho de 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, n.º 2 (novembro de 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, n.º 39 (30 de junho de 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, n.º 1 (9 de junho de 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, n.º 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, n.º 3 (julho de 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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Spinner, Samuel J. "“We Are All Endangered Species”: Jerome Rothenberg’s Jewish Primitivism". Comparative Literature 76, n.º 2 (1 de junho de 2024): 220–39. http://dx.doi.org/10.1215/00104124-11060575.
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Abstract Jerome Rothenberg’s poetry brings together a group of major—seemingly disparate—topics: the Holocaust; ecological crisis; Yiddish culture; and what he terms ethnopoetics, a poetic primitivism centered largely on the culture of Indigenous Americans. This article shows how genocide, both of Native Americans and of European Jews, becomes in Rothenberg’s poetry the catalyst for a new purpose for primitivism—resisting ecological and cultural devastation. Rothenberg’s reactivation of Jewish primitivism follows two paths: first, an insistence on understanding the destruction of Jewish culture in conjunction with the destruction of Indigenous peoples and cultures globally. Second, he links these genocides to the scope and consequences of environmental destruction, which he recognizes as an integral part of the threat to minority cultures and to humanity in general. Rothenberg’s primitivist poetry seeks to resist extinction. This is a striking attempt to negate the association of primitivism with colonial domination and violence and create a poetry of survival in the face of genocide and environmental destruction.
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Nowicka, Daria. ""Słowa nawracające" – somantyczność w poezji Jerzego Ficowskiego. Pisane pożydowskim oksymoronem". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (11 de dezembro de 2017): 107–20. http://dx.doi.org/10.24917/20811853.16.8.
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Words returning ‒ soma and semantics in the poetry of Jerzy Ficowski. Writing in post-Jewish oxymoron The work of Jerzy Ficowski, the author of Odczytanie popiołów, Ptak poza ptakiem, Amulety i definicje, raises the problem of postmemory and re-tale. This is self-contained intimate poetry that witnessed historic and aesthetic changes after the Holocaust. This problem, in soma-semantic context, is presented through the interpretation of selected poems, which combines an aspect of body and meaning. The essence of Jerzy Ficowski’s poems is bordeland language which is visible in the poems concerning the memory of the Jews and Roma. It is in these poems that Ficowski expands the semantic and social limits of ‘post-Jewish’ category by using various memory formulas such as transformation and repetition.Key words: post-war poetry; memory; post-memory; borderland language; Extermination; testimony; empathy;
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Domagalska, Małgorzata. "„Wielką jest semicka moc”. Poetyckie strofy w „Roli” Jana Jeleńskiego". Studia Judaica, n.º 2 (44) (2019): 213–33. http://dx.doi.org/10.4467/24500100stj.19.010.12393.
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“HOW ENORMOUS IS SEMITIC POWER”: POETRY IN JAN JELEŃSKI’S ROLA Rola was the first antisemitic weekly in Poland published in Warsaw between 1883 and 1912. According to the nineteenth-century custom, not only journalism, but also novels published in weekly installments, as well as poems were included in the magazine. In poetry, lofty or religious topics were raised at the time of Christmas or Easter, or virulent antisemitic satire was published on various occasions. The antisemitic satire corresponded to the themes taken up in prose and journalism. The themes were dominated by the myth of Judeopolonia, issues of assimilation and social advancement of Jews, attacks on mixed marriages and mockery of Zionism, or the colonies established by Baron Hirsch in Argentina. It can be said that both prose and poetry were servile to journalism and strengthened the antisemitic content dominant in the weekly.
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Masor, Alyssa. "Ghost Cities: Aaron Zeitlin’s Post-Holocaust Poetry". Zutot 12, n.º 1 (1 de abril de 2015): 53–78. http://dx.doi.org/10.1163/18750214-12341272.
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There are two cities that are featured in Zeitlin’s poetry composed in America during and after the Holocaust, one real and one remembered. Zeitlin is physically in New York and often refers to the city of his real time; however, the author and his poems are possessed by the ghosts of Jewish Warsaw. The-Warsaw-that-is-no-more is often transposed on the geography of New York. Warsaw becomes New York’s ghostly twin, and Zeitlin, a walking shadow whose body is in New York, but whose spirit has gone up in flames with the murdered Jews of Warsaw. In this paper, I demonstrate how Zeitlin creates a paranormal rhetoric of ghosts, astrals, phantoms, and shadows in order to navigate an eradicated world. Various landmarks in New York become portals to this lost world, and crossing the street can become a metaphor for connecting with the deceased.
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Guttman, Anna Michal. "“Our Brother’s Blood”: Interreligious Solidarity and Commensality in Indian Jewish Literature". Prooftexts 40, n.º 2 (2023): 71–93. http://dx.doi.org/10.2979/prooftexts.40.2.03.
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Abstract: This article argues that contemporary Indian Jewish literature recovers a narrative of lost, Indigenous cosmopolitanism, which effectively reframes the history of the Indian subcontinent. More specifically, it contends that interreligious commensality, particularly between Jews and Muslims, forms the center of this cosmopolitan vision, thereby reimagining the home—rather than the public sphere—as the center of cosmopolitan experience. This gendered focus on food as a site for cultural syncretism and remembrance renders the home as a space that redefines Jewish identity and community, thereby challenging the patriarchal authority of both Jewish law and the Indian state. These texts (fiction, drama, poetry and creative nonfiction) preserve and transmit forms of Indian Jewish identity that are marginalized within India and little known by Jews outside the subcontinent. Despite the precipitous decline in the size of India’s Jewish communities, that loss is not defined primarily by externally imposed trauma. Indian Jewish literature therefore offers a distinctive model for remembrance that also challenges contemporary truisms about relationships between Jews and others. The memory of past commensality offers a note of both caution and hope as contemporary Indian Jewish writers wrestle with Jewish-Muslim conflict in the Middle East, where the majority of Jews of Indian descent now reside.
