Thesis: Ichikawa, Minorities in Contemporary Hebrew and Japanese Literature

Ichikawa, Kimiko. Minorities, Minority Identity and Violence: The Comparison in Contemporary Hebrew and Japanese Minor Literature, Masters Thesis. Brandeis University, 2016.

 

URL: http://bir.brandeis.edu/handle/10192/32275

 

Abstract

This thesis examines how minority identities are depicted in contemporary autobiographical literature from the 1990’s to present. In this thesis, I focus my analysis on minority literatures from Israel and Japan. In spite of the extreme rarity of the literary comparison, I examine minorities of Israeli Arab and the second generation Japanese Koreans. I explore how these minorities with different histories are represented, with shared experience of oppression and violence, and analyze the phenomena or ramifications in minority identity. By analyzing famous novelists of minority literature— Israeli Arab author, Sayed Kashua and two Japanese Korean authors, Yi Yang-ji and Kazuki Kaneshiro—I concentrate on pointing out the influences and outcomes of psychological and political violence (Chapter I and II) to their minority identities. This comparison will enable a wider perspectives regarding minorities in various societies, and an analysis of issues of relating to minority as well as race identity in modern life. This unique literary comparison attempts to examine cultural and political similarities as well as differences in order to explore the phenomena of two countries with different cultures but that share certain similarities, particularly in the articulation of their minority literature. Although Israel and Japan differ very much in term of culture and history, I still find significant similarities in the minority literature. The minorities I examined in Hebrew and Japanese minor literature interact with violence in various ways each society. I focused my examination especially on psychological and political violence in addition to physical violence. My questions in researching this minority literature revolve around how these minorities relate to these kinds of violence. This thesis concentrates on presenting the ways that these the minority authors address their own political identities, and the ways that social violence and oppression influence their minority identities.

 

 

 

New Book: Levy, Israeli Theatre (in Hebrew)

Levy, Shimon. Israeli Theatre. Time, Space, Plot. Tel Aviv: Resling, 2016 (in Hebrew).

 

 

In the absence of a well-established tradition of drama, the new Hebrew theatre in Palestine at the beginning of the 20th century, is caught in a fruitful and fascinating bind. Processes of secularization and liberalization among world Jewry and pre-State Israel fostered openness towards the theatre. This relatively new art in Jewish tradition was also seen as entertainment, but in its early years it was primarily employed as an educational and ideological tool in the service of Zionist national needs in the struggle for the creation of a Hebrew culture. The dramatic nature of this change in the status of Jews and Israel not only summoned a revived reading of Jewish history, but also its staging, pun intended, on the Hebrew stage, in the Land of Israel, and of course – the Hebrew language.

This book addresses issues and topics of Israeli drama and theatre from a social-artistic perspective. The prologue treats the development of a Jewish-Hebrew-Israeli theatre against the backdrop of secularization of the Jewish community from the early 19th century to its flourish in contemporary Israel. The basic conditions for theatre in general and Israeli theatre in particular are discussed in a chapter on space in Israeli drama. Theatrical props are discussed in a chapter which examines the idiosyncrasy of local drama through one of the elements of its space design. The Hebrew Bible and Judaism are addressed in a chapter on secular sanctity, characteristic to our stage. Another component of Israeli identity, its attitude toward Arabs, wars and the protracted conflict, is discussed in a chapter entitled “captive in fiction.” A discussion of three giants in Israeli drama – Nissim Aloni, Joshua Sobol and Hanoch Levin – is structured by the meta-theatrical intentionalism of each of them. the Acco Festival, an annual event since 1980, is discussed as a key component in the Israeli theatrical scene. The book concludes with a eulogy for the Hebrew radio drama, a celebrated genre in its heyday until it was marginalized by television, but its significant contribution to Israeli drama nevertheless remains.

 

SHIMON LEVY is a Professor Emeritus of Theatre at Tel Aviv University, where he taught for many years, and was chair of the Department of Theatre Arts. His main areas of research are Hebrew-Israeli theatre and drama, the works of Samuel Beckett, and theories of chaos in relation to theatre. He has published dozens of articles, and hundreds of essays on theatre in Hebrew, English, and German, as well as about ten books. He has translated over 100 plays for the stage, and continues to be active as a director in Israel and abroad.

 

 

 

New Book: Shamir, The Native Foreigner; Representations of Hybridity in Modern Israeli Fiction

Shamir, Ayelet. The Native Foreigner. Representations of Hybridity in Modern Israeli Fiction. Tel Aviv: Resling, 2016 (in Hebrew).

