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。
{"title":"“Denk dir”: On Translating Paul Celan into Hebrew","authors":"Lina Barouch","doi":"10.2979/PROOFTEXTS.37.2.04","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.37.2.04","url":null,"abstract":"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.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"54 1","pages":"275 - 305"},"PeriodicalIF":0.0,"publicationDate":"2019-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73634706","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 : 2019-01-30DOI: 10.2979/PROOFTEXTS.37.1.02
R. Wollenberg
Abstract:This article begins with the observation that one of the most famous bad wife tales in rabbinic literature (Genesis Rabbah 17:3) is not really a tale about women at all. While Genesis Rabbah 17:3 is formally structured as a tale of two wives, the bad wife of Rabbi Yose and the good wife of Rabbi Ḥananiah ben Ḥakhinai, the narrative is not primarily directed at shaping a feminine ideal but works to negotiate competing visions of male honor. Specifically, the narrative works to overturn a model of male Jewish honor based on a paterfamilias model of individual leadership in favor of a system in which male Jewish honor derives from visible adherence to the norms of the rabbinic academy. This article thus explores a common dissonance in early rabbinic narratives about women, asking why women's literary bodies are so effective as a material through which male social ideals can be negotiated. The article concludes that the fictional women in such stories function in a mode very similar to what Mikhail Bahktin described as a "fairytale chronotope," in which landscapes, objects, and animals are animated to make the defining structures of a particular social moment visible by distilling them into a perceptible representative but without the blurring complications of a full human subjectivity.
摘要:本文首先观察到拉比文学中最著名的坏妻子故事之一(创世纪拉巴17:3)根本不是一个关于女人的故事。虽然《创世纪》第17章第3节的结构是两个妻子的故事，拉比约斯的坏妻子和拉比Ḥananiah ben Ḥakhinai的好妻子，但这个故事的主要目的不是塑造女性的理想，而是为了协商男性荣誉的竞争愿景。具体来说，这个故事推翻了一种男性犹太人的荣誉模式，这种模式基于个人领导的家长模式，而支持一种制度，在这种制度下，男性犹太人的荣誉源于对拉比学院规范的明显遵守。因此，本文探讨了早期拉比关于女性的叙述中常见的一种不和谐，并询问为什么女性的文学身体作为一种材料如此有效，通过这种材料可以谈判男性的社会理想。文章的结论是，在这些故事中，虚构的女性以一种非常类似于米哈伊尔·巴赫金所描述的“童话般的时间表”的模式发挥作用，在这种模式中，风景、物体和动物被动画化，通过将它们提炼成可感知的代表，使特定社会时刻的定义结构可见，但没有完全人类主体性的模糊复杂性。
{"title":"The Bad Wife Who Was Good: A Woman as a Way of Life in Genesis Rabbah 17:3","authors":"R. Wollenberg","doi":"10.2979/PROOFTEXTS.37.1.02","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.37.1.02","url":null,"abstract":"Abstract:This article begins with the observation that one of the most famous bad wife tales in rabbinic literature (Genesis Rabbah 17:3) is not really a tale about women at all. While Genesis Rabbah 17:3 is formally structured as a tale of two wives, the bad wife of Rabbi Yose and the good wife of Rabbi Ḥananiah ben Ḥakhinai, the narrative is not primarily directed at shaping a feminine ideal but works to negotiate competing visions of male honor. Specifically, the narrative works to overturn a model of male Jewish honor based on a paterfamilias model of individual leadership in favor of a system in which male Jewish honor derives from visible adherence to the norms of the rabbinic academy. This article thus explores a common dissonance in early rabbinic narratives about women, asking why women's literary bodies are so effective as a material through which male social ideals can be negotiated. The article concludes that the fictional women in such stories function in a mode very similar to what Mikhail Bahktin described as a \"fairytale chronotope,\" in which landscapes, objects, and animals are animated to make the defining structures of a particular social moment visible by distilling them into a perceptible representative but without the blurring complications of a full human subjectivity.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"12 1","pages":"56 - 85"},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83561587","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 : 2019-01-30DOI: 10.2979/PROOFTEXTS.37.1.01
Seth L. Sanders
Abstract:It has become a commonplace that by the Hellenistic period Judaism was a "religion of the book," with scriptural interpretation at its heart. As the result of a so-called Interpretive Revolution, reading of the Torah and Prophets had come to provide the warrant for both religious creativity and established practice. This article reexamines a key area of evidence for this assumption: the use of an explicit term for "interpretation" (pēšer) in the book of Daniel. None of the cases of explicit interpretation of revelation in Daniel fit the modes we find in Qumran or rabbinic literature. First, except for two words probably cited from Jeremiah in Dan 9, all the revealed material subject to explicit exegesis comes from Aramaic popular culture of the Babylonian and Persian periods or Second Temple historical speculation, not biblical texts. Second, exegesis here never involves reading a text, reflecting on it, then interpreting it. Instead, it is the result of two revelations, with the second providing a revision of and reflection on the first. If an interpretive revolution swept over the Jewish world during this period, it managed to bypass the book of Daniel. What Daniel tells us about Jewish interpretation during the watershed of the second century BCE is that it drew on scriptural language and ideas, but did so in order to interpret a wider world than the "native" Jewish patrimony of Scripture typically imagined in scholarship.