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López Castro, Armando. "Yehudah Ben Samuel Halevi: el exilio como redención". Medievalia 52, n.º 1 (8 de junho de 2020): 93–114. http://dx.doi.org/10.19130/medievalia.2020.52.1.0005.
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In medieval poetry of the Spanish Jews, both sacred and profane, late nostalgia for a lost and saved by the tongue homeland. She is his firmer ground, which can restore from the wreck of a hostile situation the fullness of collective memory. In the case of tudelano poet Judah Halevi, whose wanderings took him to visit different courts, Zaragoza, Toledo, Cordoba, Sevilla, Granada, but without settling permanently in any, the exile experience led him to feel like axis of history among the nations, live with the hope of returning to a land identified with paradise. Because poetry involved herself in this double movement of expulsion and return out put than usual and back source, the only point that awakens the to the meaning of live.
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Pifer, Michael. "The Rose of Muḥammad, the Fragrance of Christ: Liminal Poetics in Medieval Anatolia". Medieval Encounters 26, n.º 3 (24 de setembro de 2020): 285–320. http://dx.doi.org/10.1163/15700674-12340073.
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Abstract Although scent has played a diminished role in modern Western societies, it communicated a wide array of meanings to Muslims, Christians, and Jews in medieval Anatolia. This study examines the ubiquitous presence of fragrance in Persian and Armenian poetry, particularly in the works of Jalāl al-Dīn Rūmī (d. 1273), his son Sulṭān Walad (d. 1312), and Kostandin Erznkatsʿi (fl. late thirteenth–early fourteenth cen.), a Christian Armenian poet of Erzincan. For these and other poets, olfaction served as a rich heuristic for sensing the divine essence in many contexts: in everyday customs, such as washing with rose water or the preparation of sherbet; in devotional practices, such as burning incense or receiving communion; and finally in the instruction of poetry itself.
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Hajduk, Anna. ""Hosanna uniesiona na samo dno” – ironia w "Odczytaniu popiołów" Jerzego Ficowskiego". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (12 de dezembro de 2017): 182–90. http://dx.doi.org/10.24917/20811853.16.14.
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“Hosanna uniesiona na samo dno” – irony in Jerzy Ficowski’s “Odczytanie popiołów” The article is an attempt at interpreting selected poems by Ficowski (*** [nie zdołałem ocalić…], List do Marc Chagalla, Postscriptum listu do Marc Chagalla, Pożydowskie and Wniebowzięcie Miriam z ulicy zimą 1942, included in the volume Odczytanie popiołów). The author focuses on irony, which is particularly noticeable in texts referring to the Bible and religion.Key words: Jerzy Ficowski; Odczytanie popiołów; poetry; irony; Extermination; Jews;
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Einbinder, Susan L. "Meir b. Elijah of Norwich: persecution and poetry among medieval English Jews". Journal of Medieval History 26, n.º 2 (junho de 2000): 145–62. http://dx.doi.org/10.1016/s0304-4181(00)00004-x.
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Scroggins, Mark. "There Are Less Jews Left in the World: Louis Zukofsky's Holocaust Poetry". Shofar: An Interdisciplinary Journal of Jewish Studies 21, n.º 1 (2002): 63–73. http://dx.doi.org/10.1353/sho.2002.0122.
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Hakak, Lev. "The Holocaust in the Hebrew Poetry of Sephardim and Near Eastern Jews". Shofar: An Interdisciplinary Journal of Jewish Studies 23, n.º 2 (2005): 89–119. http://dx.doi.org/10.1353/sho.2005.0059.
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Wolpe, Rebecca. "From Slavery to Freedom: Abolitionist Expressions in Maskilic Sea Adventures". AJS Review 36, n.º 1 (abril de 2012): 43–70. http://dx.doi.org/10.1017/s0364009412000025.
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“Black” themes held a substantial place in twentieth-century American Yiddish poetry and prose, as well as in Yiddish journalism. As Hasia Diner notes in her work on Jews and blacks in the United States in the twentieth century, Jews sympathized with the plight of American blacks and their fight for civil rights. However, this had not always been the case, as evidenced by the many staunch Jewish supporters of slavery and Jewish slave owners and traders. Jonathan Schorsch claims that “under the sign of theHaskala…little changed” in this respect. In discussing a reference by Isaac Satanov to black slavery, Schorsch notes:One cannot gauge from this brief comment whether Satanov knew about the abolitionist movements beginning to agitate in England and France at the time. Satanov's reportage was remarkably non-committal, betraying little, if any, sympathy for these developments.
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Lieber, Laura S. "Call and Response: Antiphonal Elements in Jewish Palestinian Aramaic Poetry". Aramaic Studies 17, n.º 2 (9 de dezembro de 2019): 127–44. http://dx.doi.org/10.1163/17455227-01702001.
