Pub Date : 2021-12-01DOI: 10.2979/prooftexts.39.1.03
S. Katz
Abstract:Yaʿaqov Ḥurgin is one of the Hebrew authors in Erets Yisraʾel to have represented World War I in the Middle East arena in his works, particularly the novella, Bein harerei Efrayim. His works dwell less on the war itself than on microcosmic, interpersonal conflicts among individuals as a mirror of the wider conflict. It is as if he were pointing to the cosmic phenomenon of ongoing tensions and conflicts among elements in creation, concrete or abstract. As part of this observation, Ḥurgin experiments, much like writers that follow, with the possibility of a junction of diverse cultural, religious, and ethnic values. His work challenges the Orientalist notion of bringing progress to so-called lesser civilizations, for the very same dark forces lurk beneath the surface of their own superficial culture.
{"title":"When Worlds Collide: Y. Hurgin’s Tales of the Great War","authors":"S. Katz","doi":"10.2979/prooftexts.39.1.03","DOIUrl":"https://doi.org/10.2979/prooftexts.39.1.03","url":null,"abstract":"Abstract:Yaʿaqov Ḥurgin is one of the Hebrew authors in Erets Yisraʾel to have represented World War I in the Middle East arena in his works, particularly the novella, Bein harerei Efrayim. His works dwell less on the war itself than on microcosmic, interpersonal conflicts among individuals as a mirror of the wider conflict. It is as if he were pointing to the cosmic phenomenon of ongoing tensions and conflicts among elements in creation, concrete or abstract. As part of this observation, Ḥurgin experiments, much like writers that follow, with the possibility of a junction of diverse cultural, religious, and ethnic values. His work challenges the Orientalist notion of bringing progress to so-called lesser civilizations, for the very same dark forces lurk beneath the surface of their own superficial culture.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"26 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76584250","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 : 2021-09-10DOI: 10.2979/prooftexts.38.3.02
Shoshana Olidort
Abstract:This article looks at Isaac Bashevis Singer's use of proverbs in three short stories and focuses specifically on how, through these proverbs, the author evokes an aura of universal truth and ancient wisdom, thereby imbuing his stories with a sense of meaning or purpose. I begin by defining "proverb" and "proverbial language" and go on to illustrate how the proverbial language that so saturates Singer's work is central not only to his stated aim of pointing to "eternal truth," but also to bolstering his own standing as a kind of prophet—albeit one with a sense of irony (and humor) not usually associated with prophecy, and one who, perhaps even more uncharacteristically for a prophet, eschewed absolute notions of truth. This seeming paradox—the affirmation and simultaneous disavowal of eternal or universal truth—is, as I demonstrate, a defining characteristic of Singer's mode of storytelling.
{"title":"Proverbial Language and Literary Truth in the Work of Isaac Bashevis Singer","authors":"Shoshana Olidort","doi":"10.2979/prooftexts.38.3.02","DOIUrl":"https://doi.org/10.2979/prooftexts.38.3.02","url":null,"abstract":"Abstract:This article looks at Isaac Bashevis Singer's use of proverbs in three short stories and focuses specifically on how, through these proverbs, the author evokes an aura of universal truth and ancient wisdom, thereby imbuing his stories with a sense of meaning or purpose. I begin by defining \"proverb\" and \"proverbial language\" and go on to illustrate how the proverbial language that so saturates Singer's work is central not only to his stated aim of pointing to \"eternal truth,\" but also to bolstering his own standing as a kind of prophet—albeit one with a sense of irony (and humor) not usually associated with prophecy, and one who, perhaps even more uncharacteristically for a prophet, eschewed absolute notions of truth. This seeming paradox—the affirmation and simultaneous disavowal of eternal or universal truth—is, as I demonstrate, a defining characteristic of Singer's mode of storytelling.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"23 1","pages":"510 - 531"},"PeriodicalIF":0.0,"publicationDate":"2021-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80059571","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 : 2021-09-10DOI: 10.2979/prooftexts.38.3.05
E. Sicher
Abstract:The figure of the Daughter of Germany reflects a widespread phenomenon of writing in Israel and the diaspora, not just in Germany and Austria, where Jewish writers began in the 1990s to explore their fraught relations with their adopted, readopted, or abandoned Heimat. In the uneasy encounters with present-day Germans, who may have to deal with their suppressed family and national past, Jewish writers find it impossible to free themselves from a history not of their making. This article discusses what the staging of erotic fantasies says about the grappling with the traumatic past. The fetish of the German woman has to do more with sexual stereotypes in cinema and popular culture than with anti-Semitism and the Holocaust, but it projects social and cultural anxieties, in particular about ethnic and racial difference. The power relations at play here in the imagination of male and female Jewish writers reflect constructions of Jewish sexuality and masculinity. The German woman as an erotic object of love has a deep and complex history in German-Jewish writing and in the Jewish imaginary in general, which cannot be erased. Although newly arrived Israelis tried to think of Berlin in the 2010s as a place like any other, relations between Germans and Jews remain tainted by their entangled histories and the traumatic past.