{"title":"Daniel and the Origins of Jewish Biblical Interpretation","authors":"Seth L. Sanders","doi":"10.2979/PROOFTEXTS.37.1.01","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.37.1.01","url":null,"abstract":"Abstract:It has become a commonplace that by the Hellenistic period Judaism was a \"religion of the book,\" with scriptural interpretation at its heart. As the result of a so-called Interpretive Revolution, reading of the Torah and Prophets had come to provide the warrant for both religious creativity and established practice. This article reexamines a key area of evidence for this assumption: the use of an explicit term for \"interpretation\" (pēšer) in the book of Daniel. None of the cases of explicit interpretation of revelation in Daniel fit the modes we find in Qumran or rabbinic literature. First, except for two words probably cited from Jeremiah in Dan 9, all the revealed material subject to explicit exegesis comes from Aramaic popular culture of the Babylonian and Persian periods or Second Temple historical speculation, not biblical texts. Second, exegesis here never involves reading a text, reflecting on it, then interpreting it. Instead, it is the result of two revelations, with the second providing a revision of and reflection on the first. If an interpretive revolution swept over the Jewish world during this period, it managed to bypass the book of Daniel. What Daniel tells us about Jewish interpretation during the watershed of the second century BCE is that it drew on scriptural language and ideas, but did so in order to interpret a wider world than the \"native\" Jewish patrimony of Scripture typically imagined in scholarship.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"36 1","pages":"1 - 55"},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89596411","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 : 2019-01-30DOI: 10.2979/prooftexts.37.1.06
O. Nir
Abstract:In this article, I argue that Israeli literature of the last decade imagines Israeli history in a different way than its postmodern predecessors of the 1980s and 1990s. Focusing on the way history is imagined in Lilach Netanel's The Hebrew Condition and Yiftach Ashkenazi's Fulfillment, I argue that both novels consciously revolve around a crisis of historicity, or the ability to relate subjective experience to history. This article contends that literary celebration of the dissolution of the so-called Zionist metanarrative during the 1980s and 1990s is dialectically subsumed in the contemporary recognition of this dissolution as a generalized loss of the possibility of narrating history. I conclude by suggesting that this transformation in literary historical imaginary should be seen as part of an attempt to attempt to imagine solutions to the contradictions of Israeli neoliberal capitalism and its social effects.
{"title":"On the Historical Imaginary of Contemporary Israeli Fiction, or, Postmodernism's Aftermath in Novels by Lilach Netanel and Yiftach Ashkenazi","authors":"O. Nir","doi":"10.2979/prooftexts.37.1.06","DOIUrl":"https://doi.org/10.2979/prooftexts.37.1.06","url":null,"abstract":"Abstract:In this article, I argue that Israeli literature of the last decade imagines Israeli history in a different way than its postmodern predecessors of the 1980s and 1990s. Focusing on the way history is imagined in Lilach Netanel's The Hebrew Condition and Yiftach Ashkenazi's Fulfillment, I argue that both novels consciously revolve around a crisis of historicity, or the ability to relate subjective experience to history. This article contends that literary celebration of the dissolution of the so-called Zionist metanarrative during the 1980s and 1990s is dialectically subsumed in the contemporary recognition of this dissolution as a generalized loss of the possibility of narrating history. I conclude by suggesting that this transformation in literary historical imaginary should be seen as part of an attempt to attempt to imagine solutions to the contradictions of Israeli neoliberal capitalism and its social effects.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"52 1","pages":"156 - 182"},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85871816","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 : 2019-01-30DOI: 10.2979/PROOFTEXTS.37.1.03
Noam Gil
Abstract:This article is an attempt to understand Isaac Bashevis Singer's blatant preoccupation in his stories with offensive and outrageous characters and actions that can simply be defined as vulgar. It is best exemplified in stories that depict a recurring theme in his fiction: the expulsion of the female outcast from and by her patriarchal community. Even though the vulgar characteristics of these female outcasts were construed by several Yiddish-speaking intellectuals as an assault both on Jewish women and on Yiddish language and culture, Singer's stories utilize their vulgar style and crude content as a direct attack on the Jewish Maskilim and their twentieth-century successors. This essay discusses his short story "Di makhsheyfeh" ("The Witch") from a feminist perspective, specifically in accordance with Julia Kristeva's theorization of the abject, in order to address Bella Zilberstein (the witch) as an allegorical affirmation of the same vulgar qualities that were projected upon Yiddish since the formation of the Haskalah movement in the eighteenth century. In identifying Yiddish as an abject source of shame on behalf of modernized Jews, Singer deliberately creates an "ugly" story about an "ugly" character. "Di makhsheyfeh" and its outright vulgarity will therefore be discussed both as a critique of the self-destructing delusion of modern Jews in their assimilatory ambitions, and as a celebration of Yiddish folklore characteristics, a passionate embrace of its irrational and "disgraceful" virtues.