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Abstract In this essay, the varieties of refrain structures used in the body of Jewish Palestinian Aramaic poetry from late antiquity provide a laboratory for examining the intersection of acclamation structures and piyyutim. The fact that these poems were written in the vernacular of the community rather than in Hebrew complicates our understanding of their performative setting but at the same time may make it easier to consider a variety of potential modes of community engagement, as we are not constrained by the potential norms of a fixed liturgical setting. The analysis offered here, tentative as it may be, helps us understand both the auditory world of Late Antiquity and the active participation of Jews in the shaping of their soundscape.
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Berkowitz, Michael. "Out of the Whirlwind Reconsidered". European Judaism 53, n.º 2 (1 de setembro de 2020): 1–12. http://dx.doi.org/10.3167/ej.2020.530202.
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This article argues that Albert Friedlander’s edited book, Out of the Whirlwind (1968), should be recognised as pathbreaking. Among the first to articulate the idea of ‘Holocaust literature’, it established a body of texts and contextualised these as a way to integrate literature – as well as historical writing, music, art and poetry – as critical to an understanding of the Holocaust. This article also situates Out of the Whirlwind through the personal history of Friedlander and his wife Evelyn, who was a co-creator of the book, his colleagues from Hebrew Union College, and the illustrator, Jacob Landau. It explores the work’s connection to the expansive, humanistic development of progressive Judaism in the United States, Britain and continental Europe. It also underscores Friedlander’s study of Leo Baeck as a means to understand the importance of mutual accountability, not only between Jews, but in Jews’ engagement with the wider world.
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Malkiel, David. "Renaissance in the Graveyard: The Hebrew Tombstones of Padua and Ashkenazic Acculturation in Sixteenth-Century Italy". AJS Review 37, n.º 2 (novembro de 2013): 333–70. http://dx.doi.org/10.1017/s0364009413000299.
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The acculturation Ashkenazic Jews in Italy is the focus of the present discussion. By 1500 Jews had been living in Padua for centuries, but their cemeteries were destroyed in the 1509. Four cemeteries remained with over 1200 inscriptions between 1530–1860. The literary features of the inscriptions indicate a shift from a preference for epitaphs written in prose, like those of medieval Germany, to epitaphs in the form of Italian Jewry's occasional poetry. The art and architecture of the tombstones are part and parcel of the Renaissance ambient, with the portals and heraldry characteristic of Palladian edifices. The lettering, too, presents a shift from the constituency's medieval Ashkenazic origins to its Italian setting. These developments are situated in the broader context of Italian Jewish art and architecture, while the literary innovations are shown to reflect the revival of the epigram among poets of the Italian Renaissance.
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Szwarcman-Czarnota, Bella. "Kadia Mołodowska". Studia Judaica, n.º 2 (46) (2021): 390–404. http://dx.doi.org/10.4467/10.4467/24500100stj.20.019.13662.
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The project “Canon of the Memoir Literature of Polish Jews”is currently being prepared at the Taube Department of Jewish Studies at the University of Wrocław in cooperation with the POLIN Museum of the History of Polish Jews and Polish Scientific Publishers PWN in Warsaw. Its purpose is to introduce 27 volumes of Jewish memoirs that make up the Jews. Poland. Autobiography series into Polish academic and literary circulation, and to integrate this corpus into the current scholarly discourse on Polish history and culture. This section presents excerpts from the autobiographies of two Jewish writers translated from Yiddish: Rachel (Rokhl) Feygenberg (1885–1972) and Kadia Molodowsky (1894–1975). Rachel Feygenberg depicts her childhood in the shtetl of Lubańin Minsk province, reminiscing about her education, her family’s religiosity, her work in a shop, and the first signs of her writing talent. Molodowsky describes her work teaching homeless children during World War I and the beginnings of her poetic career. She also portrays the Jewish literary milieu in Kiev centered around the Eygns almanac, and her meeting with the patron of Yiddish literature and publisher Boris Kletskin that resulted in the publication of her first volume of poetry Kheshvendike nekht [Nights of Cheshvan].
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Nalewajko-Kulikov, Joanna. "Rachela Fajgenberg". Studia Judaica, n.º 2 (46) (2021): 380–89. http://dx.doi.org/10.4467/10.4467/24500100stj.20.018.13661.
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The project “Canon of the Memoir Literature of Polish Jews”is currently being prepared at the Taube Department of Jewish Studies at the University of Wrocław in cooperation with the POLIN Museum of the History of Polish Jews and Polish Scientific Publishers PWN in Warsaw. Its purpose is to introduce 27 volumes of Jewish memoirs that make up the Jews. Poland. Autobiography series into Polish academic and literary circulation, and to integrate this corpus into the current scholarly discourse on Polish history and culture. This section presents excerpts from the autobiographies of two Jewish writers translated from Yiddish: Rachel (Rokhl) Feygenberg (1885–1972) and Kadia Molodowsky (1894–1975). Rachel Feygenberg depicts her childhood in the shtetl of Lubańin Minsk province, reminiscing about her education, her family’s religiosity, her work in a shop, and the first signs of her writing talent. Molodowsky describes her work teaching homeless children during World War I and the beginnings of her poetic career. She also portrays the Jewish literary milieu in Kiev centered around the Eygns almanac, and her meeting with the patron of Yiddish literature and publisher Boris Kletskin that resulted in the publication of her first volume of poetry Kheshvendike nekht [Nights of Cheshvan].
