Pub Date : 2018-01-10DOI: 10.2979/PROOFTEXTS.36.1-2.01
Lital Levy, Allison Schachter
Abstract:In our introduction to this special issue of Prooftexts, we continue our collaborative investigation of the multifacted relationship between Jewish literature and world literature, critiquing the dominant scholarly paradigms informing each of these two discourses. We argue that the decentered model of Jewish literatures exposes the limits of a world literature model defined through literary competition and exchange between nations, where "the world" is implicitly constructed from a majoritarian viewpoint. Here we characterize the relationship between Jewish literature and world literature in terms of the "nonuniversal global": our term for the paradoxical condition of a global diaspora that is at once cosmopolitan and marked by its minority status. We draw upon the eight essays included in the issue to interrogate the relationship between World Literature and Jewish culture by focusing on how different modern Jewish writers understood the significance of "the world" in the context of their literary practice. Adducing the work of our contributors, we demonstrate how modern Jewish writing in sites across the globe and in a range of economic and political systems emerged asking questions of its own world status and its tranlatability. With emphases on questions of (un)translatability, cosmopolitanism, and diaspora, the eight essays in this issue illuminate our arguments through their analyses of the multiple trajectories of Jewish cultural modernity.
{"title":"A Non-Universal Global: On Jewish Writing and World Literature","authors":"Lital Levy, Allison Schachter","doi":"10.2979/PROOFTEXTS.36.1-2.01","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.36.1-2.01","url":null,"abstract":"Abstract:In our introduction to this special issue of Prooftexts, we continue our collaborative investigation of the multifacted relationship between Jewish literature and world literature, critiquing the dominant scholarly paradigms informing each of these two discourses. We argue that the decentered model of Jewish literatures exposes the limits of a world literature model defined through literary competition and exchange between nations, where \"the world\" is implicitly constructed from a majoritarian viewpoint. Here we characterize the relationship between Jewish literature and world literature in terms of the \"nonuniversal global\": our term for the paradoxical condition of a global diaspora that is at once cosmopolitan and marked by its minority status. We draw upon the eight essays included in the issue to interrogate the relationship between World Literature and Jewish culture by focusing on how different modern Jewish writers understood the significance of \"the world\" in the context of their literary practice. Adducing the work of our contributors, we demonstrate how modern Jewish writing in sites across the globe and in a range of economic and political systems emerged asking questions of its own world status and its tranlatability. With emphases on questions of (un)translatability, cosmopolitanism, and diaspora, the eight essays in this issue illuminate our arguments through their analyses of the multiple trajectories of Jewish cultural modernity.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81781387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-10DOI: 10.2979/PROOFTEXTS.36.1-2.04
A. Glaser
Abstract:The Soviet Yiddish poet Dovid Hofshteyn (1889–1952) is one of the best-known Yiddish-language modernist writers. During the 1930s, however, Hofshteyn's primary literary genre was translation, particularly from Russian and Ukrainian—languages he knew well enough to have written poetry in himself. This article addresses Hofshteyn's translations of the Ukrainian Romantic poet Taras Shevchenko (1814–1861) into Yiddish. Hofshteyn's translations of Shevchenko appeared primarily in the 1930s, years of increased strictures on Soviet original poetry—especially the poetry of Soviet minorities. These translations, however, exemplify a creative appropriation of a neighboring culture in order to express contemporary concerns about Jewish culture. As this article shall demonstrate, translation from Ukrainian allowed Hofshteyn to express modern Jewish themes of alienation in terms acceptable to the increasingly Russo-centric world of Soviet internationalism.
