{"title":"Tragedies of Jewish Liberation: Mapping Hebrew Literature Between the Occupied Territories and Global Capital","authors":"R. Green","doi":"10.1353/hbr.2022.0013","DOIUrl":"https://doi.org/10.1353/hbr.2022.0013","url":null,"abstract":"","PeriodicalId":35110,"journal":{"name":"Hebrew Studies","volume":"31 1","pages":"259 - 274"},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82898424","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:Flowers in literary works in school anthologies shape consciousness and private/collective memory. Using cognitive and conceptual semantics philological and semantic tools, I compare literary works in school anthologies of Israel's various educational systems from its establishment in 1948 to the present and in reading lists of anthroposophic and Montessori schools. I attempt to identify structures of consciousness and awareness that help shape collective memory among schoolchildren and which expose the differences between Israel's educational systems.Flowers can represent the need to return to a normal routine after a great loss or can be metonymies of the blood of fallen soldiers, commanding us to remember them and their sacrifice. I hope this study will enable teachers and educators to be more critical of school anthologies and to appreciate the capacity of anthology editors for structuring reality and shaping schoolchildren's consciousness.
{"title":"\"Forget-Me-Not\": Flowers as Collective Memory Shapers in School Anthologies","authors":"Oshri Zighelboim","doi":"10.1353/hbr.2022.0010","DOIUrl":"https://doi.org/10.1353/hbr.2022.0010","url":null,"abstract":"Abstract:Flowers in literary works in school anthologies shape consciousness and private/collective memory. Using cognitive and conceptual semantics philological and semantic tools, I compare literary works in school anthologies of Israel's various educational systems from its establishment in 1948 to the present and in reading lists of anthroposophic and Montessori schools. I attempt to identify structures of consciousness and awareness that help shape collective memory among schoolchildren and which expose the differences between Israel's educational systems.Flowers can represent the need to return to a normal routine after a great loss or can be metonymies of the blood of fallen soldiers, commanding us to remember them and their sacrifice. I hope this study will enable teachers and educators to be more critical of school anthologies and to appreciate the capacity of anthology editors for structuring reality and shaping schoolchildren's consciousness.","PeriodicalId":35110,"journal":{"name":"Hebrew Studies","volume":"2 1","pages":"195 - 219"},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84170854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:There is a particularly visually striking image that appears in Esth 8:15: Mordecai, the persistent critic of Persian imperialism, parades through the city enrobed in the regalia of the royal court. This odd image has long been seen as a moment of disquiet in Mordecai's arc. By treating this behavior as an act of drag, we will show that Mordecai's actions are not only entirely in keeping with his rejection of the Persian hegemony but are also strikingly revealed anew. José Esteban Muñoz's concept of disidentification provides a lens through which to view the interplay between politics and drag, such as in Mordecai's story. Together with Jack Halberstam's reflections on the art of the drag king, Mordecai's entire story is recontextualized. The themes of unstable, contested masculinity, rejection of Persian power, status as an ethnic other, and Mordecai's political scheming are woven together in his disidentificatory drag. He adorns himself as if the Shushan fortress and willingly appears before the whole city. This action recalls not only his forced appearance at the hands of the villainous Haman (Esth 6:10–11) but also directly harks back to the introductory images of the fortress itself. By undertaking a comparative analysis of the terms used in each description (Esth 1:6; cf. 8:15) the drag theme emerges more strongly. In so doing, Mordecai reveals the fallibility of the very thing he performs, denaturalizes its assumed power, and brings into focus the possibility of alternative presents and futures
