PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY最新文献_第7页

For Alan

3区文学

PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY Pub Date : 2020-01-16 DOI: 10.2979/prooftexts.37.3.07

S. Ezrahi

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Breaking the Idyll: Rereading Flaubert's Madame Bovary and Agnon's Sippur pashut through Devorah Baron's "Fradl" 打破田园诗:重读福楼拜的《包法利夫人》和阿格农的《西普尔帕舒特》

3区文学

PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY Pub Date : 2020-01-16 DOI: 10.2979/prooftexts.37.3.16

Wendy Zierler

{"title":"Breaking the Idyll: Rereading Flaubert's Madame Bovary and Agnon's Sippur pashut through Devorah Baron's \"Fradl\"","authors":"Wendy Zierler","doi":"10.2979/prooftexts.37.3.16","DOIUrl":"https://doi.org/10.2979/prooftexts.37.3.16","url":null,"abstract":"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.","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":"84466104","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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Back Matter 回到问题

3区文学

PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY Pub Date : 2020-01-01 DOI: 10.2979/prooftexts.38.2.bm

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Back Matter 回到问题

3区文学

PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY Pub Date : 2020-01-01 DOI: 10.2979/prooftexts.38.1.bm

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A Bird Has Sung to Me of Love: Two Readings of One Poem by Meshullam da Piera 一只鸟向我歌唱爱:梅舒兰·达·皮耶拉一首诗的两种解读

3区文学

PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY Pub Date : 2019-05-23 DOI: 10.2979/PROOFTEXTS.37.2.01

Uriah Kfir, A. Oettinger

{"title":"A Bird Has Sung to Me of Love: Two Readings of One Poem by Meshullam da Piera","authors":"Uriah Kfir, A. Oettinger","doi":"10.2979/PROOFTEXTS.37.2.01","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.37.2.01","url":null,"abstract":"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.","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":"86621485","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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Of Cows and Women: The Animalization of Victimized Women in Devorah Baron’s Fiction 牛与女人:德沃拉·巴伦小说中受害妇女的动物化

3区文学

PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY Pub Date : 2019-05-23 DOI: 10.2979/PROOFTEXTS.37.2.03

N. Harel

{"title":"Of Cows and Women: The Animalization of Victimized Women in Devorah Baron’s Fiction","authors":"N. Harel","doi":"10.2979/PROOFTEXTS.37.2.03","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.37.2.03","url":null,"abstract":"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.","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":"76688830","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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The Vengeance of the Skull in Yehuda Amichai’s Not of This Time, Not of This Place 耶胡达·阿米查的《骷髅复仇》不属于这个时代，也不属于这个地方

3区文学

PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY Pub Date : 2019-05-23 DOI: 10.2979/PROOFTEXTS.37.2.06

Nitza Ben-Dov, R. Alter

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Trauma from the Perspective of Holocaust Survivors in the Israeli Film The Cellar (Natan Gross, 1963) 从以色列电影《地窖》中大屠杀幸存者的视角看创伤(纳坦·格罗斯，1963)

3区文学

PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY Pub Date : 2019-05-23 DOI: 10.2979/PROOFTEXTS.37.2.05

Liat Steir-Livny

{"title":"Trauma from the Perspective of Holocaust Survivors in the Israeli Film The Cellar (Natan Gross, 1963)","authors":"Liat Steir-Livny","doi":"10.2979/PROOFTEXTS.37.2.05","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.37.2.05","url":null,"abstract":"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.","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":"90757074","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}

引用次数: 0

A Horse is a Horse, Of Course, Of Course,” or Some Nagging Suspicions about Some Jewish Writers 《马就是马，当然，当然》或《对犹太作家的怀疑》

3区文学

PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY Pub Date : 2019-05-23 DOI: 10.2979/PROOFTEXTS.37.2.02

J. Geller

{"title":"A Horse is a Horse, Of Course, Of Course,” or Some Nagging Suspicions about Some Jewish Writers","authors":"J. Geller","doi":"10.2979/PROOFTEXTS.37.2.02","DOIUrl":"https://doi.org/10.2979/PROOFTEXTS.37.2.02","url":null,"abstract":"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.","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":"74168875","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}

引用次数: 1

“Denk dir”: On Translating Paul Celan into Hebrew “Denk dir”:论保罗·策兰的希伯来语翻译

3区文学

PROOFTEXTS-A JOURNAL OF JEWISH LITERARY HISTORY Pub Date : 2019-05-23 DOI: 10.2979/PROOFTEXTS.37.2.04

Lina Barouch

{"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":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":"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}

引用次数: 1