 

 

The notion of hybridity is suppressed in the discussion over Israeli society, culture, and literature. This book deals with the concept of hybridity, its cultural genealogy, its essence and characteristics. It offers to use it as a prism for reading three works of modern Israeli prose, “Refuge” (1977) by Sami Michael; “Arabesques” (1986) by Anton Shammas and “The Liberated Bride “(2001) by A.B. Yehoshua.

These works represent the very essence of the cultural hybrid experience that exist between Jewish and Arabic, and express the social and linguistic dualism characteristic of this experience. Forces of attraction and repulsion interact between these two societies, and this dualism causes internal conflicts while allowing for mutual input. Alongside manifestations of anxiety, separatism, and rejection by the other minority, which is often perceived as a “native foreigner” within us, there is also an equally strong presence of wishes of mixture, attraction, and erotic intimacy, disruptive wishes which signify blurring and crossing of boundaries.

This book deals with various questions: who is the native foreigner? What is its voice? What is actually the hybrid “Third Israeli”? What might be the best literary expression of it?

 

AYELET SHAMIR is an author, and the chair of the Department of drama literature creative-expressive arts, at the Oranim Academic College.

 

 

 

Reviews: Levy, Poetic Trespass

Levy, Lital. Poetic Trespass: Writing between Hebrew and Arabic in Israel/Palestine. Princeton: Princeton University Press, 2014.

 

Reviews

• Irving, Sarah. “Can literature disrupt Israel’s identity?” Electronic Intifada, May 19, 2015.
• Stern, Ramon. “Review.” International Journal of Middle East Studies 47.3 (2015): 605-607.

Dissertation: Harass, Reading the Israeli/Palestinian Conflict Through Theater

Harass, Azza. Reading the Israeli/Palestinian Conflict Through Theater: A Postcolonial Analysis, Doctor of Philosophy (PhD) thesis. University of Kent, 2015.

 

