Pub Date : 2020-01-16DOI: 10.2979/prooftexts.37.3.07
S. Ezrahi
Abstract:For decades—half a lifetime, really—you write to Alan, sharing an idea, a thought, an essay, and eagerly await his response. Always gracious, generous, even when he (oh-so-politely) takes issue with this or that claim. Then, suddenly, you are writing about Alan, hoping that something of his mind and spirit will be conveyed through your words. As present tense becomes past tense in your rhetoric, the presentness of his voice and his soul must somehow flow through you …
{"title":"For Alan","authors":"S. Ezrahi","doi":"10.2979/prooftexts.37.3.07","DOIUrl":"https://doi.org/10.2979/prooftexts.37.3.07","url":null,"abstract":"Abstract:For decades—half a lifetime, really—you write to Alan, sharing an idea, a thought, an essay, and eagerly await his response. Always gracious, generous, even when he (oh-so-politely) takes issue with this or that claim. Then, suddenly, you are writing about Alan, hoping that something of his mind and spirit will be conveyed through your words. As present tense becomes past tense in your rhetoric, the presentness of his voice and his soul must somehow flow through you …","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"62 1","pages":"438 - 444"},"PeriodicalIF":0.0,"publicationDate":"2020-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79593765","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 : 2020-01-16DOI: 10.2979/prooftexts.37.3.20
A. Yehoshua
Abstract:This talk was given at Tel Aviv University and published in Hebrew in the collection Essays to the End of the Millennium (Masot ʿad tom haʾelef), edited by Ziva Shamir and Aviva Doron (Tel Aviv: Hakibbutz Hameuchad, 1999), which was entirely devoted to the novel Journey to the End of the Millennium.
{"title":"Examining the Head of a Pin: On Journey to the End of the Millennium","authors":"A. Yehoshua","doi":"10.2979/prooftexts.37.3.20","DOIUrl":"https://doi.org/10.2979/prooftexts.37.3.20","url":null,"abstract":"Abstract:This talk was given at Tel Aviv University and published in Hebrew in the collection Essays to the End of the Millennium (Masot ʿad tom haʾelef), edited by Ziva Shamir and Aviva Doron (Tel Aviv: Hakibbutz Hameuchad, 1999), which was entirely devoted to the novel Journey to the End of the Millennium.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"7 1","pages":"711 - 718"},"PeriodicalIF":0.0,"publicationDate":"2020-01-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75255968","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 : 2019-05-23DOI: 10.2979/PROOFTEXTS.37.2.03
N. Harel
Abstract:Devorah Baron’s literary oeuvre primarily portrays oppressed women, trapped in patriarchy, and other marginalized groups or individuals in the Lithuanian shtetl, whose liberty and dignity are trampled. Throughout her writings, animals appear as the most deprived and vulnerable members of society, and their oppression is often compared to oppression within humanity, particularly the oppression of women. This article seeks to explore the literary transaction between gender and animality in Baron’s writings, focusing on the parallel between the victimization of women and cows. Unlike her male contemporaries, whose lighthearted woman-cow analogy stems from the sexual objectification of women, Baron empathically depicts bovinized women, who are reduced to their reproductive system and maternal functions just like cows. The homologous biopolitical management of both women and cows, which was first theorized in Charlotte Perkins Gilman’s 1898 feminist treatise Women and Economics, is poetically embodied in Baron’s tales of wet nurses—“Hitparets” (“Burst”), “ʿAtsbanut” (“Nervousness”), and “Shifra”—and barren women who are forced to divorce—“Mishpaḥah” (“Family”) and “Keritut” (“Bill of Divorcement”)—as well as in “Shavririm” (“Sunbeams”), which woefully tells of the most wretched woman in the shtetl and her empowering bond with a cow.
