HIS rumpled, HAIR TOUSLED a collector MADLY, stoops and excitedly his fusty to garments inspect his bunched books. The and rumpled, a collector stoops excitedly to inspect his books. The eccentric bibliophile in this painted scene is the artist himself, R.B. Kitaj (b.1932), and the painting Unpacking My Library from 1990/1991 captures a common practice for the peripatetic artist. Tm always unpacking my library like that,' muses the painter, ť[a]lways packing part of it up and unpacking sometimes years later, thrilled with forgotten treasures and surprises.1 At times, Kitaj s library has explicitly provided the imagery for his works, as in 1969 when he created In Our Time: Covers for a Small Library After the Life for the Most Part , a series of fifty screen prints taken from photos of his own worn and dog-eared texts. More often, Kitaj s library is the absent presence in his works, supplying the loose weave of literary allusions which connects the artists oeuvre . Since his early career Kitaj has found that 'books are for me what trees are for a landscape painter. They inspire.'2 Not only have books inspired Kitaj to paint, they also seem to have stimulated his desire to write. For the past two decades Kitaj has increasingly penned what he calls explanatory prefaces' to his paintings, intended to accompany his works both on exhibition and in publication. Kitaj keeps the volumes of Adin Steinsaltzs Talmud translation stacked beside the easel in his studio and in recent years he has come to
他那蓬乱的头发，一个疯狂的收藏家，弯腰，兴奋地看着他那一堆书。一个皱巴巴的收藏家兴奋地弯腰检查他的书。在这幅画中，古怪的藏书家是艺术家本人R.B. Kitaj(生于1932年)，1990/1991年的画作《打开我的图书馆》(Unpacking My Library)捕捉到了这位流浪艺术家的一种常见做法。“我总是这样打开我的图书馆，”画家沉思着说，“总是把一部分装起来，有时几年后再打开，被遗忘的宝藏和惊喜激动不已。有时，基塔伊的图书馆会明确地为他的作品提供图像，比如1969年，他创作了《在我们的时代:一个小图书馆在大部分生活之后的封面》，这是一系列50幅丝网版画，取自他自己破旧和卷角的文本的照片。更多的时候，基塔伊的图书馆是他作品中缺席的存在，提供了连接艺术家全部作品的松散的文学典故。从他早期的职业生涯开始，Kitaj就发现“书籍之于我，就像树木之于风景画家。”他们激励。书不仅激发了基塔伊的绘画灵感，似乎还激发了他的写作欲望。在过去的二十年里，基塔伊越来越多地为他的画作写他所谓的解释性序言，以配合他的作品在展览和出版中展出。基塔伊把阿丁·斯坦萨尔茨翻译的《塔木德》摞在他工作室的画架旁边，近年来，他已经醒过来了
{"title":"The Diasporist Unpacks: The Epigonic Rummagings of R.B. Kitaj","authors":"A. Rosen","doi":"10.2143/SR.40.0.2028848","DOIUrl":"https://doi.org/10.2143/SR.40.0.2028848","url":null,"abstract":"HIS rumpled, HAIR TOUSLED a collector MADLY, stoops and excitedly his fusty to garments inspect his bunched books. The and rumpled, a collector stoops excitedly to inspect his books. The eccentric bibliophile in this painted scene is the artist himself, R.B. Kitaj (b.1932), and the painting Unpacking My Library from 1990/1991 captures a common practice for the peripatetic artist. Tm always unpacking my library like that,' muses the painter, ť[a]lways packing part of it up and unpacking sometimes years later, thrilled with forgotten treasures and surprises.1 At times, Kitaj s library has explicitly provided the imagery for his works, as in 1969 when he created In Our Time: Covers for a Small Library After the Life for the Most Part , a series of fifty screen prints taken from photos of his own worn and dog-eared texts. More often, Kitaj s library is the absent presence in his works, supplying the loose weave of literary allusions which connects the artists oeuvre . Since his early career Kitaj has found that 'books are for me what trees are for a landscape painter. They inspire.'2 Not only have books inspired Kitaj to paint, they also seem to have stimulated his desire to write. For the past two decades Kitaj has increasingly penned what he calls explanatory prefaces' to his paintings, intended to accompany his works both on exhibition and in publication. Kitaj keeps the volumes of Adin Steinsaltzs Talmud translation stacked beside the easel in his studio and in recent years he has come to","PeriodicalId":53197,"journal":{"name":"STUDIA ROSENTHALIANA","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2008-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80436232","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Poetry in the Margin","authors":"A. V. D. Heide","doi":"10.2143/SR.40.0.2028840","DOIUrl":"https://doi.org/10.2143/SR.40.0.2028840","url":null,"abstract":"","PeriodicalId":53197,"journal":{"name":"STUDIA ROSENTHALIANA","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2008-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90768340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Epigones and the Formation of New Literary Canons","authors":"S. Berger, I. Zwiep","doi":"10.2143/SR.40.0.2028841","DOIUrl":"https://doi.org/10.2143/SR.40.0.2028841","url":null,"abstract":"","PeriodicalId":53197,"journal":{"name":"STUDIA ROSENTHALIANA","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2008-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80801099","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Shem-Tov Falaquera, a Paragon of an Epigone, and the Epigone's Importance for the Study of Jewish Intellectual History","authors":"S. Harvey","doi":"10.2143/SR.40.0.2028836","DOIUrl":"https://doi.org/10.2143/SR.40.0.2028836","url":null,"abstract":"","PeriodicalId":53197,"journal":{"name":"STUDIA ROSENTHALIANA","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2008-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85375185","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since Solomon Ibn Gabirol left the world and Moses Ibn Ezra, Jehudah Halevi, and Abraham Ibn Ezra died, the well of poetry has dried up, inspiration has disappeared, and God’s spirit no longer manifests itself. None of their successors can compare with them. We backward ones, like beggars, gather the crumbs and refuse that have fallen from their table. We hasten day and night over the ways trodden by them, but we cannot equal them.1