URL: https://kar.kent.ac.uk/47909/

 
Abstract
The Israeli-Palestinian conflict dates back to 1917, when British Prime Minister Balfour declared Britain’s support for the establishment of a homeland for Jews in the land of Palestine. The conflict has had many political, social, and artistic implications. On the political level, a struggle that has not been solved until this day has evolved. On a social level, many lives have been crushed: thousands of native citizens of the land became refugees, mainly in Jordan, Lebanon, and Syria, but also worldwide. Others, like the Arabs who stayed in what was in 1948 declared to be the state of Israel, have been suffering from an identity crisis; many of these Arabs face unlawful detention, demolition of houses, killing and racism. The Gaza strip has almost always been under siege by the Israeli military machine lately. Meanwhile, the Jewish society has never had a day of peace since the establishment of their state. On the artistic level, the conflict has always had implications for Arab/ Palestinian and Israeli writings., I seek to read the depiction of the conflict with its different violent confrontations from both Israeli and Palestinian perspectives starting with the Palestinian Nakba to the violent Israeli oppression of any Palestinian resistance in the Intifada. I also read literary texts about Palestinian resistance, actual material resistance of the first Palestinian Intifada as represented by both sides in postcolonial terms. In fact, I believe that both Palestinian and Israeli literature could be read in the context of postcolonial discourse. On the one hand, for Palestinian and Arab writers, Palestinian writing is and should be read as resistance literature, or ‘Adab al-muqawamah’, a term coined by Palestinian writer Ghassan Kanafani. Anna Ball’s study Palestinian Literature and Film in Postcolonial Feminist Perspective examines Palestinian literature and film in the light of postcolonial feminism. Ball places the conflict in the context of colonial/ postcolonial discourse and breaks the taboo against using the word colonialism when speaking about Zionism. In fact, the research problem is based on the idea of the inadequacy of ignoring Palestinian and Israeli literature as part of postcolonial studies simply for fear of revealing the colonial status quo of the land. According to Anna Bernard, who seeks to draw attention to what she calls ‘blind spots in postcolonial studies’, mainly Israel/ Palestine: ‘by dismissing a ‘postcolonial’ approach to Israel-Palestine studies outright, [critics like] Massad and Shohat overlook the value of a literary study that seeks to demonstrate the collective and cross-cultural impact of the various modern forms of colonialism and imperialism on artistic production across the globe’. Massad’s argument that there is difficulty in describing space, time and body in Israel/ Palestine as postcolonial is based on his interrogations: ‘Can one determine the coloniality of Palestine/ Israel without noting its ‘‘post-coloniality’’ for Ashkenazi Jews? Can one determine the post-coloniality of Palestine/Israel without noting its coloniality for Palestinians? Can one determine both or either without noting the simultaneous colonizer/colonized status of Mizrahi Jews? (Although one could debate the colonized status of Mizrahi Jews) How can all these people inhabit a colonial/postcolonial space in a world that declares itself living in a post-colonial time?’ Ella Shohat, likewise, is against what she calls the ‘ahistorical and universalizing deployments, and potentially [the] depoliticizing implications’ of the term ‘post-colonial,’ especially that, according to her, it is used instead of important terms like imperialism and neo-colonialism. In spite of the importance of paying attention to the correct description of states of imperialism and neo-colonialism, I still find it possible to read both Palestinian and Israeli texts in postcolonial perspective, agreeing with Bernard ‘that the tools that have been developed for reading these texts comparatively – including colonial discourse analysis, national allegory, minority discourse, and so on – can be usefully applied, tested, and revised in the analysis of Palestinian and Israeli literary and cultural production’. This view resonates with Ashcroft, Tiffin and Griffiths’s in their study The Postcolonial Studies Reader (1995), when they comment on this wide range of relevant fields that the term postcolonial suggests: ‘Postcolonial theory involves discussion about experience of various kinds: migration, slavery, suppression, resistance, representation, difference, race, gender, [and] place’ . In fact, the term ‘postcolonial’ is not necessarily restricted to a real colonial period; it could be used, according to Ashcroft, Tiffin and Griffiths in The Empire Writes Back: ‘to cover all the culture affected by the imperial process from the moment of colonization to the present day. This is because there is continuity of preoccupations throughout the historical process initiated by European imperial aggression’. Between the view of the land of Palestine as a lawful possession of the Jews and that which sees Jewish presence as a settler or colonial one, a debate about reading the conflict and literary production tackling the conflict within theories of colonial and postcolonial studies arises. What makes reading the Israeli/Palestinian conflict and its literature and literary production within the paradigm of postcolonialism problematic is worth some further investigation. First, the preference and focus on the discursive practices of colonialism over the material practices has resulted in excluding the Israeli/ Palestinian conflict from the field of postcolonial studies by a number of critics like Ella Shohat and Joseph Massad, which is more elaborated on later. Second, the debate about the Zionist project as a settler colonial one could also problematize analysing the conflict within postcolonial theories. The first chapter explores the Israeli/ Palestinian and Arab writing of the conflict from a colonizer/colonized perspective. I mainly focus on the representation of violence as an essential element in a colonized society and the decolonization process, drawing on Frantz Fanon’s theory that violence