{"title":"Daughter of Germany: Desire and Power Relations in the Post-Holocaust Jewish Imaginary","authors":"E. Sicher","doi":"10.2979/prooftexts.38.3.05","DOIUrl":"https://doi.org/10.2979/prooftexts.38.3.05","url":null,"abstract":"Abstract:The figure of the Daughter of Germany reflects a widespread phenomenon of writing in Israel and the diaspora, not just in Germany and Austria, where Jewish writers began in the 1990s to explore their fraught relations with their adopted, readopted, or abandoned Heimat. In the uneasy encounters with present-day Germans, who may have to deal with their suppressed family and national past, Jewish writers find it impossible to free themselves from a history not of their making. This article discusses what the staging of erotic fantasies says about the grappling with the traumatic past. The fetish of the German woman has to do more with sexual stereotypes in cinema and popular culture than with anti-Semitism and the Holocaust, but it projects social and cultural anxieties, in particular about ethnic and racial difference. The power relations at play here in the imagination of male and female Jewish writers reflect constructions of Jewish sexuality and masculinity. The German woman as an erotic object of love has a deep and complex history in German-Jewish writing and in the Jewish imaginary in general, which cannot be erased. Although newly arrived Israelis tried to think of Berlin in the 2010s as a place like any other, relations between Germans and Jews remain tainted by their entangled histories and the traumatic past.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"33 1","pages":"584 - 622"},"PeriodicalIF":0.0,"publicationDate":"2021-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83876606","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 : 2021-09-10DOI: 10.2979/prooftexts.38.3.06
Sheera Talpaz
Abstract:This article offers a reading of Yehuda Amichai's protests against being dubbed a national poet as a performative and rhetorical act that, along with the translation of his poetry, paradoxically helped to situate him as Israel's national poet. The author explores Amichai's "translatability" as a self-perpetuating myth at the heart of the debate about his national poet status. He understood the implications of translation for his career and perhaps, to a certain extent, his reception, which placed his work as eminently translatable (by virtue of having been translated) and his poetics as simple, colloquial, and unpretentious. Amichai's "Israeli everyman" poetics—the ambivalence his works project toward nationalist ideology and institutionalized forms of power—alongside his proactive involvement in translation, have marked him as a nonnationalist national poet primarily outside of Israel and among Anglophone readers. Rather than functioning as a reflection of a mainstream Israeli literary opinion, the idea that Amichai might be a national poet challenges dominant literary prescriptions on the subject, unwittingly creating a space for a transgressive nonnationalist national poetics with the skeptical, ambivalent poet at its center.