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Hindun, Hindun. "DEKLARASI BALFOUR : TRAGEDI BAGI BANGSA PALESTINA DALAM PUISI-PUISI ARAB TAHUN 1920-1948". Jurnal CMES 11, n.º 2 (15 de dezembro de 2018): 127. http://dx.doi.org/10.20961/cmes.11.2.26990.
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The arrival of Jews in Palestine since 1882 changed the order of life of the Palestinian people. Jews began to buy land from Palestinians with the aim of mastering all Palestinian land in the future. This mastery is carried out to realize the ideals of establishing a Jews country that has been proclaimed by The World Zionist Organization. The achievement of control of Palestinian land became apparent when the Ottoman Government in Palestine was defeated and turned into British hands. In 1917, Britain gave way to the Zionist Organization by signing the Balfour Declaration which gave permission to them to make Palestine a homeland. In three decades, the Zionist Organization succeeded in annexing Palestine and making it a Jewish state called Israel. The establishment of the state of Israel became a tragedy to the Palestinians. Arab poets have resisted since the signing of the Balfour Declaration until the tragedy of Israel's annexation of Palestine with their poems. Literary works, in the theory of adab almuqawamah, were written to arouse the spirit of resistance of a nation against colonialism. Arab poets through their poems warn of the adverse consequences of the Balfour Declaration for Palestine. Their poetry is also to arouse the fighting spirit of the Palestinian people against Israel.
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Gordley, Matthew E. "Psalms of Solomon as Resistance Poetry". Journal of Ancient Judaism 9, n.º 3 (19 de maio de 2018): 366–85. http://dx.doi.org/10.30965/21967954-00903005.
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Two trends in recent scholarship provide a new set of lenses that enable contemporary readers to appreciate more fully the contents and genre of Psalms of Solomon. On the one hand, scholars such as Richard Horsley, Anathea Portier-Young, and Adela Yarbro Collins have now explored the ways in which early Jewish writers engaged in a kind of compositional resistance as they grappled with their traditions in light of the realities of oppressive empires. These approaches enable us to consider the extent to which Psalms of Solomon also may embody a kind of resistant counterdiscourse for the community in which it was edited and preserved. On the other hand, scholars within biblical studies (e. g., Hugh Page) and beyond have examined the dynamics of the poetry of resistance. Such poetry has existed in many times, places, and cultures, giving a voice to the oppressed, protecting the memory of victims, and creating a compelling vision of a possible future in which the oppression is overcome. In this article the poetry of Guatemalan poet Julia Esquivel is interwoven with Psalms of Solomon to illustrate these dynamics and to illuminate the kinds of concerns that scholars like Barbara Harlow and Caolyn Forché have highlighted within the poetry of witness. Since Psalms of Solomon has yet to be explored through these dual lenses of resistance and resistance poetry, this article examines these early Jewish psalms in light of these scholarly trends. I argue that Psalms of Solomon can be understood as a kind of resistance poetry that enabled a community of Jews in the first century B. C. E. to resist the dominant discourse of both the Roman Empire and its client king, Herod the Great. The themes of history, identity, and possibility that pervade resistance poetry in other times and places are central features of Psalms of Solomon.
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Yemini, Bat-Zion. "Sivan Baskin: Multilingual Israeli Poet in the Age of Globalization". Review of Rabbinic Judaism 24, n.º 2 (4 de outubro de 2021): 247–63. http://dx.doi.org/10.1163/15700704-12341385.
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Abstract Sivan Baskin, a poet and literary translator, started writing on the Internet in the early years of the millennium on the “New Stage” site and has published three books of poetry. Baskin’s writing is characterized by multilingualism, inserting words from various languages, written in their own alphabet, within a poem in Hebrew. Although these words or phrases are few and far between, they are conspicuous by their presence and foreignness, representing multiculturalism. Baskin is the first Hebrew poet in multicultural Israel to do this. This article cites four poems that reflect Baskin’s unique writing, which is derived from the combination of her two mother-countries in her life: Lithuania as a Jewish exile, her first homeland, and Israel as the Jewish State into which Jews from around the world were gathered. As an introduction to Baskin’s poetry, this article presents Israel as a multicultural and multilingual country.
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Suuronen, Ville. "Nazism as Inhumanity: Carl Schmitt and Hannah Arendt on Race and Language". New German Critique 49, n.º 2 (1 de agosto de 2022): 15–48. http://dx.doi.org/10.1215/0094033x-9734791.
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Drawing on a large array of less-known materials, this article offers a new comparison of Carl Schmitt and Hannah Arendt by focusing on their opposing understandings of National Socialism as a novel political ideology. While Schmitt’s Nazi writings theorize a new kind of racial politics under Nazi rule, Arendt’s political thought develops as a systematic critique and response to the histories of antisemitism, imperialism, and totalitarianism. After joining the Nazi Party in 1933, Schmitt endorsed the expulsion of Jewish intellectuals from Germany, celebrated the burning of their writings (including those of Arendt), and supported the process of Gleichschaltung as the first steps in creating a nazified Germany. While Schmitt claimed that the Jews have no access to German substance, culture, and language, noting that “the Jew lies when he speaks German,” Arendt always emphasized that for her, Germany meant precisely “the mother tongue, the philosophy and the poetry.” Relying on thus far unacknowledged biographical and theoretical contrasts, this article aims to show that Schmitt and Arendt understand the political meanings of race and language in a radically different manner.
