近代以色列与中国的文化对话。克拉拉奇迹般的阿里·福尔曼、奥利·西万和埃亚尔·哈尔丰的巴勒斯坦马戏团

B. Waligórska-Olejniczak
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引用次数: 0

摘要

俄罗斯犹太移民的性格无疑是以色列电影中的重要人物之一。本研究的目的是从跨文化关系的角度来关注两部当代以色列电影,即Ari Folman和Ori Sivan的《圣克拉拉》(Clara Hakedosha,1996)和Eyal Halfon的《巴勒斯坦马戏团》(Kirkas Palestina,1998)。选定的文化文本似乎将俄罗斯和犹太文化都显示为动态和模糊的现象,其特征是许多悖论、极端刻板印象和偏见。然而,与此同时,这两种文化在争取自由和自我克制之间持续的内部冲突中变得相似。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
DIALOG KULTUR WE WSPÓŁCZESNYM KINIE IZRAELSKIM. Klara cudotwórczyni Ariego Folmana i Oriego Sivana oraz Cyrk Palestyna Eyala Halfona
The character of Russian-Jewish immigrant constitutes undoubtedly one of the major figures in Israeli cinema. The aim of the studies is to focus on two contemporary Israeli films, i.e. Saint Clara (Clara Hakedosha, 1996) by Ari Folman and Ori Sivan and Circus Palestine (Kirkas Palestina, 1998) by Eyal Halfon from the point of view of intercultural relationships. The selected texts of culture seem to show both Russian and Jewish culture as dynamic and ambiguous phenomena, which are characterised by a number of paradoxes, polar stereotypes and prejudices. At the same time, however, the cultures turn out to be similar to each other in their continuous inner conflict between striving for freedom and the need of self-restraint.
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