{"title":"Yehuda Amichai, the Unlikely National Poet","authors":"Sheera Talpaz","doi":"10.2979/prooftexts.38.3.06","DOIUrl":"https://doi.org/10.2979/prooftexts.38.3.06","url":null,"abstract":"Abstract:This article offers a reading of Yehuda Amichai's protests against being dubbed a national poet as a performative and rhetorical act that, along with the translation of his poetry, paradoxically helped to situate him as Israel's national poet. The author explores Amichai's \"translatability\" as a self-perpetuating myth at the heart of the debate about his national poet status. He understood the implications of translation for his career and perhaps, to a certain extent, his reception, which placed his work as eminently translatable (by virtue of having been translated) and his poetics as simple, colloquial, and unpretentious. Amichai's \"Israeli everyman\" poetics—the ambivalence his works project toward nationalist ideology and institutionalized forms of power—alongside his proactive involvement in translation, have marked him as a nonnationalist national poet primarily outside of Israel and among Anglophone readers. Rather than functioning as a reflection of a mainstream Israeli literary opinion, the idea that Amichai might be a national poet challenges dominant literary prescriptions on the subject, unwittingly creating a space for a transgressive nonnationalist national poetics with the skeptical, ambivalent poet at its center.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"178 1","pages":"623 - 647"},"PeriodicalIF":0.0,"publicationDate":"2021-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83376171","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 : 2021-09-10DOI: 10.2979/prooftexts.38.3.01
Davidi
Abstract:This article deals with the historical and literary significance of the allegorical Hebrew drama Prisoners of Hope (Prisioneros de la Esperanza) of Yosef Penso de la Vega, which was printed in Amsterdam in 1673. It focuses on the affinity of this play to the Spanish auto sacramental plays, spread in the Iberian Peninsula during the sixteenth and seventeenth centuries and characterizes it as an adaptation of the dramatic model associated profoundly with the sacrament of the Eucharist and the Counter-Reformation for the Jewish and Hebrew writing space. It discusses the dramatic features of the play such as prosopopoeia, the structure of the plot, the constellation of the figures, and the existence of a psychomachic level in their linkage to the dramatic characteristics of the auto sacramental play. The article suggests that this play is a unique literary and historical document, the appearance of which signifies a peak of acculturation in a unique cultural and historical setting—namely, the reconversion into Judaism of Iberian Jews in the northern Protestant lands. The aim of the article is to delve into this acculturation and its aesthetic and ethical significance.
{"title":"Prisoners of Hope: On a Hebrew Baroque Drama","authors":"Davidi","doi":"10.2979/prooftexts.38.3.01","DOIUrl":"https://doi.org/10.2979/prooftexts.38.3.01","url":null,"abstract":"Abstract:This article deals with the historical and literary significance of the allegorical Hebrew drama Prisoners of Hope (Prisioneros de la Esperanza) of Yosef Penso de la Vega, which was printed in Amsterdam in 1673. It focuses on the affinity of this play to the Spanish auto sacramental plays, spread in the Iberian Peninsula during the sixteenth and seventeenth centuries and characterizes it as an adaptation of the dramatic model associated profoundly with the sacrament of the Eucharist and the Counter-Reformation for the Jewish and Hebrew writing space. It discusses the dramatic features of the play such as prosopopoeia, the structure of the plot, the constellation of the figures, and the existence of a psychomachic level in their linkage to the dramatic characteristics of the auto sacramental play. The article suggests that this play is a unique literary and historical document, the appearance of which signifies a peak of acculturation in a unique cultural and historical setting—namely, the reconversion into Judaism of Iberian Jews in the northern Protestant lands. The aim of the article is to delve into this acculturation and its aesthetic and ethical significance.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"57 1","pages":"479 - 509"},"PeriodicalIF":0.0,"publicationDate":"2021-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89089989","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 : 2021-09-10DOI: 10.2979/prooftexts.38.3.03
Kfir Cohen Lustig
Abstract:This article provides a new reading of Moshe Shamir's He Walked in the Fields (Hu halakh basadot). In Hebrew literary historiography as well as popular culture, Shamir's novel—specifically its main protagonist, Uri—is read as an ideal, almost mythic representative of Zionist values, embodying patriotic sacrifice and virile masculinity. Contemporary readings of the novel have rightfully challenged this understanding, showing that Uri's character is not an ideal type of Zionist patriotic masculinity but a figure of its impossibility and failure. The reading in this article generally agrees with this revisionist line, but it is different from current readings in that it moves away from the main preoccupation of Hebrew literary studies to categorize Hebrew novels as affirmative or critical of Zionist ideology. Instead, it expands our understanding of Zionism from narrative and ideology to a historical form of life and situates the novel as a response to the historical tensions underlying it in the period during which the novel was written. Specifically, the author sees Shamir as trying to think through political questions of autonomy and heteronomy and to experiment with structure and character in order to engage with the question of freedom. In this effort, I retrieve the character of Rutka, who is usually sidelined in readings of the novel, and show her importance for Shamir's political thought.