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CHIRIȚESCU, Ileana Mihaela. "Stephane Mallarme – poetul absolutului și al contradicțiilor". ANALELE UNIVERSITĂȚII DIN CRAIOVA SERIA ȘTIINȚE FILOLOGICE LIMBI STRĂINE APLICATE 2024, n.º 1 (19 de julho de 2024): 116–32. http://dx.doi.org/10.52744/aucsflsa.2024.01.14.
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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.
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Ryan, Thomas F. "Sex, Spirituality, and Pre-Modern Readings of the Song of Songs". Horizons 28, n.º 1 (2001): 81–104. http://dx.doi.org/10.1017/s036096690000894x.
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ABSTRACTWhile unfamiliar to many today, the Song of Songs was once one of the most frequently interpreted books of the Bible. This article seeks to counter the current lack of familiarity by highlighting the significance for the classroom of pre-modern exegesis of the Song. As course content, it provides a starting point from which to examine Christian thought and practice over the last two millennia. In particular, it supplies evidence that Christians (and Jews) have expressed some of their most profound insights into spirituality in terms of the erotic poetry of the Song. This essay concludes with an examination of method. How can pre-modern exegesis contribute to contemporary debates about interpretation, particularly of biblical texts?
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Maslova, Anna G. "Biblical Motifs and Images in E. I. Kostrov’s Poetry". Проблемы исторической поэтики 27, n.º 1 (fevereiro de 2020): 92–110. http://dx.doi.org/10.15393/j9.art.2020.6882.
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<p>The article analyzes the peculiarities of biblical motifs and images in E. I. Kostrov’s works. In his odes the poet often refers to the Old Testament scenes and images through the prism of a Christian aspect. Kostrov considers ancient and the Old Testament subjects in the light of the Christian and Orthodox tradition. The poet attributes a Christian sound to the secular genre of the ode, saturating his works with the motifs of the Holy Scriptures. Kostrov often uses the concept of “meekness” emphasizing the sanctity of the Orthodox power, which gets commandments of mercy and humility from God leading to spiritual salvation. The motif of two paths — the unholy and righteous ones — becomes cross-cutting in Kostrov’s poetry. The path of Russia corresponds to the latter one. The motif of divine light descending into the world and eradicating the darkness is the motif of the people “chosen by God”. According to Kostrov, not the Jews but the Russians are such a people. Working with the texts of the Psalms, Kostrov introduces his own motifs, shows his individuality, reveals his own experiences and doubts, and disagrees with some ideas of his era. Christian ideals of meekness and non-violence are the main values in E. I. Kostrov’s poetry.</p>
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Kotlerman, Ber. "SOUTH AFRICAN WRITINGS OF MORRIS HOFFMAN: BETWEEN YIDDISH AND HEBREW". Journal for Semitics 23, n.º 2 (21 de novembro de 2017): 569–82. http://dx.doi.org/10.25159/1013-8471/3506.
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Morris Hoffman (1885-1940), who was born in a Latvian township and emigrated to South Africa in 1906, was a brilliant example of the Eastern European Jewish maskil writing with equal fluency in both Yiddish and Hebrew. He published poetry and prose in South African Yiddish and Hebrew periodicals. His long Yiddish poem under the title Afrikaner epopeyen (African epics) was considered to be the best Yiddish poetry written in South Africa. In 1939, a selection of his Yiddish stories under the title Unter afrikaner zun (Under the African sun) was prepared for publishing in De Aar, Cape Province (which is now in the Northern Cape Province), and published after his death in 1951 in Johannesburg. The Hebrew version of the stories was published in Israel in 1949 under the title Taḥat shmey afrikah (Under the skies of Africa). The article deals with certain differences between the versions using the example of one of the bilingual stories. The comparison between the versions illuminates Hoffman’s reflections on the relations between Jews and Afrikaners with a rather new perspective which underlines their religious background
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Berman-Gladstone, Benjamin. "Poet of Zion: Constructing Rabbi Shalom Shabazi as a Forerunner to Zionism". Israel Studies 28, n.º 2 (junho de 2023): 151–73. http://dx.doi.org/10.2979/is.2023.a885233.
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ABSTRACT: This article considers the place of Zionist tropes in the 17th century poems of Rabbi Shalom Shabazi in comparison with those found in medieval Sephardi poetry. Centuries after Shabazi's death, Yisrael Yeshayahu and several other Yemeni Zionists, located Shabazi's messianic poems in the literary and historical canon of Zionism. By correlating Shabazi with Yehudah Halevi and other Sephardi poets as heralds of Zionism before the establishment of the State of Israel, Yeshayahu and his fellow activists sought to determine a leading role for Yemeni Jews alongside what Sami Shalom Chetrit has called "Ashkenazi-Zionist 'history makers.'" In Shabazi, Yemeni Jewish leaders found an exemplar of time-honored Yemeni Judaism in a way that resonated with Zionist ideals. The article posits the existence of a continuum between Hayim Nahman Bialik's use of medieval Sephardi poetry and Yeshayahu's use of Shabazi's work; it explains why Yemeni Zionists chose Shabazi in particular as the linchpin of their argument for a proto-Zionist Yemeni cultural heritage; and also indicates the methods used by Yemeni Zionists, and Yeshayahu in particular, to successfully establish Shabazi as a forerunner to Zionism.
