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":null,"pages":null},"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.37.3.16
Wendy Zierler
Abstract:It has been a commonplace in the criticism and interpretation of the fiction of Devorah Baron (1887–1956) to refer to her fiction as a form of poetry in prose, or as an "idyll" that poetically represents a static shtetl past. This article breaks the idyll, so to speak, showing how Baron's ambitious fiction reshapes the narrative perspective, plot, and motifs of several layers of (male) canonical tradition, specifically. Part of a larger comparative study of the fiction of S. Y. Agnon and Devorah Baron, it focuses on their shared admiration for and common intertextual engagements with Flaubert's Madame Bovary (1856–57), as seen in Baron's translation of the classic novel, Agnon's realist novel Sippur pashut (1935) and Baron's "Fradl" (1946). A close reading of Baron's later story "Fradl" discloses the intertextual traces of both Baron's Madame Bovary and Agnon's novel, references that can be read as overturning elements of Agnon's and Flaubert's masterworks in specifically feminist and non-idyllic ways. The presence in many of her stories, including "Fradl," of a controlling first-person female narrator, one who lives apart from the world being described and employs multilayered intertextuality and ars-poetic reflection, suggests an effort to craft an image of the woman writer capable of intervening in and reconfiguring the literary past.
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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.37.2.03
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.37.2.06
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.37.2.05
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.37.2.02
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.37.2.04
Lina Barouch
Abstract:In the wake of the Six-Day War of June 1967, Paul Celan wrote the poem “Denk dir,” which is considered his least hermetic and most political poem. This article examines the poem’s four Hebrew versions, which were authored by Nathan Zach, Ben-Zion Orgad, Ilana Shmueli, and Shimon Sandbank between 1969 and 2013. Close readings of the original and translations shed light on the myriad philosophical, poetical, historical, and political layers that constitute the original poem, on the interpretation of these layers by the poet-translators into Hebrew, and more generally on the Israeli Hebrew reception of Celan’s poetry in the decades after his visit to the country in 1969. The striking variations between the four Hebrew versions expose not only differing translational approaches such as domestication versus foreignization, or autonomistic versus referential readings, but emphasize an original that seems to demand the replication of its irresolvable tensions, conflicts, and strangeness. It is thus considered whether translators into Hebrew transfigured the linguistic and referential disruptions and disjunctures of the source within their target texts. The close philological readings also consider existing literature by Ruth Ginsburg, Peter Szondi, and Shira Wolosky, among others on translation from German into Hebrew and on Celan as prolific translator.
摘要:在1967年6月的六日战争之后，保罗·策兰创作了一首诗《Denk dir》，这首诗被认为是他最不封闭、最具政治性的一首诗。本文考察了这首诗的四个希伯来语版本，分别由内森·扎克、本-锡安·奥加德、伊拉娜·什穆利和希蒙·桑德班克在1969年至2013年间创作。仔细阅读原著和译文，可以了解构成原著的无数哲学、诗歌、历史和政治层面，以及诗歌译者将这些层面解读为希伯来语，更广泛地说，可以了解策兰1969年访问以色列后的几十年里，以色列希伯来人对其诗歌的接受情况。四个希伯来版本之间的显著差异不仅暴露了不同的翻译方法，如归化与异化，或自主阅读与参考阅读，但强调了一个原始的，似乎要求复制其无法解决的紧张关系，冲突和陌生感。因此，考虑到翻译成希伯来语是否在其目标文本中改变了语言和参考的中断和来源的中断。密切的语言学阅读也考虑到Ruth Ginsburg, Peter Szondi和Shira Wolosky的现有文学，以及其他从德语到希伯来语的翻译和Celan作为多产的翻译家。
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