{"title":"Uri Kahana's Impossible Autonomy: Moshe Shamir's He Walked in the Fields and the Question of Social Freedom in 1950s Israel","authors":"Kfir Cohen Lustig","doi":"10.2979/prooftexts.38.3.03","DOIUrl":"https://doi.org/10.2979/prooftexts.38.3.03","url":null,"abstract":"Abstract:This article provides a new reading of Moshe Shamir's He Walked in the Fields (Hu halakh basadot). In Hebrew literary historiography as well as popular culture, Shamir's novel—specifically its main protagonist, Uri—is read as an ideal, almost mythic representative of Zionist values, embodying patriotic sacrifice and virile masculinity. Contemporary readings of the novel have rightfully challenged this understanding, showing that Uri's character is not an ideal type of Zionist patriotic masculinity but a figure of its impossibility and failure. The reading in this article generally agrees with this revisionist line, but it is different from current readings in that it moves away from the main preoccupation of Hebrew literary studies to categorize Hebrew novels as affirmative or critical of Zionist ideology. Instead, it expands our understanding of Zionism from narrative and ideology to a historical form of life and situates the novel as a response to the historical tensions underlying it in the period during which the novel was written. Specifically, the author sees Shamir as trying to think through political questions of autonomy and heteronomy and to experiment with structure and character in order to engage with the question of freedom. In this effort, I retrieve the character of Rutka, who is usually sidelined in readings of the novel, and show her importance for Shamir's political thought.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"24 1","pages":"532 - 556"},"PeriodicalIF":0.0,"publicationDate":"2021-09-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84681508","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 : 2021-05-05DOI: 10.2979/prooftexts.38.2.08
Shachar Pinsker
Abstract:This article focuses on the role of the coffeehouse in the Haskalah and its literatures. Scholars of modern Jewish literature have not paid enough attention to the coffeehouse and to its important role as a new kind of Jewish space, one that enabled and fostered novel forms of journalism and literature. This is especially true for the eighteenth and nineteenth centuries, the period associated mostly with the Haskalah. Thinking about Haskalah culture in spatial terms usually relies on a dichotomy between the synagogue and secular institutions, the idea that religion constituted the single moral authority and was exclusively associated with the synagogue, the house of study, and other traditional Jewish spaces. This article focuses on the importance of the café as a thirdspace, in Edward Soja's terms, one that does not fit comfortably in the dichotomy between religious and secular spaces (or other dichotomies such as public and private, inside and outside). The café was crucial for the creation of modern Jewish culture, and it helps us to identify and understand the contiguities of the modern Jewish literary complex.