摘要:德沃拉·巴伦的文学作品主要描写了立陶宛shtetl中被困在父权制中的被压迫妇女以及其他被边缘化的群体或个人，她们的自由和尊严被践踏。在她的作品中，动物似乎是社会中最被剥夺和最脆弱的成员，他们的压迫经常被比作人类内部的压迫，尤其是对女性的压迫。本文旨在探讨巴伦作品中性别与动物之间的文学交易，重点关注女性与奶牛受害之间的相似之处。与同时代的男性作家不同的是，巴伦将轻松的女性比作母牛，这源于女性的性物化，而巴伦则同情地描绘了母牛化的女性，她们像母牛一样被退化为生殖系统和母性功能。对妇女和奶牛的类似的生命政治管理，最早是在夏洛特·帕金斯·吉尔曼1898年的女权主义论文《妇女与经济学》中提出的，被诗意地体现在巴伦关于奶妈的故事中——“hit父母”(“Burst”)、“al - Atsbanut”(“紧张”)和“Shifra”——以及被迫离婚的不孕妇女——“Mishpaḥah”(“Family”)和“Keritut”(“Bill of divorce”)——以及“Shavririm”(“Sunbeams”)。它悲惨地讲述了这个小镇上最可怜的女人和她与一头牛的亲密关系。
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Pub Date : 2019-05-23DOI: 10.2979/PROOFTEXTS.37.2.01
Uriah Kfir, A. Oettinger
Abstract:Meshullam da Piera was an important Hebrew poet who lived and wrote in Gerona, Spain in the post-Andalusian climate of the thirteenth century. One of the major issues that has attracted the attention of scholars who deal with Da Piera is his frequent tendency to favor an enigmatic, vague style in his poems, whose incoherent flow and odd word choice are explained in different ways. This article presents an English translation as well as two separate readings of one of his ambiguous poems in a joint attempt to decipher and applaud the poet’s mastery and ingenuity. The poem, “Li rinenah tsipor” (“A bird has sung to me of love”) is a long, complicated poem of sixty-five lines. It is loaded with characters including the poet himself, a wondrous dove, the poet’s fickle friends and rivals, an envisaged damsel and a lord named ʿAmram, and it is organized around a description of the poet’s obscure dream, which is followed by a rebuke of his allegedly loose mores. Our readings depart from one another mainly in terms of who expresses the rebuke: the female figure who appears in the dream or the poet’s friends. The fact that the poem itself does not provide a clear answer to this fundamental ambiguity is what prompted us to present our two interpretations that develop in different directions. The first reading, by Oettinger, claims that the poem incorporates the atmosphere and the ideas of the poet’s circle of mystics in Gerona and suggests an inner, silent reflection governed by a divine vision. The second reading, by Kfir, interprets the poem as a complex psychological process of a lonely old poet who is anxious about his place within society and traces the process by which his psyche constantly struggles, sways, and strives for reconciliation. We believe that our different readings are not simply two subjective perspectives but rather are generated by the unique features of Da Piera’s poetry, which themselves invite more than one interpretation.
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Pub Date : 2019-05-23DOI: 10.2979/PROOFTEXTS.37.2.06
Nitza Ben-Dov, R. Alter
Abstract:Nitza Ben-Dov’s Ḥayyei milḥamah, a study of ten literary works depicting the wars of Israel over the past one hundred years, was awarded the 2018 Yitzhak Sadeh Israeli Prize for Military Literature. This article, taken from that study and translated by eminent literary scholar and biblical translator Robert Alter, examines Yehuda Amichai’s Not of this Time, Not of this Place (1963) and its dual treatment of the legacies of World War II and the Israeli War of Independence. The bifurcated hero of Amichai’s sprawling novel lives out two parallel but contradictory plots, one takes him to the Germany of his childhood, the other unfolds in Jerusalem. For the attentive reader, these seemingly oppositional stories coalesce through a network of wordplays, perceptions, recurrent images (skulls, amputated limbs), and intertextual references to Hillel the Elder and to Agnon’s classic 1939 novel on the impossibility of returning home, A Guest for the Night.
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Pub Date : 2019-05-23DOI: 10.2979/PROOFTEXTS.37.2.02
J. Geller
Abstract:The essay examines the interrelationship of Jewish identification (self and/or ascribed) and the fashioning of human-horse hybrids in Primo Levi (“Quaestio de Centauris”), Bernard Malamud (“Talking Horse”), and Moacyr Scliar (The Centaur in the Garden). It begins its interrogation of the appeal of the centaur to several Jewish writers after the era of human-equine symbiosis ended by tracing how distinctions between horse and donkey as well as judgments of horsemanship had previously mediated gentile/Jewish difference. Then, while noting the possible influences of earlier Jewish literary constructions of Judentum-associated horses or horse-human hybrids on Levi, Malamud, and Scliar, the essay turns to their particular works. Mounted upon their respective human-horse hybrids, these three writers explore the supplemental character of Jewish identification in Western modernity, by which the dominant gentile society’s ascribed Jewishness supplemented and often superseded the thus-identified individual’s own diverse identifications. These writers examined this Jewish condition in relation to the modern Western (male) individual’s experiences of doubleness, as well as to whether there was a place for any hybrid subject that may emerge out of—and be distinct from—the identifications by which Jews were interpellated into or out of the “human” community.