is inevitable in any colonized community as the backbone of the analysis. For this purpose, I have chosen Syrian playwright Saad-Allah Wanous’s play Rape (1990), to compare with Israeli playwright Hanoch Levin’s play Murder (1997), since both plays represent violence as a vicious circle that does not lead anywhere in the Palestinian/Israeli conflict, even though it is an everyday act that has become a way of life for both sides. Crucial terms in the field of postcolonial studies such as resistance/terrorism are examined. Some similarities between the ways the two playwrights write the conflict are also highlighted, which supports the idea that literature can always find shared ground between any two conflicting parties. In Chapters Two and Three I write about the history of the conflict as a chain of endless violent confrontations; violence in this case is on the national level when the two nations fight each other. Chapter Two addresses some of the landmark events in the history of the Jewish and Palestinian peoples, mainly the Israeli War of Independence/Nakba as the same historical event seen from the two extremely different colonizer/colonized perspectives. The chapter also addresses what the Holocaust has to do with the two events and how the Holocaust was exploited by the Israeli state to silence any condemnation of the Israeli/Zionist settler colonial project in Palestine and later on to silence any international condemnation of the Israeli 1967 occupation of more Palestinian and Arab lands. To serve this purpose, the chapter examines Palestinian poet and playwright Burhan Al-Din Al-Aboushi’s play The Phantom of Andalusia (1949) and Palestinian playwright Amir Nizar Zuabi’s play I Am Yusuf and This Is My Brother (2010) compared to each other as two different Palestinian representations of the Nakba and compared to the Israeli narrative of the ‘War of Independence’ by Israeli playwright Motti Lerner in his play The Admission (2010). In addition to this, Joshua Sobol’s play Ghetto is examined as one of the classical Holocaust plays and compared to a contemporary play called Go to Gaza, Drink the Sea (2009) by Palestinian playwright Ahmed Masoud (co-written with Justin Butcher, author of The Madness of George Dubya) to draw the analogy between the living conditions of Jews in ghettoes to that of Palestinians in Gaza as part of the on-going Palestinian Nakba. Chapter Three examines another landmark of the history of the Palestinian/Israeli conflict: the Palestinian Intifada, an event which changed the nature of the conflict and showed that the Palestinians can act to decolonize their country. The Intifada, mainly described as ‘non-violent’, has led to huge impacts on the lives of both Israelis and Palestinians and how they see each other, both in reality and in theatre; however, again, the colonizer and colonized parties see it differently. The chapter examines these different perspectives by analysing the Israeli plays Masked (1990) by Ilan Hatzor and Coming Home (2002) by Motti Lerner, compared with The Stone Revolution (1997) by Egyptian playwright Alfred Farag and Al-Huksh (1992) by Palestinian playwright Adnan Tarabshi. The four plays present the Intifada as either a barbaric or a heroic act, depending on the political ideologies of the playwrights. I read the plays within the context of pro or anti-resistance propaganda. Chapter four is an attempt to read the concepts of diaspora, exile and homeland in both Jewish/Israeli and Palestinian experiences in the postcolonial paradigm. Concepts of exodus and diaspora are found in both Jewish and Palestinian history, but in two very different ways. Throughout the chapter I attempt to examine the similarities and/or differences between these notions in the two people’s memories through reading Yiddish playwright David Pinski’s The Last Jew (1905) in comparison with Palestinian playwright Ismail Al-Dabbagh’s play The Painful Events of the Life of Abu-Halima (2008), as two plays reflecting the notions of Jewish and Palestinian diaspora respectively. In addition to these works, the chapter examines Exile in Jerusalem (1989) by Israeli playwright Motti Lerner alongside In Spitting Distance (2008) by Palestinian actor and playwright Taher Najib. Exile, diaspora and homeland have occupied a significant space in postcolonial theories as outcomes of colonialism, and the aim of my chapter is to read Israeli and Palestinian plays discussing those themes from a postcolonial perspective, pointing out the differences and similarities between the Jewish and the Palestinian experiences of diaspora. It is very important to note that the choice of the plays is ultimately based on the thematic approach I tend to adopt in my presentation of the conflict. In other words, I have attempted to introduce the Israeli versus Arab/ Palestinian theatrical presentation of the same subject matter or the landmark events related to the conflict, again the materialist practices of colonialism regardless of the dates of the plays. This is not because their specific historical contexts are unimportant, but rather because the Israeli/Palestine conflict remains ongoing, in what could be seen as a historical deadlock. Finally, Chapter Five aims at examining the influence of the Israeli/ Palestinian conflict on Western theatre, showing how the West, as an outsider, sees and portrays the conflicted parties. I have chosen the following plays to examine the different approaches to the conflict: Dario Fo and Franca Rame’s An Arab Woman Speaks (1972), Arthur Milner’s Masada (2006) and Facts (2010), John Patrick Shanley’s Dirty Story (2003), Naomi Wallace’s The Fever Chart , Robin Soans’ The Arab Israeli Cook Book (2004), Alan Rickman and Catharine Viner’s My Name is Rachel Corrie (2003), David Hare’s Via Dolorosa (1998) and Wall (2009), Douglas Watkinson’s The Wall (2011), Caryl Churchill’s Seven Jewish Children (2009) and Richard Stirling’s Seven Other Children (2009) to examine the different approaches towards the conflict. Again, I approach this literature as postcolonial literature affected by imperialism and Israeli colonial aggression or as justifying and propagating the Zionist colonial project in Palestine or sometimes as both at the same time, depending on the author’s beliefs and ideologies.