{"title":"Medieval opinions on the Spanish school of Hebrew poetry and its epigones","authors":"A. Schippers","doi":"10.2143/SR.40.0.2028839","DOIUrl":"https://doi.org/10.2143/SR.40.0.2028839","url":null,"abstract":"Since Solomon Ibn Gabirol left the world and Moses Ibn Ezra, Jehudah Halevi, and Abraham Ibn Ezra died, the well of poetry has dried up, inspiration has disappeared, and God’s spirit no longer manifests itself. None of their successors can compare with them. We backward ones, like beggars, gather the crumbs and refuse that have fallen from their table. We hasten day and night over the ways trodden by them, but we cannot equal them.1","PeriodicalId":53197,"journal":{"name":"STUDIA ROSENTHALIANA","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2008-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85801708","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Everything I interpret in the way of wisdom, I interpret only according to what [Maimonides’] opinion would be in these things, in accordance with what is revealed in his books. I drink from his water and make others drink [cf. Hag. 3a-b]. Everything comes from the ‘fruit of the righteous’ [see Prov. 11:30] and his good ‘work’. It itself is ‘life’ and causes ‘life’, continuously and forever. [Samuel Ibn Tibbon, preface to his Commentary on Ecclesiastes]1
{"title":"We Drink only from the Master's Water","authors":"J. Robinson","doi":"10.2143/SR.40.0.2028835","DOIUrl":"https://doi.org/10.2143/SR.40.0.2028835","url":null,"abstract":"Everything I interpret in the way of wisdom, I interpret only according to what [Maimonides’] opinion would be in these things, in accordance with what is revealed in his books. I drink from his water and make others drink [cf. Hag. 3a-b]. Everything comes from the ‘fruit of the righteous’ [see Prov. 11:30] and his good ‘work’. It itself is ‘life’ and causes ‘life’, continuously and forever. [Samuel Ibn Tibbon, preface to his Commentary on Ecclesiastes]1","PeriodicalId":53197,"journal":{"name":"STUDIA ROSENTHALIANA","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2008-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84555825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
WHO prose? ARE The THE great ORIGINALS original and was the S.Y. epigones Abramovitsh, in modern according Hebrew prose? The great original was S.Y. Abramovitsh, according to H.N. Bialik and a century of impassioned literary reception. Abramovitsh wrote half a dozen Hebrew stories from 1886 to 1896 and subsequently translated his Yiddish novels into Hebrew. Ever since, many critics and teachers have repeated the notion that these Hebrew texts dominated the so-called revival of Hebrew literature. On the occasion of S.Y. Abramovitshs seventy-fifth birthday, Bialik celebrated his accomplishments in Hebrew by crowning him 'the creator of the nusah' Bialik s extravagant praise suggests that Abramovitsh (whom he calls Mendele) is the true original, and after him modern Hebrew writers could scarcely hope to be more than his epigones. This simplistic and overstated theory of the nusah found supporters throughout the twentieth century. Even today, some critics write as if the main line of modern Hebrew literature connects Abramovitsh and Bialik through S.Y. Agnon, or through an ů-nusah authors such as Y.H. Brenner to the present. Following Bialik, many twentieth-century writers saw the nusah as a decisive influence, although they often tried to avoid its commonplaces and probably did not want to be perceived as epigones. In order to escape from this one-sided version of literary his-
{"title":"Epigonism after Abramovitsh and Bialik","authors":"Ken Frieden","doi":"10.2143/SR.40.0.2028842","DOIUrl":"https://doi.org/10.2143/SR.40.0.2028842","url":null,"abstract":"WHO prose? ARE The THE great ORIGINALS original and was the S.Y. epigones Abramovitsh, in modern according Hebrew prose? The great original was S.Y. Abramovitsh, according to H.N. Bialik and a century of impassioned literary reception. Abramovitsh wrote half a dozen Hebrew stories from 1886 to 1896 and subsequently translated his Yiddish novels into Hebrew. Ever since, many critics and teachers have repeated the notion that these Hebrew texts dominated the so-called revival of Hebrew literature. On the occasion of S.Y. Abramovitshs seventy-fifth birthday, Bialik celebrated his accomplishments in Hebrew by crowning him 'the creator of the nusah' Bialik s extravagant praise suggests that Abramovitsh (whom he calls Mendele) is the true original, and after him modern Hebrew writers could scarcely hope to be more than his epigones. This simplistic and overstated theory of the nusah found supporters throughout the twentieth century. Even today, some critics write as if the main line of modern Hebrew literature connects Abramovitsh and Bialik through S.Y. Agnon, or through an ů-nusah authors such as Y.H. Brenner to the present. Following Bialik, many twentieth-century writers saw the nusah as a decisive influence, although they often tried to avoid its commonplaces and probably did not want to be perceived as epigones. In order to escape from this one-sided version of literary his-","PeriodicalId":53197,"journal":{"name":"STUDIA ROSENTHALIANA","volume":null,"pages":null},"PeriodicalIF":0.4,"publicationDate":"2008-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89260367","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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