{"title":"Jewish Alienation through a Ukrainian Looking Glass: Dovid Hofshteyn's Translations of Taras Shevchenko","authors":"A. Glaser","doi":"10.2979/PROOFTEXTS.36.1-2.04","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.36.1-2.04","url":null,"abstract":"Abstract:The Soviet Yiddish poet Dovid Hofshteyn (1889–1952) is one of the best-known Yiddish-language modernist writers. During the 1930s, however, Hofshteyn's primary literary genre was translation, particularly from Russian and Ukrainian—languages he knew well enough to have written poetry in himself. This article addresses Hofshteyn's translations of the Ukrainian Romantic poet Taras Shevchenko (1814–1861) into Yiddish. Hofshteyn's translations of Shevchenko appeared primarily in the 1930s, years of increased strictures on Soviet original poetry—especially the poetry of Soviet minorities. These translations, however, exemplify a creative appropriation of a neighboring culture in order to express contemporary concerns about Jewish culture. As this article shall demonstrate, translation from Ukrainian allowed Hofshteyn to express modern Jewish themes of alienation in terms acceptable to the increasingly Russo-centric world of Soviet internationalism.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87228491","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-10DOI: 10.2979/PROOFTEXTS.36.1-2.06
Adriana X. Jacobs
Abstract:Since its 2005 inaugural issue, the Israeli literary journal Ho! has situated translation at the center of its efforts to revitalize and redirect the flows of contemporary Hebrew poetry from the Israeli local to an expanding global network of Israeli writers and poets who live in translational states, living and working outside of Israel and, in several cases, in other languages. Ho!'s commitment to translation is closely connected to its embrace of a transnational model of Hebrew literature. In this article, I examine the critical reception of Ho!'s first issues and the debates that followed between its authors and critics over what constitutes the Israeli here and now, a question that also forces a reevaluation of where Hebrew literature's diasporic past—and present—is located in contemporary Israeli culture. By retracing the comparative and multilingual encounters of modern Hebrew literature's Jewish, diasporic past, and reengaging these encounters via translation, Ho! advances a transnational model as the present and future of Israeli literature.
{"title":"Ho! and the Transnational Turn in Contemporary Israeli Poetry","authors":"Adriana X. Jacobs","doi":"10.2979/PROOFTEXTS.36.1-2.06","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.36.1-2.06","url":null,"abstract":"Abstract:Since its 2005 inaugural issue, the Israeli literary journal Ho! has situated translation at the center of its efforts to revitalize and redirect the flows of contemporary Hebrew poetry from the Israeli local to an expanding global network of Israeli writers and poets who live in translational states, living and working outside of Israel and, in several cases, in other languages. Ho!'s commitment to translation is closely connected to its embrace of a transnational model of Hebrew literature. In this article, I examine the critical reception of Ho!'s first issues and the debates that followed between its authors and critics over what constitutes the Israeli here and now, a question that also forces a reevaluation of where Hebrew literature's diasporic past—and present—is located in contemporary Israeli culture. By retracing the comparative and multilingual encounters of modern Hebrew literature's Jewish, diasporic past, and reengaging these encounters via translation, Ho! advances a transnational model as the present and future of Israeli literature.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80713860","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-10DOI: 10.2979/PROOFTEXTS.36.1-2.05
Karen Grumberg
Abstract:Hebrew literary culture in the early twentieth century relied as much on the translation of "great books" of world literature as it did on the production of original Hebrew works. Knut Hamsun's Norwegian novel Markens grøde, translated into Hebrew as Birkat ha-adamah by Nissan Touroff for Stybel Press in 1921, was one of many such books. However, partly because its themes resonate deeply with Labor Zionist ideology, Birkat ha-adamah held a special place in the Yishuv. Touroff's translation conveys the universality of Hamsun's Romantic ideas about proximity to nature and agricultural settlement, but also forges a particular link to Zionism: certain translation choices suggest that Touroff restores an absent biblical original through his Hebrew. In this essay, I argue that Touroff recalibrates the sacrality of Hamsun's novel to accommodate the spiritual and ideological needs of the Zionists in the Yishuv. Enhancing existing biblical intertexts to posit the novel as an alternative Zionist sacred text, his translation and its reception expose a fertile tension between universal ideals and specifically Zionist concerns. Translation of "great books" helped bring the world to Hebrew; the production of original Hebrew works helped bring Hebrew to the world. Birkat ha-adamah's productive grappling between the world and the Yishuv, though, reveals another dimension in this seemingly straightforward cultural economy.