{"title":"In Praise of Vulgarity: On Yiddish in Isaac Bashevis Singer's \"Di makhsheyfeh\"","authors":"Noam Gil","doi":"10.2979/PROOFTEXTS.37.1.03","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.37.1.03","url":null,"abstract":"Abstract:This article is an attempt to understand Isaac Bashevis Singer's blatant preoccupation in his stories with offensive and outrageous characters and actions that can simply be defined as vulgar. It is best exemplified in stories that depict a recurring theme in his fiction: the expulsion of the female outcast from and by her patriarchal community. Even though the vulgar characteristics of these female outcasts were construed by several Yiddish-speaking intellectuals as an assault both on Jewish women and on Yiddish language and culture, Singer's stories utilize their vulgar style and crude content as a direct attack on the Jewish Maskilim and their twentieth-century successors. This essay discusses his short story \"Di makhsheyfeh\" (\"The Witch\") from a feminist perspective, specifically in accordance with Julia Kristeva's theorization of the abject, in order to address Bella Zilberstein (the witch) as an allegorical affirmation of the same vulgar qualities that were projected upon Yiddish since the formation of the Haskalah movement in the eighteenth century. In identifying Yiddish as an abject source of shame on behalf of modernized Jews, Singer deliberately creates an \"ugly\" story about an \"ugly\" character. \"Di makhsheyfeh\" and its outright vulgarity will therefore be discussed both as a critique of the self-destructing delusion of modern Jews in their assimilatory ambitions, and as a celebration of Yiddish folklore characteristics, a passionate embrace of its irrational and \"disgraceful\" virtues.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"38 1","pages":"101 - 86"},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73157384","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 : 2019-01-30DOI: 10.2979/prooftexts.37.1.04
Larissa Sutherland
Abstract:Of all the novels in Saul Bellow's oeuvre, Henderson the Rain King (1959) seems to be the only one that is unrelated to Jewish life. Its plot revolves around an Anglo-Saxon millionaire, Eugene Henderson, who travels to Africa in search of answers to his existential crisis. This article shows that the novel is actually replete with Jewish themes and it positions the book alongside other postwar texts that disguised Jewish modes of expression within seemingly universal narratives. Henderson is framed in Yiddish and biblical rhetoric and reflects the ideas that Bellow developed in response to the Holocaust. It is also full of contradictions and ambiguities characteristic of this postwar genre; for instance, Henderson is exaggeratedly goyish at the same time he features many quintessential Jewish traits. By bringing attention to these aspects of the novel, this reading engages with critical and theoretical debates around how to demarcate the parameters that define Jewish American literature. It encourages the reader to reconsider those postwar texts that have been misinterpreted as diverging from Jewishness. And it directs them beyond the obvious hallmarks of Jewishness toward subtler cues that account for the ambivalences of postwar Jewish American identification.