 

 

New Book: Omer-Sherman, Imagining the Kibbutz

Omer-Sherman, Ranen. Imagining the Kibbutz. Visions of Utopia in Literature and Film. University Park, Pa.: Pennsylvania State University Press, 2015.

 

URL: http://www.psupress.org/books/titles/978-0-271-06557-1.html

 

Abstract

In Imagining the Kibbutz, Ranen Omer-Sherman explores the literary and cinematic representations of the socialist experiment that became history’s most successfully sustained communal enterprise. Inspired in part by the kibbutz movement’s recent commemoration of its centennial, this study responds to a significant gap in scholarship. Numerous sociological and economic studies have appeared, but no book-length study has ever addressed the tremendous range of critically imaginative portrayals of the kibbutz. This diachronic study addresses novels, short fiction, memoirs, and cinematic portrayals of the kibbutz by both kibbutz “insiders” (including those born and raised there, as well as those who joined the kibbutz as immigrants or migrants from the city) and “outsiders.” For these artists, the kibbutz is a crucial microcosm for understanding Israeli values and identity. The central drama explored in their works is the monumental tension between the individual and the collective, between individual aspiration and ideological rigor, between self-sacrifice and self-fulfillment. Portraying kibbutz life honestly demands retaining at least two oppositional things in mind at once—the absolute necessity of euphoric dreaming and the mellowing inevitability of disillusionment. As such, these artists’ imaginative witnessing of the fraught relation between the collective and the citizen-soldier is the story of Israel itself.

Table of Contents

List of Illustrations

Introduction

1. Trepidation and Exultation in Early Kibbutz Fiction

2. “With a Zealot’s Fervor”: Individuals Facing the Fissures of Ideology in Oz, Shaham, and Balaban

3. The Kibbutz and Its Others at Midcentury: Palestinian and Mizrahi Interlopers in Utopia

4. Late Disillusionments and Village Crimes: The Kibbutz Mysteries of Batya Gur and Savyon Liebrecht

5. From the 1980s to 2010: Nostalgia and the Revisionist Lens in Kibbutz Film

Afterword: Between Hope and Despair: The Legacy of the Kibbutz Dream in the Twenty-First Century

Acknowledgments

Notes

Bibliography

Index

 

Ranen Omer-Sherman is the Jewish Heritage Fund for Excellence Chair of Judaic Studies at the University of Louisville.

Conference Program: NAPH 2015 (June 22 – 24, University of Memphis)

The preliminary program for the upcoming NAPH 2015 Conference at the University of Memphis is now complete and has been posted on its website. Click here for full program (PDF).

• Registration is now open for non-presenters. To register, please go to the above link and click on the “Conference Registration” feature. Banquet tickets can also be pre-purchased there.
• For information regarding the conference venue as well as conference accommodations, please visit: https://naphhebrew.org/conference/naph-conference-2015. Navigate to “Travel and Accommodations Info” feature for Travel and Accommodations information.
• Non-presenting members who are interested in chairing one of the conference sessions should complete the short webform at https://naphhebrew.org/conference-chairs.
• For those who wish to purchase additional kosher meals (other than the Banquet), they may be pre-purchased and delivered to the Holiday Inn every day during the conference. The meals will be double wrapped in a to-go box and delivered to the Holiday Inn. (They cannot be delivered to the Fogelman Convention Center as they will charge a costly delivery fee per order.) Double wrapped plastic cutlery will be also be provided.

 

Panels on Israeli Literature and Culture

 

Day 1 (June 22, Monday)

Session 1: 9:00-10:45

1.1 Literature: Literature and Politics

Batya Shimony, Ben-Gurion University of the Negev

כבר לא קזבלן – ייצוגי החייל המזרחי בספרות העברית

Rima Shikhmanter, Tel Aviv University

הפנייה ימינה: הימין הפוליטי ברומן ההיסטורי הישראלי לילדים ולנוער

Tzipora Kedar, Zefat Academic College

“מרובעים” של דה-האן: פוליטיקאי מול משורר?

 

1.3 Pedagogy: Teaching the Hebrew Textual Tradition across Cultures

Organizer: Or Rogovin, Bucknell University

Or Rogovin, Bucknell University

The Hebrew Bible in Israeli and American Culture

Naomi Sokoloff, University of Washington

“Modern Poetry, Traditional Prayers: Teaching Jewish and Islamic

Traditions”

Edna Lauden, Tel Aviv University

“Take your son, your only son, whom you love…”: One story, Two

narratives.

 

Session 2 11:15-1:00

2.1 Literature: Female Master Poets: Yocheved Bat Miriam and Dalia Hertz

Organizer: Ruth Kartun-Blum, Hebrew University of Jerusalem

Ruth Kartun-Blum, Hebrew University of Jerusalem

בת-מרים: משוררת למשוררים

Uzi Shavit, Tel Aviv University

עמי והם: התגובה השירית של שלונסקי ובת-מרים למלחמת העולם השנייה

והשואה בזמן אמת

Anat Weisman, Ben-Gurion University of the Negev

דליה הרץ – משוררת לעצמה?