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Melikyan, Sofia, e Anastasia Edelshtain. "From the poetic heritage of Sulayman, bishop of Gaza (10th–11th cent.)". St. Tikhons' University Review. Series III. Philology 73 (30 de dezembro de 2022): 135–50. http://dx.doi.org/10.15382/sturiii202273.135-150.
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The publication presents a commented interlinear and literary translation of two qasidas (poems) from the Divan (collection) of the first known Arab Christian poet – Sulayman al-Ghazzi, bishop of Gaza in Palestine (Xth-XIth cent.). His poetic work is the earliest attempt at using the metrical and stylistic tools of classical Arabic poetry for purely Christian subjects. The Divan also contains multiple autobiographical data and important historical evidence of Christian persecution under the Fatimid caliph al-Hakim, including the destruction of the Church of the Holy Sepulchre in Jerusalem. Despite their unique significance, very few of Sulayman’s poems have been translated into a modern language. The two selected qasidas belong to the opposite traditional genres of Arabic poetry – reproach and praise. In the first one the Jews who rejected Christ are targeted; the other one is focused on righteous Christians and their liturgy. In addition, the first qasida is rich in biblical allusions and quotations, loosely reworked by the author in a poetic vein, and the second one gives a detailed description of the divine service and is therefore a valuable evidence of the liturgical life of Palestinian Christians in Sulayman’s era.
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Flusser, David. "Virgil the Magician in an Early Hebrew Tale". Florilegium 7, n.º 1 (janeiro de 1985): 145–54. http://dx.doi.org/10.3138/flor.7.009.
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Hebrew literature in the Middle Ages was not restricted to theological and philosophical literature only. Mediaeval Jews, and likewise their gentile neighbours, loved a good story even if it had no relationship to religion; and, if such stories were created in the Christian world, Jews translated them into Hebrew. There was in the Middle Ages great interest in entertaining stories and in their accomplished recitation. This period also witnessed the creative development of the epic in both prose and poetry. Fortunately, Hebrew literature too did not exempt itself from taking an active part in this work. Understandably, our contemporary taste is sufficiently different that this creativity is neglected in our own day. From another perspective we should remember that a discernible portion of modern literature would have caused embarrassment and stimulated disgust in the ’’darkness'* of the Middle Ages. However, if not for their innocent curiosity and preference for fine plot there would never have developed such classics as the Decameron or The Canterbury Tales. One of the more famous mediaeval novellae which, however, does not fit our contemporary taste, even though it was popular among mediaeval readers and even artists, is the story of Virgil in the basket and his vengeance.
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Grossman, Rachelle. "The Most Mexican of Us All: Yiddish Modernism and the Racial Politics of National Belonging". Comparative Literature Studies 60, n.º 2 (maio de 2023): 282–311. http://dx.doi.org/10.5325/complitstudies.60.2.0282.
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ABSTRACT This article investigates how Yiddish writing in Mexico illuminates the ambiguous position of Jews both within their local context and as part of a global network of Yiddish modernist writers. Through an analysis of the poetry of two Jewish immigrants to Mexico, Yitzjok (Isaac) Berliner (1899–1957) and Jacobo Glantz (1902–1982), this article argues that these immigrant poets adopted local themes and styles characteristic of Mexican modernism as a way to rhetorically write Jews into the nation. Although Mexican modernist literature and art was most typically expressed in Spanish, these poets took on local forms but preserved Jewish difference by writing in Yiddish. At the same time, Berliner and Glantz also engaged with a global, diasporic network of Yiddish modernism centered in New York and Warsaw. Focusing on the so-called “Mexican” subject matter enabled these poets to participate in a larger conversation about expanding the boundaries of Yiddish literature, proposing the literature’s worldliness by speaking beyond an explicitly Jewish experience. The works of these immigrant writers, therefore, demonstrate the emergence of a Third Space at the intersection not only of the immigrant and the nation, but also between the periphery and the centers of a transnational Yiddish network.
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Wright, Alexandra. "What Have the Bach Passions Ever Done for Jewish–Christian Relations?" European Judaism 53, n.º 1 (1 de março de 2020): 105–19. http://dx.doi.org/10.3167/ej.2020.530114.
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Both the texts and music of Bach’s St Matthew and St John Passions portray the Jews in deeply negative ways, baying for the blood of Christ. While there are strong arguments against seeing these works as having any kind of positive influence on Jewish–Christian relations, there is also an argument for examining the different layers of texts – from the Gospels to contemporary Lutheran poetry – as well as diverse musical expression in both works in order to elicit and understand profound, universal themes of sin and repentance, confession and forgiveness, life and death. Public performances of the Passions need to be undertaken responsibly with detailed programme notes and talks that draw out the journey of the individual worshipper and tackle the difficult problems of the Gospel texts and the music.
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Stenberg, Peter. "The Saga of Melitta Urbancic". Scandinavian-Canadian Studies 24 (1 de dezembro de 2017): 210–25. http://dx.doi.org/10.29173/scancan140.
