The maternal roles of Hanna Rovina: Familial-national imagination in the Yishuv during WWII

IF 0.5 3区 历史学 Q1 HISTORY Journal of Israeli History Pub Date : 2020-01-02 DOI:10.1080/13531042.2020.1812020
Shelly Zer-Zion
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引用次数: 1

Abstract

ABSTRACT During the years of WWII, when Hanna Rovina was in her fifties, her cultural image as “the mother of the nation” coalesced in the Yishuv. This article explores this public image, while looking at two of her successful dramatic roles of that time, the title roles in Jacob Gordin’s Mirele Efros, Karel Čapek’s The Mother and an exemplary performance that she gave in Italy for the soldiers of the Jewish Brigade. These performances reveal how Rovina’s maternal image constructed the her as an ephemeral site of both intimate familial and ethnic national memory. The Jewish nation conceived of itself as a big family, with a specific, Eastern European collective biography and a clear center symbolized by the mother.
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汉娜·罗维娜的母亲角色:二战时期伊休夫的家庭-民族想象
二战期间,50多岁的汉娜·罗维娜“民族之母”的文化形象在《伊休夫》中得到了凝聚。这篇文章探讨了她的公众形象,同时考察了她当时成功的两个戏剧角色,在雅各布·戈丁的《米蕾·埃弗罗斯》中的主角角色,卡雷尔Čapek的《母亲》,以及她在意大利为犹太旅的士兵们所做的堪称典范的表演。这些表演揭示了罗维娜的母亲形象是如何将她构建为一个短暂的场所,既是亲密的家庭记忆,也是民族记忆。这个犹太民族把自己想象成一个大家庭,有一个具体的东欧集体传记,还有一个以母亲为象征的明确中心。
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