{"title":"Coffeehouses, Journalism, and the Rise of Modern Jewish Literary Culture","authors":"Shachar Pinsker","doi":"10.2979/prooftexts.38.2.08","DOIUrl":"https://doi.org/10.2979/prooftexts.38.2.08","url":null,"abstract":"Abstract:This article focuses on the role of the coffeehouse in the Haskalah and its literatures. Scholars of modern Jewish literature have not paid enough attention to the coffeehouse and to its important role as a new kind of Jewish space, one that enabled and fostered novel forms of journalism and literature. This is especially true for the eighteenth and nineteenth centuries, the period associated mostly with the Haskalah. Thinking about Haskalah culture in spatial terms usually relies on a dichotomy between the synagogue and secular institutions, the idea that religion constituted the single moral authority and was exclusively associated with the synagogue, the house of study, and other traditional Jewish spaces. This article focuses on the importance of the café as a thirdspace, in Edward Soja's terms, one that does not fit comfortably in the dichotomy between religious and secular spaces (or other dichotomies such as public and private, inside and outside). The café was crucial for the creation of modern Jewish culture, and it helps us to identify and understand the contiguities of the modern Jewish literary complex.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"04 1","pages":"369 - 408"},"PeriodicalIF":0.0,"publicationDate":"2021-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86295722","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 : 2021-05-05DOI: 10.2979/prooftexts.38.2.07
Tsippi Kauffman
Abstract:In this article I wish to examine a specific historical and textual moment embodied in the works of Joseph Perl. The conventional view draws a line separating the Hasidic movement and Hasidic literature from Perl, a maskil who opposed the movement. Nevertheless, some scholars maintain that his works should not be addressed independently of his Hasidic sources of influence. Others have shown that the reciprocal influences of Haskalah and Hasidic literature continue into the nineteenth and twentieth centuries. In this article, we will examine the relationship between Perl's works and Hasidic stories, focusing on Maʿasiyyot veʾiggerot as a liminal region in between Perl's works and Hasidic stories. Following examination of the work itself, we shall offer a few comments both on Hasidic stories and on Perl's later work (Megalleh temirin), in order to illuminate the continuity and contiguity between Perl and Hasidism, in contrast to the conflict and fault line that is conventionally emphasized.
摘要:在本文中，我希望考察约瑟夫·佩尔作品中体现的一个特定的历史和文本时刻。传统观点将哈西德派运动和哈西德派文学与Perl(一个反对哈西德派运动的人)划清界限。然而，一些学者坚持认为，他的作品不应该独立于他的哈西德派的影响来源。其他人已经表明，哈斯卡拉和哈西德文学的相互影响一直持续到十九和二十世纪。在本文中，我们将研究Perl的作品和哈西德派故事之间的关系，重点关注作为Perl的作品和哈西德派故事之间的一个界限区域的Ma - al - asiyyot - ve - al - iggerot。在检查工作本身之后，我们将对哈西德派的故事和Perl后来的工作(Megalleh temirin)提供一些评论，以便阐明Perl和哈西德派之间的连续性和连续性，而不是传统上强调的冲突和断层线。
{"title":"Thoughts on the Seam between Hasidic Literature and Haskalah Literature: The Works of Joseph Perl","authors":"Tsippi Kauffman","doi":"10.2979/prooftexts.38.2.07","DOIUrl":"https://doi.org/10.2979/prooftexts.38.2.07","url":null,"abstract":"Abstract:In this article I wish to examine a specific historical and textual moment embodied in the works of Joseph Perl. The conventional view draws a line separating the Hasidic movement and Hasidic literature from Perl, a maskil who opposed the movement. Nevertheless, some scholars maintain that his works should not be addressed independently of his Hasidic sources of influence. Others have shown that the reciprocal influences of Haskalah and Hasidic literature continue into the nineteenth and twentieth centuries. In this article, we will examine the relationship between Perl's works and Hasidic stories, focusing on Maʿasiyyot veʾiggerot as a liminal region in between Perl's works and Hasidic stories. Following examination of the work itself, we shall offer a few comments both on Hasidic stories and on Perl's later work (Megalleh temirin), in order to illuminate the continuity and contiguity between Perl and Hasidism, in contrast to the conflict and fault line that is conventionally emphasized.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"16 1","pages":"347 - 368"},"PeriodicalIF":0.0,"publicationDate":"2021-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85034004","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 : 2021-05-05DOI: 10.2979/prooftexts.38.2.01
Ofer Dynes, N. Seidman
Abstract:This short article introduces this special issue of Prooftexts, The Beginnings of Modern Jewish Literature in Europe. It is divided into two parts. The first part historicizes and analyzes the debate about when modern Jewish Literature began, focusing on the major literary historiographies of the twentieth century (Klausner, Lachower, Slouschz, Weinreich, and Zinberg). The second connects this debate to the scholarship of the contributors to this volume and provides a short summary of the content of their articles.
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