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ABSTRACT: Very few Jews fleeing from the Holocaust in Central Europe between 1937 and 1945 managed to reach the safety of the shores of Iceland, which was not a major player in this catastrophic event, but was also not a non-participant. Melitta Urbancic, a Viennese Jewish author and actress, was one of these very few. Under dramatic circumstances, she was allowed to settle in Iceland in late 1938, where she remained for the rest of her long life. As we now know, when she died in Reykjavík in 1984 she left behind a voluminous oeuvre of German-language poetry, a selection of which appeared in 2014 in the bilingual Icelandic-German book Frá hjara veraldar. Vom Rand der Welt, edited by Gauti Kristmannsson, which contains the only works of Melitta Urbancic that are in print in any language. This review article presents the adventurous saga of Melitta Urbancic, includes some of her poems in German and in English translation, and looks at the special quality of her relationship to Iceland, her writing style, and the content of the poetry as it changed from that of a traumatized refugee in a very foreign environment to someone who gradually found a new home.
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Annisa, Adellia Ifha, Ahmad Bachmid e Ahfa Rahman Syah. "A poem Mawtini as Unofficial National Anthem of Palestine by Ibrahim Tuqan. The Michael Riffaterre's Semiotic Lens". LITTERATURA: Jurnal Bahasa dan Sastra 2, n.º 1 (30 de junho de 2023): 45–60. http://dx.doi.org/10.15408/ltr.v2i1.30069.
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This research aims to reveal the meaning of Mawtini's poem, the unofficial national anthem of Palestine, by Ibrahim Tuqan. This study uses descriptive-analytical research using Michael Riffaterre's semiotic theory, which consists of indirect expressions, heuristic readings, hermeneutic readings, matrices, models, variants, and programs to express the meanings contained therein. The results of the research show that Mawtini's poetry contains jargon or phrases, namely: homeland, live a noble life or die a martyr's death, it is better to die than to be a slave to the enemy, sword, and ink as tools of war and narration, not afraid of death, and do not want to suffer. All of them are typical phrases or jargon of the struggle of the Middle East to expel Western invaders, especially Palestine. From there, it was concluded that Mawtini's poetry has a very deep meaning about the fighting spirit for the motherland, patriotism, and Palestinian nationalism, which later made it the unofficial national anthem of Palestine. The poem is intended to give hope and awaken the spirit of struggle to the Palestinian people in facing their enemies at that time, namely the Jews and the British in 1934 regarding the policy of unrestricted Jewish immigration and buying land to establish a "Jewish National Home".
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Shafranskaya, Eleonora F. "Armenian Text: Job’s Children". Polylinguality and Transcultural Practices 19, n.º 3 (30 de setembro de 2022): 511–20. http://dx.doi.org/10.22363/2618-897x-2022-19-3-511-520.
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The article considers one of the patterns of the Armenian text in Russian literature - the relationship of the historical destinies of the Armenian and Jewish peoples. The purpose of the study is to present, using the example of travelogues of writers of the second half of the twentieth century: Andrei Bitov, Vasily Grossman, Yuri Karabchievsky, Georgy Gachev, how this pattern of the Armenian text was formed - the pairing of the tragic fate of Jews and Armenians. The intention of the mentality of the Armenians, based on their ancient history, coincides with the Jewish intention, which is shown in the article using typological examples from the prose of Dina Rubina. The Armenian text, according to the author of the article, is a literary construct invented precisely by the writer’s creativity, first by prose, then by poetry responding to it. Thus, examples of the Armenian text, which is in interaction with the specified prose, are given from the lyrics of contemporary poets - Liana Shahverdyan, Alessio Gaspari. The Armenian text is a construct retransmitted in Russian literature. It was created by writers who reproduce certain stable patterns in their work. On the material of this study, we focused on one of them - the ontological relationship of Armenians and Jews. Its central motif is the metaphor of the historical memory of the bloody 20th century - a metaphor-reproach for the fratricidal wars of mankind.
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Simon, Rachel. "The Contribution of Hebrew Printing Houses and Printers in Istanbul to Ladino Culture and Scholarship". Judaica Librarianship 16, n.º 1 (31 de dezembro de 2011): 125–35. http://dx.doi.org/10.14263/2330-2976.1008.
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Sephardi printers were pioneers of moveable type in the Islamic world, establishing a Hebrew printing house in Istanbul in 1493. Initially emphasizing classical religious works in Hebrew, since the eighteenth century printers have been instrumental in the development of scholarship, literature, and journalism in the vernacular of most Jews of the western Ottoman Empire: Ladino. Although most Jewish males knew the Hebrew alphabet, they did not understand Hebrew texts. Communal cultural leaders and printers collaborated in order to bring basic Jewish works to the masses in the only language they really knew. While some books in Ladino were printed as early as the sixteenth century, their percentage increased since the second quarter of the eighteenth century, following the printing of Me-’am lo’ez, by Jacob Culi (1730), and the Bible in Ladino translation by Abraham Assa (1739). In the nineteenth century the balance of Ladino printing shifted toward novels, poetry, history, and biography, sciences, and communal and state laws and regulations. Ladino periodicals, which aimed to modernize, educate, and entertain, were of special social and cultural importance, and their printing houses also served as publishers of Ladino books. Thus, from its beginnings as an agent that aimed to “Judaize” the Jews, Ladino publishing in the later period sought to modernize and entertain, while still trying to spread Judaic knowledge.
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Goldfarb, Lisa. "“The Phases of This Difference”: Jews, the Figure of the Rabbi, and Hebrew Texts in Stevens’s Poetry". Wallace Stevens Journal 46, n.º 1 (2022): 56–67. http://dx.doi.org/10.1353/wsj.2022.0004.