 

2.2 Literature: Studies in Modern Jewish Thought and Classical Hebrew

Fiction

Yoav Ronel, Hebrew University of Jerusalem

מלאך ההיסטוריה של ברדיצ’בסקי: תשוקה וכתיבה ברומן “מרים”

Laura Wiseman, York University

התרוצצות בין הקדרות: המתח בין הצמחונות לבין התשוקה לבשר ברומן

שירה מאת ש”י עגנון

Mark Kaplowitz, University of Memphis

Hermann Cohen, The Last Maskil

 

2.4 Pedagogy: On Teaching Hebrew in Israel and Around the World

Nataliia Bakulina, National Academy of Pedagogical Sciences of Ukraine,

Institute of Pedagogy, Kiev, Ukraine

הערכת הישגים לימודיים בעברית כשפה נוספת בבתי ספר יסודיים באוקרינה

Paul Overland & Jennifer Noonan, Ashland Theological Seminary; Liberty University Baptist Theological Seminary

Assets of Communicative Language Teaching for an Oral-Based Culture: a Field Report

Rachel Rosner, Hebrew University of Jerusalem; The David Yellin Academic College of Education

בחינת מונחים ועניינים בתכניות להוראת כתיבה במוסדות החינוך בישראל בראי תאוריות פילוסופיות

 

Session 3 2:30-4:15

3.1 Literature: The Displaced, the Detached, and the Hebrew Canon

Aviv Ben-Or, Brandeis University

The Arab-Jew as Displaced Intellectual in Shimon Ballas’ Fiction

Nancy Berg, Washington University in St. Louis

The Canon, the Academy, and shelilat hagolah

Ronit Gez, Ben-Gurion University of the Negev

הגרסה הנשית לנארטיב התלוש בטרילוגיה – ‘בחינות’, ‘שוקולד’, ‘קיצו של זיו סנדר’ מאת דבורה בארון

 

Session 4 4:30-6:15

4.1 Literature: New Views of Time in Hebrew Literature

Organizer: Roy Greenwald, Ben-Gurion University of the Negev

Roy Greenwald, Ben-Gurion University of the Negev

קול בלי בעלים: על משחק המבוכים בשירתה של יונה וולך

Hanna Soker-Schwager, Ben-Gurion University of the Negev

“הכול כאן מולחם וחותך”– הצזורה בשירת חדווה הרכבי

Vered Shemtov & Elena Gomel, Stanford University; Tel Aviv University

Limbotopia: Being Stuck in the Continuous Present in Hebrew Literature

 

4.2 Literature: Hebrew Drama: Theory and Practice

Olga Levitan, Hebrew University of Jerusalem

זיכרון כמופע: שולחן על פי אידה פינק – יצירתה של נעמי יואלי

Israel Hameiri, University of Haifa; Oranim College

העיבוד הדרמתי, תיאוריה ופרקטיקה: ‘אכזר מכל המלך’ ו’בגדי המלך’ מאת נסים אלוני

 

Day 2 (June 23, Tuesday)

Session 5: 8:30-10:15

5.1 Literature: Studies in Works by Leah Goldberg, Avot Yeshuron, Erez Biton, and Haviva Pedaya

Sara Meyer, Haifa University

יסודות ארספואטיים בספרי הילדים של לאה גולדברג

Chaya Shacham, Haifa University

“זְמַנִי חָרוּט בְשִירַי”: גלגולם של חומרי מציאות מן היומן אל השיר ביצירת לאה גולדברג

Lilach Lachman, Haifa University

‘Revealment’ and Blindness in Hebrew Poetry: Avot Yeshurun, Erez Biton and Haviva Pedaya

 

5.2 Language: Language, Stylistics, Translation, and Rhetoric

Aharon Gaimani, Bar-Ilan University

לשון וסגנון באיגרות בשורת הפטירה כמנהג תימן

Mohammed Alghbban, King Saud University

Literary Translation Activity between Hebrew and Arabic

Adel Shakour, Al-Qasemi Academy

מאפיינים רטוריים בשיח הפוליטי של מנהיגים ערבים במדינת ישראל

 

Session 6 10:45-12:30

6.1 Literature: Archeology of a Future: Treasures from Hebrew Literary

Archives

Chair and respondent: Giddon Ticotsky, Hebrew University of Jerusalem

Raquel Stepak, Tel Aviv University

שירי יהודה עמיחי מתקופת הצבא הבריטי בהקשר לכלל יצירתו הספרותית

Maayan Gelbard-Aziza, Ben-Gurion University of the Negev

הדרך שלא נבחרה: מה מספרים המחזות הגנוזים של תרצה אתר?