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Pub Date : 2019-05-23DOI: 10.2979/PROOFTEXTS.37.2.05
Liat Steir-Livny
Abstract:The Cellar (Hamartef, Natan Gross, 1963) is a groundbreaking film—the only Israeli fictional film created by Holocaust survivors regarding the Holocaust and its aftermath from the perspective of a Holocaust survivor protagonist. Yet it has been largely ignored by studies on the representation of the Holocaust in Israeli cinema and has not been attributed proper significance. This article is the first to give center stage to this pioneering film. It shows that this under researched film was the marker of change, a first cinematic attempt at relating the story of Holocaust survivors with complexity and depth, which threw aside the shallow narrative of national redemption in Israel, that characterized Israeli cinema in the 1940s and 1950s. Instead it focused on 1930s Germany and the return to Germany after World War II, periods which had thus far been neglected in Israeli cinema. Moreover, the article highlights The Cellar as exceptional in comparison to fictional films produced after 1963, which focus mainly on the lives of Holocaust survivors in Israel, and which disregard the themes of life in 1930s Europe, as well as the attempts by survivors to return home after World War II.
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Pub Date : 2019-05-23DOI: 10.2979/PROOFTEXTS.37.2.07
Zohar Weiman‐Kelman
Abstract:This article offers a queer formulation of the present of Jewish literary history by reading two Yiddish poems by women that speak in a cross-gendered male voice and deploy queer content and poetics. The first poem, “Ikh bin geven a mol a yingling” (“I Was Once A Boy”), written by Anna Margolin in the interwar period, offers its own vision of history and critique of the powers oppressing Jews, as well as the powers oppressing women. The second poem, “ Der Soyne/The Enemy: An Interview in Gaza,” written during the First Palestinian Intifada by Irena Klepfisz, speaks in the marginalized voices of Palestinians and in Yiddish, all in the Israeli context of Jewish power. The article explores how each poem critiques its present moments while activating multiple histories. Poetically disrupting the linear sequence of (hetero) normative temporality, the poems create queer histories that conflate multiple times and transgress categorical boundaries of gender, religion, and national identity. The article shows how both poems play on the irony of shifting powers and perspectives, as their speakers voice an irreverent yet anachronistic challenge to power, powers that be, powers past, or powers to come. At the same time, the poems make all too real the violence of history and the ongoing horrors of their respective presents, pasts, and futures. Looking through these poems, this essay will ask how we might think differently about the poetic politics of language, gender, and power in Jewish literary history and beyond.
摘要:本文通过阅读两首意第绪语女性诗歌，为犹太文学史的当下提供了一个酷儿的表述，这两首诗以跨性别的男性声音说话，并运用了酷儿的内容和诗学。第一首诗《我曾经是个男孩》(Ikh bin geven a mol a yingling)是安娜·马戈林(Anna Margolin)在两次世界大战之间的时期创作的，它提供了自己对历史的看法，以及对压迫犹太人和压迫妇女的权力的批评。第二首诗《Der sone /The Enemy: An Interview in Gaza》写于第一次巴勒斯坦起义期间，作者是Irena Klepfisz。这首诗用的是被边缘化的巴勒斯坦人的声音和意第绪语，都是在犹太人掌权的以色列背景下创作的。文章探讨了每首诗是如何在激活多重历史的同时批判当下的。诗歌颠覆了(异性恋)规范时间性的线性序列，诗歌创造了酷儿历史，这些历史融合了多个时代，超越了性别、宗教和国家身份的绝对界限。这篇文章展示了这两首诗是如何利用权力和观点转变的讽刺，因为它们的演讲者对权力、现在的权力、过去的权力或未来的权力发出了不敬但不合时宜的挑战。与此同时，这些诗歌将历史的暴力以及他们各自的现在、过去和未来的持续恐怖变得过于真实。通过阅读这些诗歌，本文将探讨我们如何以不同的方式看待犹太文学史及以后的语言、性别和权力等诗歌政治。
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