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Nirenberg, David. "Figures of Thought and Figures of Flesh: "Jews" and "Judaism" in Late-Medieval Spanish Poetry and Politics". Speculum 81, n.º 2 (abril de 2006): 398–426. http://dx.doi.org/10.1017/s0038713400002633.
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Remz, Sean. "Commemoration and Cultural Revitalization: The Lifeworld of Montreal’s Hungarian Martyrs Synagogue and Hungarian Jewish Sisterhood". Canadian Jewish Studies / Études juives canadiennes 36 (24 de janeiro de 2024): 29–50. http://dx.doi.org/10.25071/1916-0925.40336.
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Building upon fairly recent scholarship on the reception of Holocaust survivors in Canada and Montreal more specifically, this article examines a synagogue and sisterhood specific to Hungarian Holocaust survivors in Montreal, most of whom arrived in the wake of the 1956 Hungarian Revolution. Holocaust survivor accounts suggest a barrier between them and previously settled Canadian Jews, particularly in the realms of sociability and synagogue life. This barrier was heightened among Hungarians given the language gap, contributing to their impetus for a synagogue of their own, named the Hungarian Martyrs Synagogue. Their Holocaust commemoration events and dances were distinctive in their reverential discourse of martyrdom, and sense of cultural revitalization. The primary source base for this article is the memorial volume of the Hungarian Martyrs Synagogue (which includes commemorative poetry), with insight and context from oral history interviews.
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Wilke, Carsten L. "Imaginary Controversists: Abraham Gómez Silveyra and the Theologians of the Huguenot Exile". Sefarad 81, n.º 2 (20 de dezembro de 2021): 449–75. http://dx.doi.org/10.3989/sefarad.021-014.
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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.
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Sylwestrzak, M. "WŁADYSŁAW SZLENGEL’S POETRY IN CONTEXT OF WORKS OF THE GHETTO UNPROFESSIONAL POETS". Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, n.º 35 (2019): 336–46. http://dx.doi.org/10.17721/2075-437x.2019.35.32.
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The article analyzes the works of Władysław Szlengel and non-professional poets of the Warsaw ghetto. Władysław Szlengel is the most popular author of the Warsaw ghetto who wrote his works in Polish. He is the author of a volume of poems Co czytałem umarłym. Non-professional poets are those Jewish authors who wrote one or more poems dedicated to the Holocaust. The author of the article is focused on the poetics of texts wrote by Szlengel and other Polish-Jewish poets. A comparative analysis of the works of Szlengel and non-professional poets is conducted to show different models of the functioning of the same topos and motives of the Holocaust in texts of a professional poet and in the work of unknown authors. The article also deals with the most important motifs of the Warsaw ghetto literature, such as a wall, a window to the Aryan side, death, a child, etc. The presence of these motifs in both professional and amateur works indicates the development of a similar language of expression in texts written by Jews imprisoned in the ghetto during World War II. However, these motifs are used in the works of various authors in more or less interesting ways. The artistic quality of the text is determined by the originality of the development of Holocaust motifs. The author of the article pays special attention to the analysis of the motif of a window and a wall, which define the specificity of the ghetto space in the lyrics of the ghetto. The window and wall also have a symbolic function as a metaphor for enslavement and violence.
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Balík, Štěpán. "Yelling into the Silence and its Echos. Czech Shoah Poetry Written till 1960s and its Reception". Poznańskie Studia Slawistyczne, n.º 12 (21 de setembro de 2017): 29–45. http://dx.doi.org/10.14746/pss.2017.12.2.
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The literary reflection of the Shoah in Czech war and post-war poetry is very limited. Only a few non-Jewish poets have ever returned to thistheme (e.g. František Halas,Jiří Kolář,Jaroslav Seifert, Jan Skácel, Karel Křepelka, Radek Malý). Additionally, literary “testaments” of Jewish authors (Karel Fleischmann, Pavel Friedmann etc.) resulted in only two collections of poems entirely dedicated to the suffering of the Jews during the Nazi oppression (Ota Reich and Michal Flach). On the other hand, there are several books of poetry about Lidice and suffering of the Czech people during the World War II by Viktor Fischl, Karel Šiktanc, Libuše Hájková, Miloš Vacík and others. After the war there were only Jaroslav Seifert and Jiří Kolář among well-known poets who refered to the Shoah in a more significant way. Seifert created a figure of a Jewish girl, Hendele, in his collection of poems Koncert na ostrově (Concert on the Island), which develops the literary narration of the Shoah. Jiří Kolář referred to the Shoah repeatedly, however, he only had a limited chance to publish his work. As a result of this fact, the reception of Czech post-war poetry about the Shoah is almost absent. In my article, I concentrated on some reviewers’ remarks that have already been published since the war-time and other reflections of this kind such as editions of books by Jiří Orten, Hanuš Bonn, Jiří Daniel. A hypothetical reaction on the Shoah verses by Pick’s cabaret audience or Halas’s anonymous poetic obituary paying tribute to Jiří Orten are rather specific sorts of reception. The critical reflection of Kolář’s work in the context of the mass murder commited during the WW II is exceptional. However, the specific motifs of the Shoah were significantly focused on only in recent years by three foreign reviewers (Leszek Engelking, Hanna Marciniak and Anja Golebiowski). Czech Shoah poems printed or reprinted in Jewish periodicals (e.g. annual “Židovská ročenka”, published since 1954) represent a commemorative function, even though sometimes with informative commentaries. They miss any analytical aspect.