{"title":"Between the World and the Yishuv: The Translation of Knut Hamsun's Markens grøde as a Zionist Sacred Text","authors":"Karen Grumberg","doi":"10.2979/PROOFTEXTS.36.1-2.05","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.36.1-2.05","url":null,"abstract":"Abstract:Hebrew literary culture in the early twentieth century relied as much on the translation of \"great books\" of world literature as it did on the production of original Hebrew works. Knut Hamsun's Norwegian novel Markens grøde, translated into Hebrew as Birkat ha-adamah by Nissan Touroff for Stybel Press in 1921, was one of many such books. However, partly because its themes resonate deeply with Labor Zionist ideology, Birkat ha-adamah held a special place in the Yishuv. Touroff's translation conveys the universality of Hamsun's Romantic ideas about proximity to nature and agricultural settlement, but also forges a particular link to Zionism: certain translation choices suggest that Touroff restores an absent biblical original through his Hebrew. In this essay, I argue that Touroff recalibrates the sacrality of Hamsun's novel to accommodate the spiritual and ideological needs of the Zionists in the Yishuv. Enhancing existing biblical intertexts to posit the novel as an alternative Zionist sacred text, his translation and its reception expose a fertile tension between universal ideals and specifically Zionist concerns. Translation of \"great books\" helped bring the world to Hebrew; the production of original Hebrew works helped bring Hebrew to the world. Birkat ha-adamah's productive grappling between the world and the Yishuv, though, reveals another dimension in this seemingly straightforward cultural economy.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82891546","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-10DOI: 10.2979/PROOFTEXTS.36.1-2.03
D. Kandiyoti
Abstract:This essay analyzes Joann Sfar's Rabbi's Cat and Rabbi's Cat 2 through the concepts of conviviality and world literature, drawing on the scholarship of Paul Gilroy and Pheng Cheah. I argue that Sfar offers through a decolonial lens a "world literature" with a normative world-making vision (Cheah) that asserts specific convivialities of what is deemed mutually exclusive under colonialism and in its aftermath, such as Jew and Muslim; native, diasporic, and colonial languages; and the rational-secular and "the enchanted."
{"title":"Imagining Cosmopolitanism, Conviviality, and Coexistence in World Literature: Jews, Muslims, Language, and Enchantment in Joann Sfar's The Rabbi's Cat","authors":"D. Kandiyoti","doi":"10.2979/PROOFTEXTS.36.1-2.03","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.36.1-2.03","url":null,"abstract":"Abstract:This essay analyzes Joann Sfar's Rabbi's Cat and Rabbi's Cat 2 through the concepts of conviviality and world literature, drawing on the scholarship of Paul Gilroy and Pheng Cheah. I argue that Sfar offers through a decolonial lens a \"world literature\" with a normative world-making vision (Cheah) that asserts specific convivialities of what is deemed mutually exclusive under colonialism and in its aftermath, such as Jew and Muslim; native, diasporic, and colonial languages; and the rational-secular and \"the enchanted.\"","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89769839","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-01-10DOI: 10.2979/PROOFTEXTS.36.1-2.07
Joanna Meadvin
Abstract:Buenos Aires had already passed its brief heyday as a Yiddish publishing center when the journalist, Yiddishist, communist, literary scholar, and teacher Mimi Pinzón (1910–1975) published her autobiographical novel, Der hoyf on fentster (The Courtyard without Windows; 1965). The novel tells an immigrant coming-of-age story set in a conventillo (Argentine tenement). Central to the novel's action—and politics—is the conventillo's hoyf, or courtyard, a space of radical, multilingual possibility that stands in contrast to the often brutal repression—psychological and physical—of the monolingual state. In Yiddish, the novel crafts a miniature, multilingual Argentina that finds its "nationhood" in loose networks of humane solidarity. I argue that Pinzón's choice to articulate this radical linguistic vision in a language that would soon be inaccessible to all but a handful of readers—her insistence on minor language maintenance, her willingness to risk noncirculation—models an expansive vision of world literature that broadens our understanding of this concept.