 

6.2 Literature: Politics and Ethics

Amit Assis, McGill University

ס. יזהר: פואטיקה, פוליטיקה ושמירת הטבע

Renana Keydar, Stanford University

מיתוס הרב קוליות – על המתח שבין סיפור סיפורים ועשיית צדק במשפט אייכמן

Ari Ofengenden, Brandeis University

Globalization and Biodisaster in Contemporary Literature 2000-2015

 

6.3 Pedagogy: Language and Thought, Language and Culture

Esther Raizen, University of Texas at Austin

מקומן של מיומנויות חשיבה מסדר גבוה בכיתות הלשון

Arielle Friedman, Oranim Academic College of Education

כלי לניתוח סמיוטי של השפה הקולנועית: ניתוח הסרט הישראלי “שש פעמים” במסגרת חינוכית

Miri Talmon, Tel Aviv University

“Films from Here”: Discourses of Locality in Modern Israeli Culture

 

Session 7: 2:00-4:00

7.1 Literature: Home and Homelessness in Modern Hebrew Literature

Iris Milner, Tel Aviv University

קריאת התיגר על הבית ב”והיה העקוב למישור” לעגנון

Hannah Naveh, Tel Aviv University

ביתה של עקרת הבית: נשים בבית בסיפורי “משפחה” של דבורה בארון

Michael Gluzman, Tel Aviv University

חוסר-בית, נדודים, בריחה: גנסין בארץ ישראל

Uri Cohen, Tel Aviv University

ביותו של הכוח הזר: שכול וכישלון ומגילת אסתר כמודל מגדרי פוליטי

 

7.2 Literature: Hebrew Press and Hebrew Culture

Orly Tsarfaty, Academic College of Emek Yezreel

המאבק על הזיכרון: השיח על השואה בעיתון החרדי “משפחה” – כמרחב לכינון זהות תרבותית נבדלת

Michal Meishar, Bar-Ilan University

כתב העת ‘גזית’ כמעצב תרבות

Moshe Pelli, University of Central Florida

דרכי עריכה וסגנון של יהושע השל שור – החלוץ

Gideon Kouts, University of Paris – 8

מלחמה ושלום בעיתון “הלבנון”

 

8.1 Literature: Studies in Modern Hebrew Fiction: Nathan Shaham, Tsruya

Shalev, and A.B. Yehoshua

Ayala Amir, Bar-Ilan University, The Open University of Israel

הפרטים כפי שנצטלמו אז: מרחב, מראות וזיכרון ב”שבעה מהם” וב”הם יגיעו מחר” מאת נתן שחם

Yigal Schwartz, Ben-Gurion University of the Negev

סיפור ההתקבלות ואמנות הסיפור של צרויה שלו

Gilead Morahg, University of Wisconsin-Madison

הגרושה המשחררת: ישן וחדש ב’’ניצבת’’ של א’’ב יהושע

 

8.2 Language: Early Modern Hebrew

Eran Buchaltzev, Ben-Gurion University of the Negev

נברא במילים – ועד הלשון העברית ככוהני השפה הלאומית

Doly Levi, Levinsky College of Education

עיון לשוני סגנוני בפיליטון “בטלנות” של אלחנן לייב לוינסקי

Keren Mock, Ecole Normale Supérieure/ Sorbonne Paris Cité

הערך המילוני “מצפון”: מקורותיו בספרייתו של אליעזר בן-יהודה

8.3 Pedagogy: Israel in Short Films: Integrating Film into the Hebrew

Language Classroom

Isaac Zablocki, Director of the Israel Film Center at JCC Manhattan

This session will feature three Award Winning Short films and conversations coming out of Israel’s blossoming film industry followed by a demonstration of how films can be best integrated into the classroom.

