尤利西斯》中的希伯来语表达、短语和术语

IF 0.1 4区 文学 0 LITERATURE, BRITISH ISLES
Andrei Herzlinger
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In the end, however, a reader whose mother tongue is modern Hebrew, who was raised in Hebrew, and who has enough knowledge of the English language to read <em>Ulysses</em> from cover to cover will be left wondering how much Hebrew Joyce actually knew.</p> <p>Modern spoken Hebrew began to be used in Palestine on a large scale between 1904 and 1914, the same period during which Joyce started the work on <em>Ulysses</em>.<sup>2</sup> Joyce lived in Trieste from 1904, working as an English teacher at a Berlitz School. Trieste was a polyglot port city where Italian, German, Hungarian, Slavic, Yiddish, and many other languages were used. One of Joyce’s English students there from 1912 to 1915 was Moses Dlugacz, an ardent Zionist who was well known for his efforts to promote the teaching of Hebrew. It is possible that Dluglacz was one of the sources for Joyce’s knowledge and understanding of the Hebrew words and expressions embedded in the text of <em>Ulysses</em>. It is also possible that, while being taught religion in Dublin at the end of the nineteenth century, Joyce learned Biblical Hebrew. According to Ira B. Nadel, Joyce “may have also studied Hebrew.”<sup>3</sup></p> <p>The following lexicographic list of Hebrew language expressions, phrases, and terms found in <em>Ulysses</em> may be useful for anyone trying to assess Joyce’s Hebrew language proficiency. A reader of <em>Ulysses</em> who is familiar with the Hebrew language will easily identify many of these words. The aim of this short note is to present only the expressions, phrases, and terms containing more than one word.</p> <p>The quotations from the Old Testament are copied from the original Hebrew text.<sup>4</sup> The Hebrew transcript uses Latin characters. 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Bloom is surprised by the Jewishness of Zoe, the “<em>young whore</em>,” but not by her knowledge of the song, and is fascinated, stating “I thought you were of good stock by your accent” (<em>U</em> 15.1279, 1336). It is therefore not surprising that she is familiar with the words of the Biblical song.</p> <blockquote> <p>“<em>Shema Israel Adonai Elohenu Adonai Echad</em>”</p> (<em>U</em> 15.3228) </blockquote> <blockquote> <p>“Hear, O Israel: the LORD our God, the LORD is one.” Deuteronomy 6:04</p> <p>“All that long business about that brought us out of the land of Egypt and into the house of bondage <em>alleluia. Shema Israel Adonai Elohenu</em>. 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Knowing this, we are not surprised that Joyce skillfully uses words from other languages in <em>Ulysses</em>.<sup>1</sup> But Hebrew? Leopold Bloom is half-Jewish, and maybe Molly is too, so there is a good reason to assume that Hebrew words appear in the novel. In the end, however, a reader whose mother tongue is modern Hebrew, who was raised in Hebrew, and who has enough knowledge of the English language to read <em>Ulysses</em> from cover to cover will be left wondering how much Hebrew Joyce actually knew.</p> <p>Modern spoken Hebrew began to be used in Palestine on a large scale between 1904 and 1914, the same period during which Joyce started the work on <em>Ulysses</em>.<sup>2</sup> Joyce lived in Trieste from 1904, working as an English teacher at a Berlitz School. Trieste was a polyglot port city where Italian, German, Hungarian, Slavic, Yiddish, and many other languages were used. One of Joyce’s English students there from 1912 to 1915 was Moses Dlugacz, an ardent Zionist who was well known for his efforts to promote the teaching of Hebrew. It is possible that Dluglacz was one of the sources for Joyce’s knowledge and understanding of the Hebrew words and expressions embedded in the text of <em>Ulysses</em>. It is also possible that, while being taught religion in Dublin at the end of the nineteenth century, Joyce learned Biblical Hebrew. According to Ira B. Nadel, Joyce “may have also studied Hebrew.”<sup>3</sup></p> <p>The following lexicographic list of Hebrew language expressions, phrases, and terms found in <em>Ulysses</em> may be useful for anyone trying to assess Joyce’s Hebrew language proficiency. A reader of <em>Ulysses</em> who is familiar with the Hebrew language will easily identify many of these words. 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引用次数: 0