{"title":"The Disidentification of Mordecai: A Drag Interpretation of Esther 8:15","authors":"K. Gwyther, J. Henderson-Merrygold","doi":"10.1353/hbr.2022.0006","DOIUrl":"https://doi.org/10.1353/hbr.2022.0006","url":null,"abstract":"Abstract:There is a particularly visually striking image that appears in Esth 8:15: Mordecai, the persistent critic of Persian imperialism, parades through the city enrobed in the regalia of the royal court. This odd image has long been seen as a moment of disquiet in Mordecai's arc. By treating this behavior as an act of drag, we will show that Mordecai's actions are not only entirely in keeping with his rejection of the Persian hegemony but are also strikingly revealed anew. José Esteban Muñoz's concept of disidentification provides a lens through which to view the interplay between politics and drag, such as in Mordecai's story. Together with Jack Halberstam's reflections on the art of the drag king, Mordecai's entire story is recontextualized. The themes of unstable, contested masculinity, rejection of Persian power, status as an ethnic other, and Mordecai's political scheming are woven together in his disidentificatory drag. He adorns himself as if the Shushan fortress and willingly appears before the whole city. This action recalls not only his forced appearance at the hands of the villainous Haman (Esth 6:10–11) but also directly harks back to the introductory images of the fortress itself. By undertaking a comparative analysis of the terms used in each description (Esth 1:6; cf. 8:15) the drag theme emerges more strongly. In so doing, Mordecai reveals the fallibility of the very thing he performs, denaturalizes its assumed power, and brings into focus the possibility of alternative presents and futures","PeriodicalId":35110,"journal":{"name":"Hebrew Studies","volume":"42 1","pages":"119 - 141"},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87408115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This paper proposes a close-reading of one of the best-known maqamas in Yehuda Al-Ḥarizi's Sefer Taḥkemoni, which is here compared with the original Arabic version, Al-Hamadhāni's Al-Maqama Al-Baghdādiyya. This reading is based on the hypothesis that some of the well-known medieval rhymed Hebrew stories are based on uncertainty as a poetic principle and that this principle can explain (and be explained by) their frequent use of contradictory elements and varied forms of the ironic, the grotesque, and the ambiguous.
{"title":"Heber the Kenite Deceives a Poor Yokel: A Literary Reading of the Twenty-First Gate in Yehuda Al-Ḥarizi's Sefer Taḥkemoni (Compared to its Arabic Source, Al-Hamadhāni's Al-Maqama Al-Baghdādiyya)","authors":"Idit Einat-Nov","doi":"10.1353/hbr.2022.0008","DOIUrl":"https://doi.org/10.1353/hbr.2022.0008","url":null,"abstract":"Abstract:This paper proposes a close-reading of one of the best-known maqamas in Yehuda Al-Ḥarizi's Sefer Taḥkemoni, which is here compared with the original Arabic version, Al-Hamadhāni's Al-Maqama Al-Baghdādiyya. This reading is based on the hypothesis that some of the well-known medieval rhymed Hebrew stories are based on uncertainty as a poetic principle and that this principle can explain (and be explained by) their frequent use of contradictory elements and varied forms of the ironic, the grotesque, and the ambiguous.","PeriodicalId":35110,"journal":{"name":"Hebrew Studies","volume":"36 1","pages":"165 - 175"},"PeriodicalIF":0.0,"publicationDate":"2022-12-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89451672","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article examines the role of birds in Leah Goldberg's poems, and the ways birds open a window onto her inner world. In her literary work, Goldberg, the well-known Israeli poet (1911–1970), refused to write poems dealing with wars and politics, and by using birds as similes, metaphors and symbols, she delicately expressed positions about public issues as world wars and the Israeli wars. A few poems for children, collected in [inline-graphic 01] (What the Does Do) (1949), as well as early and late poems for adults, reveal that Goldberg expressed secret desires, painful emotions and hidden hopes through birds. Deciphering these appearances sheds light on several of Goldberg's enigmatic poems as well as her poetic style and her gentle poetic shifts from personal emotions to political protest.