摘要:当记者、意第绪语者、共产主义者、文学学者和教师米米Pinzón(1910-1975)出版自传体小说《没有窗户的庭院》(Der hoyf on fentster)时，布宜诺斯艾利斯作为意第绪语出版中心的短暂全盛时期已经过去。1965)。这部小说讲述了一个以阿根廷公寓为背景的移民成长故事。小说行动和政治的核心是传统的庭院，一个激进的、多语言可能性的空间，与单语国家经常残酷的心理和身体压制形成鲜明对比。小说用意第绪语打造了一个微型的、多语言的阿根廷，在松散的人道团结网络中找到了自己的“国家地位”。我认为Pinzón选择用一种除了少数读者之外几乎所有人都无法理解的语言来表达这种激进的语言愿景——她坚持小语种的维护，她愿意冒着不流通的风险——为世界文学树立了一种广阔的视野，拓宽了我们对这一概念的理解。
{"title":"At Heym in the Hoyf: Mimi Pinzón's Argentine Yiddish World","authors":"Joanna Meadvin","doi":"10.2979/PROOFTEXTS.36.1-2.07","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.36.1-2.07","url":null,"abstract":"Abstract:Buenos Aires had already passed its brief heyday as a Yiddish publishing center when the journalist, Yiddishist, communist, literary scholar, and teacher Mimi Pinzón (1910–1975) published her autobiographical novel, Der hoyf on fentster (The Courtyard without Windows; 1965). The novel tells an immigrant coming-of-age story set in a conventillo (Argentine tenement). Central to the novel's action—and politics—is the conventillo's hoyf, or courtyard, a space of radical, multilingual possibility that stands in contrast to the often brutal repression—psychological and physical—of the monolingual state. In Yiddish, the novel crafts a miniature, multilingual Argentina that finds its \"nationhood\" in loose networks of humane solidarity. I argue that Pinzón's choice to articulate this radical linguistic vision in a language that would soon be inaccessible to all but a handful of readers—her insistence on minor language maintenance, her willingness to risk noncirculation—models an expansive vision of world literature that broadens our understanding of this concept.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81019663","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-05-04DOI: 10.2979/PROOFTEXTS.35.2-3.06
V. Shemtov
Abstract:Heidegger's assumption that humans can just naturally " be" in a place does not account for the politics of space or for the way that some humans are denied or limited in their ability to be in a place, to immerse in it, to preserve it, and to define and be defined as humans by their existence in this space. The politics of " being" and "place" is problematic not only when discussing "geographical" spaces but also when it comes to the ability of individuals and communities "to dwell in texts." This paper focuses on Heidegger's idea of " dwelling" as presented in "Dwelling, Building, Thinking" written after the housing shortage in Germany and in the late essay "Poetically Man Dwells." I read these essays against the Jewish concept of " dwelling in texts," which—according to some scholars—developed out of a physical and not just a mental state of " homeliness." This essay looks at the ways in which the Jewish idea of " dwelling in texts" was manifested through writings that refer to the double meaning of " home" (bayit) as both a home and a stanza in a poem. Recent and interesting examples of giving new life to this old metaphorical use of bayit can be found in many contemporary poems including works by Dan Pagis, Almog Behar and by the social movement that brought thousands of Israeli citizens into the streets in the summer of 2011 to protest the housing shortage. One of the events held in Jerusalem during this time was a poetry reading entitled "Dwelling in the Homes / Stanzas of the Poem," a play on the double meaning of bayit, with the possible implication that the rising costs of housing have left the poetic stanza as the only affordable home. The collection raises the question of the complex connections between limitations on dwelling in physical spaces and in "poetic homes," a complexity that remains hidden in Heidegger's work.
{"title":"Poetry and Dwelling: From Martin Heidegger to the Songbook of the Tent Revolution in Israel","authors":"V. Shemtov","doi":"10.2979/PROOFTEXTS.35.2-3.06","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.35.2-3.06","url":null,"abstract":"Abstract:Heidegger's assumption that humans can just naturally \" be\" in a place does not account for the politics of space or for the way that some humans are denied or limited in their ability to be in a place, to immerse in it, to preserve it, and to define and be defined as humans by their existence in this space. The politics of \" being\" and \"place\" is problematic not only when discussing \"geographical\" spaces but also when it comes to the ability of individuals and communities \"to dwell in texts.\" This paper focuses on Heidegger's idea of \" dwelling\" as presented in \"Dwelling, Building, Thinking\" written after the housing shortage in Germany and in the late essay \"Poetically Man Dwells.\" I read these essays against the Jewish concept of \" dwelling in texts,\" which—according to some scholars—developed out of a physical and not just a mental state of \" homeliness.\" This essay looks at the ways in which the Jewish idea of \" dwelling in texts\" was manifested through writings that refer to the double meaning of \" home\" (bayit) as both a home and a stanza in a poem. Recent and interesting examples of giving new life to this old metaphorical use of bayit can be found in many contemporary poems including works by Dan Pagis, Almog Behar and by the social movement that brought thousands of Israeli citizens into the streets in the summer of 2011 to protest the housing shortage. One of the events held in Jerusalem during this time was a poetry reading entitled \"Dwelling in the Homes / Stanzas of the Poem,\" a play on the double meaning of bayit, with the possible implication that the rising costs of housing have left the poetic stanza as the only affordable home. The collection raises the question of the complex connections between limitations on dwelling in physical spaces and in \"poetic homes,\" a complexity that remains hidden in Heidegger's work.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76047727","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-05-04DOI: 10.2979/PROOFTEXTS.35.2-3.03
O. Segal
This article engages Yossi Avni's 1988 novella She'eino yode'a lish'ol through an aspect usually left underexamined in Israeli culture: gay Mizrahi identity. In the cultural context of the 1990s, which typically associated homosexuality exclusively with Ashkenazim and the West, this groundbreaking novella opened new avenues in the representation of non-Ashkenazi sexual minorities. Continuously negotiating what he sees as conflicting parts of his self, Yossi, the narrator of the novella, strives to find a safe space in which he can voice his position as a double minority that is trapped between different exclusionary social systems. Destabilizing essentialist conventions about sexuality and ethnicity, the text offers various ways to resist marginalization.
