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。
{"title":"Speaking Truth to Power in Yiddish: A Queer Jewish Literary History","authors":"Zohar Weiman‐Kelman","doi":"10.2979/PROOFTEXTS.37.2.07","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.37.2.07","url":null,"abstract":"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.","PeriodicalId":43444,"journal":{"name":"PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2019-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78183894","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":null,"pages":null},"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.37.1.01
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":null,"pages":null},"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":null,"pages":null},"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.37.1.02
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":null,"pages":null},"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.37.1.04
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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
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