摘要:本文探讨了鸟儿在莉亚·戈德堡诗歌中的作用，以及鸟儿如何打开一扇通往她内心世界的窗户。在她的文学作品中，著名的以色列诗人戈德堡(1911-1970)拒绝写关于战争和政治的诗，她用鸟作为明喻、隐喻和象征，巧妙地表达了对世界大战和以色列战争等公共问题的立场。1949年出版的《What the Does Do》中收录的几首儿童诗歌，以及早期和晚期的成人诗歌，都揭示了戈德堡通过鸟来表达隐秘的欲望、痛苦的情感和隐藏的希望。解读这些表象可以让我们了解戈德堡一些神秘的诗歌，以及她的诗歌风格，以及她从个人情感到政治抗议的温和诗歌转变。
{"title":"\"A Foolish Bird with Bright Colored Feathers\": A Key Motif in Leah Goldberg's Poems","authors":"Neta Dan","doi":"10.1353/hbr.2021.0010","DOIUrl":"https://doi.org/10.1353/hbr.2021.0010","url":null,"abstract":"Abstract:This article examines the role of birds in Leah Goldberg's poems, and the ways birds open a window onto her inner world. In her literary work, Goldberg, the well-known Israeli poet (1911–1970), refused to write poems dealing with wars and politics, and by using birds as similes, metaphors and symbols, she delicately expressed positions about public issues as world wars and the Israeli wars. A few poems for children, collected in [inline-graphic 01] (What the Does Do) (1949), as well as early and late poems for adults, reveal that Goldberg expressed secret desires, painful emotions and hidden hopes through birds. Deciphering these appearances sheds light on several of Goldberg's enigmatic poems as well as her poetic style and her gentle poetic shifts from personal emotions to political protest.","PeriodicalId":35110,"journal":{"name":"Hebrew Studies","volume":"1 1","pages":"247 - 263"},"PeriodicalIF":0.0,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75667250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:1 Samuel 28:14 describes the appearance of the ghost of Samuel, who, upon King Saul's request, was raised by a medium. We identify four key elements of the ghost's visage, all of which relate to the living Samuel or King Saul, or their relationship, and all critique King Saul and foreshadow the loss of the kingship and his demise. The four elements are: the ghost is an "old man," the ghost is "coming up" from the ground, the ghost is "covered," and the ghost is covered by a "robe." Though there are many angelic and divine encounters in the Hebrew Bible, this passage is unique in that it describes an encounter between the living and the dead. The appearance of the ghost is clearly outlined but often overlooked by commentators, who predominantly question the technical aspects of the necromantic ritual and the climax of Saul's narrative. This article examines the passage's representation of ancient Israelite conceptions of divine embodiment, the dead's sartorial preferences, and materiality. We also consider the rewriting and translations in other ancient versions (e.g., LXX; Josephus; LAB) to highlight some of the different associations that this appearance had in ancient interpretations.
{"title":"Uncovering the Dead, Dethroning the King: Divine Embodiment in 1 Samuel 28:14","authors":"Ellena Lyell, Joseph Scales","doi":"10.1353/hbr.2021.0016","DOIUrl":"https://doi.org/10.1353/hbr.2021.0016","url":null,"abstract":"Abstract:1 Samuel 28:14 describes the appearance of the ghost of Samuel, who, upon King Saul's request, was raised by a medium. We identify four key elements of the ghost's visage, all of which relate to the living Samuel or King Saul, or their relationship, and all critique King Saul and foreshadow the loss of the kingship and his demise. The four elements are: the ghost is an \"old man,\" the ghost is \"coming up\" from the ground, the ghost is \"covered,\" and the ghost is covered by a \"robe.\" Though there are many angelic and divine encounters in the Hebrew Bible, this passage is unique in that it describes an encounter between the living and the dead. The appearance of the ghost is clearly outlined but often overlooked by commentators, who predominantly question the technical aspects of the necromantic ritual and the climax of Saul's narrative. This article examines the passage's representation of ancient Israelite conceptions of divine embodiment, the dead's sartorial preferences, and materiality. We also consider the rewriting and translations in other ancient versions (e.g., LXX; Josephus; LAB) to highlight some of the different associations that this appearance had in ancient interpretations.","PeriodicalId":35110,"journal":{"name":"Hebrew Studies","volume":"31 1","pages":"115 - 97"},"PeriodicalIF":0.0,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73332764","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This paper explores the non-adversarial aspect of two major works by Israeli author Yitzhak Averbuch Orpaz (1921–2015): the novella [inline-graphic 01] (Ants) (1968) and the novel [inline-graphic 02] (Daniel's Voyage) (1969). Both Ants and Daniel's Voyage were written and published over the two years following the 1967 Arab-Israeli War and can be read in light of political issues associated with militarism, territorial occupation, and demarcation of borders. Against this background, Orpaz's works present alternative existential modes and a range of unique interactions that deviate from the binary logic characteristic of confrontational situations and breach the hierarchal and patronizing relationship between "Self" and "Other" (both human and non-human). To illuminate the non-adversarial aspects in these works, I draw on three core terms coined by French philosophers Gilles Deleuze and Felix Guattari: Becoming, War Machine, and Nomadism.