摘要

以下是内容的简要摘录,以代替摘要: 尤利西斯》中的希伯来语表达、短语和术语 安德烈-赫茨林格(简历 詹姆斯-乔伊斯在爱尔兰出生和长大,他创作生涯的大部分时间都在奥匈帝国、瑞士、意大利和法国生活和工作,这些国家的母语都不是英语。有鉴于此,我们对乔伊斯在《尤利西斯》中巧妙地使用其他语言的词汇并不感到惊讶。利奥波德-布鲁姆是半个犹太人,也许莫莉也是,因此我们有充分理由假设小说中出现了希伯来语单词。然而,如果读者的母语是现代希伯来语,从小在希伯来语环境中长大,并且对英语有足够的了解,能够从头到尾读完《尤利西斯》,那么他最终会怀疑乔伊斯究竟懂多少希伯来语。现代希伯来语口语于 1904 年至 1914 年在巴勒斯坦开始大规模使用,乔伊斯也是在这一时期开始创作《尤利西斯》的。的里雅斯特是一座多语种港口城市,意大利语、德语、匈牙利语、斯拉夫语、意第绪语和许多其他语言都在这里使用。1912 年至 1915 年期间,乔伊斯在那里的英语学生之一是摩西-德卢加茨(Moses Dlugacz),他是一位狂热的犹太复国主义者,因努力推广希伯来语教学而闻名。德卢格拉茨可能是乔伊斯了解和理解《尤利西斯》文本中希伯来语词汇和表达方式的来源之一。另外,19 世纪末,乔伊斯在都柏林接受宗教教育时,也可能学习了《圣经》中的希伯来语。根据艾拉-B-纳德尔(Ira B. Nadel)的说法,乔伊斯 "可能也学习过希伯来语 "3 。以下是《尤利西斯》中的希伯来语表达方式、短语和术语的词典清单,可能对试图评估乔伊斯的希伯来语水平的人有所帮助。熟悉希伯来语的《尤利西斯》读者很容易辨认出其中的许多词汇。本短文的目的是只介绍包含一个以上单词的表达方式、短语和术语。旧约》中的引文抄自希伯来原文4 。大多数表达方式在小说中只出现过一次,一般出现在 [End Page 585] "Circe "中;但 "Shema Israel "是个例外,它也出现在 "Aeolus "中,不过是被截断的形式(U 7.209,15.3228)。熟悉希伯来语的读者可能会认出一些常用词,如 Echad、Adonai、ani、Schorach、melek、Israel、Mahar、shalal、harimon、rakatech 和 Shira,并能猜出它们的出处。如果读者有宗教教育背景并参加过安息日礼拜,那么他或她很可能熟悉这些表达方式。除了 "Mahar shalal hashbaz"(U 15.4618-19)之外,所有的表达方式都出现在与犹太人相关的语境中。向布鲁姆投掷死海果实的割礼者吟诵 "Shema Israel",或者布鲁姆看着排字工人读 "先倒着读"(U 7.205)时想起 "Shema Israel"。布卢姆对 "年轻妓女 "佐伊的犹太血统感到惊讶,但对她会唱这首歌并不感到惊讶,反而对她很着迷,她说:"听你的口音,我还以为你是个好人呢"(U 15.1279, 1336)。因此,她熟悉这首《圣经》歌曲的歌词也就不足为奇了。 "Shema Israel Adonai Elohenu Adonai Echad"(U 15.3228)"以色列啊,你要听:耶和华我们的神,耶和华是独一的。申命记 6:04 "我们出埃及地,进奴役之家的一切长工,阿利路亚。Shema Israel Adonai Elohenu.不,那是另一个"(《申命记》7.208-10)。 被囚禁者"(在他们向他投掷死海果实时,用暗哑的吟唱,没有鲜花)Shema Israel Adonai Elohenu Adonai Echad"(U 15.3226-28)。 这是犹太人对独一上帝的信仰忏悔的第一句。在观看排字工人工作时,关于布鲁姆父亲的记忆再次浮现,它以截短的方式出现在记忆中。在哭墙前,八位受过割礼、头戴黑披肩、头顶犹太名号的人在..............
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Hebrew Language Expressions, Phrases, and Terms in Ulysses
In lieu of an abstract, here is a brief excerpt of the content:

  • Hebrew Language Expressions, Phrases, and Terms in Ulysses
  • Andrei Herzlinger (bio)

James Joyce, born and raised in Ireland, lived and worked for most of his creative life in Austro-Hungary, Switzerland, Italy, and France—all countries where English is not the native language. Knowing this, we are not surprised that Joyce skillfully uses words from other languages in Ulysses.1 But Hebrew? Leopold Bloom is half-Jewish, and maybe Molly is too, so there is a good reason to assume that Hebrew words appear in the novel. In the end, however, a reader whose mother tongue is modern Hebrew, who was raised in Hebrew, and who has enough knowledge of the English language to read Ulysses from cover to cover will be left wondering how much Hebrew Joyce actually knew.