{"title":"Ashkenizing Homosexuality?: Yossi Avni's \"The One Who Does Not Know How to Ask\"","authors":"O. Segal","doi":"10.2979/PROOFTEXTS.35.2-3.03","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.35.2-3.03","url":null,"abstract":"This article engages Yossi Avni's 1988 novella She'eino yode'a lish'ol through an aspect usually left underexamined in Israeli culture: gay Mizrahi identity. In the cultural context of the 1990s, which typically associated homosexuality exclusively with Ashkenazim and the West, this groundbreaking novella opened new avenues in the representation of non-Ashkenazi sexual minorities. Continuously negotiating what he sees as conflicting parts of his self, Yossi, the narrator of the novella, strives to find a safe space in which he can voice his position as a double minority that is trapped between different exclusionary social systems. Destabilizing essentialist conventions about sexuality and ethnicity, the text offers various ways to resist marginalization.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86349174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-05-04DOI: 10.2979/PROOFTEXTS.35.2-3.01
Wendy Zierler
Abstract:In 1911, Hava Shapiro (1878–1943) penned a three-part Hebrew travelogue, "Notes From My Journey to Eretz Yisrael," which provided an account of journey to Palestine that she undertook together with her mentor and occasional antagonist, David Frischmann. The first Hebrew travelogue of this kind written by a woman, Shapiro's travelogue is marked all over by an awareness of the newness of her literary-traveler's voice. The distinctive contribution of Shapiro's travelogue is made especially clear through a comparison of her triptych with Frischmann's published essays about the same journey. This comparison reveals that Frischmann may have borrowed directly from Shapiro's travelogue, an ironic revelation given his previously published denigration of female Hebraism. It also shows how Shapiro's content and prose style in the triptych serve to undermine Frischmann's misogynist pronouncements.
{"title":"Treading on New Hebrew Literary Ground: Hava Shapiro's \"Notes from My Journey to the Land of Israel\"","authors":"Wendy Zierler","doi":"10.2979/PROOFTEXTS.35.2-3.01","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.35.2-3.01","url":null,"abstract":"Abstract:In 1911, Hava Shapiro (1878–1943) penned a three-part Hebrew travelogue, \"Notes From My Journey to Eretz Yisrael,\" which provided an account of journey to Palestine that she undertook together with her mentor and occasional antagonist, David Frischmann. The first Hebrew travelogue of this kind written by a woman, Shapiro's travelogue is marked all over by an awareness of the newness of her literary-traveler's voice. The distinctive contribution of Shapiro's travelogue is made especially clear through a comparison of her triptych with Frischmann's published essays about the same journey. This comparison reveals that Frischmann may have borrowed directly from Shapiro's travelogue, an ironic revelation given his previously published denigration of female Hebraism. It also shows how Shapiro's content and prose style in the triptych serve to undermine Frischmann's misogynist pronouncements.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87355779","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2017-05-04DOI: 10.2979/PROOFTEXTS.35.2-3.09
J. L. Wright
{"title":"What Esther Can Tell Us about the Bible's Purpose and Interpretation","authors":"J. L. Wright","doi":"10.2979/PROOFTEXTS.35.2-3.09","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.35.2-3.09","url":null,"abstract":"","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76669012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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