{"title":"Beyond Conflict: The Non-Adversarial Aspect of Yitzhak Averbuch Orpaz's Prose Fiction","authors":"Ariel Pridan","doi":"10.1353/hbr.2021.0020","DOIUrl":"https://doi.org/10.1353/hbr.2021.0020","url":null,"abstract":"Abstract:This paper explores the non-adversarial aspect of two major works by Israeli author Yitzhak Averbuch Orpaz (1921–2015): the novella [inline-graphic 01] (Ants) (1968) and the novel [inline-graphic 02] (Daniel's Voyage) (1969). Both Ants and Daniel's Voyage were written and published over the two years following the 1967 Arab-Israeli War and can be read in light of political issues associated with militarism, territorial occupation, and demarcation of borders. Against this background, Orpaz's works present alternative existential modes and a range of unique interactions that deviate from the binary logic characteristic of confrontational situations and breach the hierarchal and patronizing relationship between \"Self\" and \"Other\" (both human and non-human). To illuminate the non-adversarial aspects in these works, I draw on three core terms coined by French philosophers Gilles Deleuze and Felix Guattari: Becoming, War Machine, and Nomadism.","PeriodicalId":35110,"journal":{"name":"Hebrew Studies","volume":"38 1","pages":"265 - 289"},"PeriodicalIF":0.0,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89648777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Abstract:This article deals with the incorporation of Hebrew words in the Arabic literary writing of Shokeya Mansour. The present study attempted to answer the question: Does Mansour's integration of Hebrew words into her literary writing reflect the influence of the Hebrew language upon her as a bilingual person, or does it have other functions? The study posits that Mansour does not incorporate Hebrew words into her literary work due to the influence of Hebrew upon her, since Mansour is known for her devotion to the Arabic language, her dedication to the Palestinian people – most of whom live under Israeli occupation – and her strong opposition to the Israeli occupation of Palestinian territories. In addition, the article addresses the contact points between languages, Israeli government policy toward Hebrew and Arabic and the motivations that lead members of an occupied nation to adopt the language of the occupier.
{"title":"Hebrew Words in the Arabic Literary Works of the Author Shokeya Mansour: Influence of the Hebrew Language or Protest of the Hebrification of Arabic","authors":"Aadel Shakkour","doi":"10.1353/hbr.2021.0021","DOIUrl":"https://doi.org/10.1353/hbr.2021.0021","url":null,"abstract":"Abstract:This article deals with the incorporation of Hebrew words in the Arabic literary writing of Shokeya Mansour. The present study attempted to answer the question: Does Mansour's integration of Hebrew words into her literary writing reflect the influence of the Hebrew language upon her as a bilingual person, or does it have other functions? The study posits that Mansour does not incorporate Hebrew words into her literary work due to the influence of Hebrew upon her, since Mansour is known for her devotion to the Arabic language, her dedication to the Palestinian people – most of whom live under Israeli occupation – and her strong opposition to the Israeli occupation of Palestinian territories. In addition, the article addresses the contact points between languages, Israeli government policy toward Hebrew and Arabic and the motivations that lead members of an occupied nation to adopt the language of the occupier.","PeriodicalId":35110,"journal":{"name":"Hebrew Studies","volume":"56 1","pages":"291 - 305"},"PeriodicalIF":0.0,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76012118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Language Memoir: A Return to Hebrew","authors":"Sheila E. Jelen","doi":"10.1353/hbr.2021.0012","DOIUrl":"https://doi.org/10.1353/hbr.2021.0012","url":null,"abstract":"","PeriodicalId":35110,"journal":{"name":"Hebrew Studies","volume":"09 1","pages":"445 - 457"},"PeriodicalIF":0.0,"publicationDate":"2021-12-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86226952","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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