Modern spoken Hebrew began to be used in Palestine on a large scale between 1904 and 1914, the same period during which Joyce started the work on Ulysses.2 Joyce lived in Trieste from 1904, working as an English teacher at a Berlitz School. Trieste was a polyglot port city where Italian, German, Hungarian, Slavic, Yiddish, and many other languages were used. One of Joyce’s English students there from 1912 to 1915 was Moses Dlugacz, an ardent Zionist who was well known for his efforts to promote the teaching of Hebrew. It is possible that Dluglacz was one of the sources for Joyce’s knowledge and understanding of the Hebrew words and expressions embedded in the text of Ulysses. It is also possible that, while being taught religion in Dublin at the end of the nineteenth century, Joyce learned Biblical Hebrew. According to Ira B. Nadel, Joyce “may have also studied Hebrew.”3

The following lexicographic list of Hebrew language expressions, phrases, and terms found in Ulysses may be useful for anyone trying to assess Joyce’s Hebrew language proficiency. A reader of Ulysses who is familiar with the Hebrew language will easily identify many of these words. The aim of this short note is to present only the expressions, phrases, and terms containing more than one word.

The quotations from the Old Testament are copied from the original Hebrew text.4 The Hebrew transcript uses Latin characters. Most expressions appear only once in the novel and are generally in [End Page 585] “Circe”; the exception is “Shema Israel” that also appears in “Aeolus,” though in a truncated form (U 7.209, 15.3228). A reader familiar with Hebrew may recognize common words such as Echad, Adonai, ani, Schorach, melek, Israel, Mahar, shalal, harimon, rakatech, and Shira and can make an educated guess about their source. If the reader has a background in religious education and attends Shabbat services, he or she is probably familiar with these expressions.

All the articulations, except for “Mahar shalal hashbaz” (U 15.4618–19), appear in contexts relevant to the Jews. “Shema Israel” is chanted by the circumcised, who cast Dead Sea fruit at Bloom, or is recalled by Bloom as he watches the typesetter reading “backwards first” (U 7.205). Bloom is surprised by the Jewishness of Zoe, the “young whore,” but not by her knowledge of the song, and is fascinated, stating “I thought you were of good stock by your accent” (U 15.1279, 1336). It is therefore not surprising that she is familiar with the words of the Biblical song.

Shema Israel Adonai Elohenu Adonai Echad

(U 15.3228)

“Hear, O Israel: the LORD our God, the LORD is one.” Deuteronomy 6:04

“All that long business about that brought us out of the land of Egypt and into the house of bondage alleluia. Shema Israel Adonai Elohenu. No, that’s the other”

(U 7.208–10).

THE CIRCUMCISED

“(in dark guttural chant as they cast dead sea fruit upon him, no flowers) Shema Israel Adonai Elohenu Adonai Echad

(U 15.3226–28).

This is the first line of the Jewish confession of faith in one God. It appears in a truncated way among memories about Bloom’s father as they resurface while watching the typesetter at work. It is also chanted at the wailing wall by eight circumcised, dark-shawled figures bearing Jewish names and led by...

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来源期刊
JAMES JOYCE QUARTERLY
JAMES JOYCE QUARTERLY LITERATURE, BRITISH ISLES-
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期刊介绍: Founded in 1963 at the University of Tulsa by Thomas F. Staley, the James Joyce Quarterly has been the flagship journal of international Joyce studies ever since. In each issue, the JJQ brings together a wide array of critical and theoretical work focusing on the life, writing, and reception of James Joyce. We encourage submissions of all types, welcoming archival, historical, biographical, and critical research. Each issue of the JJQ provides a selection of peer-reviewed essays representing the very best in contemporary Joyce scholarship. In addition, the journal publishes notes, reviews, letters, a comprehensive checklist of recent Joyce-related publications, and the editor"s "Raising the Wind" comments.
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