{"title":"Jewish Poetics in Saul Bellow's Henderson the Rain King (1959)","authors":"Larissa Sutherland","doi":"10.2979/prooftexts.37.1.04","DOIUrl":"https://doi.org/10.2979/prooftexts.37.1.04","url":null,"abstract":"Abstract:Of all the novels in Saul Bellow's oeuvre, Henderson the Rain King (1959) seems to be the only one that is unrelated to Jewish life. Its plot revolves around an Anglo-Saxon millionaire, Eugene Henderson, who travels to Africa in search of answers to his existential crisis. This article shows that the novel is actually replete with Jewish themes and it positions the book alongside other postwar texts that disguised Jewish modes of expression within seemingly universal narratives. Henderson is framed in Yiddish and biblical rhetoric and reflects the ideas that Bellow developed in response to the Holocaust. It is also full of contradictions and ambiguities characteristic of this postwar genre; for instance, Henderson is exaggeratedly goyish at the same time he features many quintessential Jewish traits. By bringing attention to these aspects of the novel, this reading engages with critical and theoretical debates around how to demarcate the parameters that define Jewish American literature. It encourages the reader to reconsider those postwar texts that have been misinterpreted as diverging from Jewishness. And it directs them beyond the obvious hallmarks of Jewishness toward subtler cues that account for the ambivalences of postwar Jewish American identification.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"114 1","pages":"102 - 128"},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79336837","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 : 2019-01-30DOI: 10.2979/PROOFTEXTS.37.1.05
Chen Mandel-Edrei
Abstract:In his first book, 'Al ḥokhmot derakhim (1942), Avot Yeshurun established his unique position among the Hebrew poets in Palestine/Erets-Yisra'el. Embracing Zionism while acknowledging the presence of the Palestinian residents, Yeshurun took an ethical stance that resulted in a poetics that undermines the exclusiveness of Hebrew and of the Zionist vision. Yeshurun adopted the norms of symbolism in vogue at that literary moment on the Yishuv but subverted them by selecting Palestinians and the local landscape as his subject matter rather than Jewish or universalist themes. Using Georg Simmel's categories for describing different perceptions of the representative nature of the work of art, I show that Yeshurun's poetics stay close to materials provided by the local reality, while encouraging the reader to acknowledge the complexity of reality. Drawing from psychoanalytic theory, I establish the term "broken-symbolic" to indicate Yeshurun's sensitivity to the physicality or semiotics of Hebrew and Arabic and to expose the infrastructure of the Erets-Yisra'eli self-offered by his poetry. Yeshurun's poetics of kabbalat panim opens a path for a political view that accepts the Other while remaining deeply rooted in Jewish identity.
{"title":"Broken Symbolic: Avot Yeshurun's Palestinian-Erets-Yisra'eli Fabric","authors":"Chen Mandel-Edrei","doi":"10.2979/PROOFTEXTS.37.1.05","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.37.1.05","url":null,"abstract":"Abstract:In his first book, 'Al ḥokhmot derakhim (1942), Avot Yeshurun established his unique position among the Hebrew poets in Palestine/Erets-Yisra'el. Embracing Zionism while acknowledging the presence of the Palestinian residents, Yeshurun took an ethical stance that resulted in a poetics that undermines the exclusiveness of Hebrew and of the Zionist vision. Yeshurun adopted the norms of symbolism in vogue at that literary moment on the Yishuv but subverted them by selecting Palestinians and the local landscape as his subject matter rather than Jewish or universalist themes. Using Georg Simmel's categories for describing different perceptions of the representative nature of the work of art, I show that Yeshurun's poetics stay close to materials provided by the local reality, while encouraging the reader to acknowledge the complexity of reality. Drawing from psychoanalytic theory, I establish the term \"broken-symbolic\" to indicate Yeshurun's sensitivity to the physicality or semiotics of Hebrew and Arabic and to expose the infrastructure of the Erets-Yisra'eli self-offered by his poetry. Yeshurun's poetics of kabbalat panim opens a path for a political view that accepts the Other while remaining deeply rooted in Jewish identity.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"33 1","pages":"129 - 155"},"PeriodicalIF":0.0,"publicationDate":"2019-01-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79455595","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 : 2019-01-01DOI: 10.2979/prooftexts.37.3.14
Omri Ben Yehuda
{"title":"“In Quest of Du”: Dialogue in Kafka and Agnon","authors":"Omri Ben Yehuda","doi":"10.2979/prooftexts.37.3.14","DOIUrl":"https://doi.org/10.2979/prooftexts.37.3.14","url":null,"abstract":"","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"22 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79415186","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 : 2019-01-01DOI: 10.2979/prooftexts.37.3.21
Alter
{"title":"Review: Ancestral Tales: Reading the Buczacz Stories of S. Y.\u0000 Agnon, by Alan Mintz","authors":"Alter","doi":"10.2979/prooftexts.37.3.21","DOIUrl":"https://doi.org/10.2979/prooftexts.37.3.21","url":null,"abstract":"","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":"78 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83643650","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：