 

Day 3 (June 24, Wednesday)

Session 9: 8:30-10:30

9.1 Literature: Studies in Current Hebrew Fiction; Part I: Leah Aini’s Works

Irit Ronen, Ben-Gurion University of the Negev

הפואטיקה של לאה איני: שבירת הז’אנר

Ofra Matzov-Cohen, Ariel University

מעשה הנתינה ל’אחר’ ומשמעויותיו על פי הרומן ורד הלבנון מאת לאה איני

Talila Kosh-Zohar, Kibbuzim College of Education, Technology and Arts

חריגות והתנגדות: ייצוגי גוף בנובלה “בת המקום” של לאה איני

 

Session 10: 10:45-12:30

10.1 Literature: Studies in Current Hebrew Fiction; Part II Shimon Adaf and Merav Nakar-Sadi’s Works

Rina Baroukh, Ben-Gurion University of the Negev

“החיתוך של האור מבעד רצף הזמן”: על האור ביצירתו בפרוזה של שמעון אדף

Hadas Shabat Nadir, Ben-Gurion University of the Negev

חידת האחים המתים וגילויה של תורת סוד גנוזה ממרוקו בטרילוגיה “ורד יהודה” לשמעון אדף

Nurit Buchweitz, Beit-Berl University

NIMBY, or Multicultural Inclusion in Merav Nakar-Sadi’s Oxana

 

10.2 Language: Proper Names, Language in Advertising

Shlomit Landman, Achva Academic College

שמות פרטיים דו-מיניים עבור יילודים במגזר היהודי במדינת ישראל

Bat-Zion Yemini, Levinsky College and Talpiot College

השמות הפרטיים המקראיים והמודרניים– בבואה של מערכות שונות של זמן-אספקט-מודוס

Irit Zeevi, Oranim Academic College of Education and Emek Yezreel Academic College & Lee Cahaner, Oranim Academic College

שפת הפרסומת החרדית לנדל”ן כמייצגת את תפיסת המקום

 

Session 11: 2:00-3:45

11.1 Literature: Jewish Traditions and Modern Hebrew Literature

Zafrira Lidovsky Cohen, Stern College of Yeshiva University

“צדיק ורע לו”: מוטיב הצדיק בשירת אביגדור המאירי ואברהם שלונסקי

Moshe Yitzhaki, Oranim Academic College of Education

התקדשות ורליגיוזיות בחיי היום-יום: הצעה לקרוא ביצירות י.ח. ברנר כממשיך ומחדש מסורת מדרשי חז”ל

Moria Dayan-Codish, Ben-Gurion University of the Negev

האסתטיקה החז”לית ביצירתו של שלום יעקב אברמוביץ

11.2 Language: Sociolinguistics, Linguistic Creativity, Morphology (Word Formation)

Esther Bahat, Tel Aviv University

“כשהתותחים רועמים – המוזות שותקות”. האומנם? יצירתיות בעיתונות הישראלית בתקופת מבצע “צוק איתן”

Marc Bernstein, Michigan State University

“Give Me Your Identity!”: A Sociolinguistic Analysis of Arab Labor

Nimrod Shatil, Zefat Academic College

מקומו של המשקל במוח של דובר העברית בן-ימינו

 

New Book: Levy, Poetic Trespass. Writing between Hebrew and Arabic in Israel/Palestine

Levy, Lital. Poetic Trespass: Writing between Hebrew and Arabic in Israel/Palestine. Princeton: Princeton University Press, 2014.

 

URL: http://press.princeton.edu/titles/10389.html

 

 –

A Palestinian-Israeli poet declares a new state whose language, “Homelandic,” is a combination of Arabic and Hebrew. A Jewish-Israeli author imagines a “language plague” that infects young Hebrew speakers with old world accents, and sends the narrator in search of his Arabic heritage. In Poetic Trespass, Lital Levy brings together such startling visions to offer the first in-depth study of the relationship between Hebrew and Arabic in the literature and culture of Israel/Palestine.

 –

Table of Contents

Illustrations ix
Acknowledgments xi
Note on Transliteration and Translation xv

Introduction: The No-Man’s-Land of Language 1

PART I. HISTORICAL VISIONS AND ELISIONS
Chapter 1. From the “Hebrew Bedouin” to “Israeli Arabic”: Arabic, Hebrew, and the Creation of Israeli Culture 21
Chapter 2. Bialik and the Sephardim: The Ethnic Encoding of Modern Hebrew Literature 60

PART II. BILINGUAL ENTANGLEMENTS
Chapter 3. Exchanging Words: Arabic Writing in Israel and the Poetics of Misunderstanding 105
Chapter 4. Palestinian Midrash: Toward a Postnational Poetics of Hebrew Verse 141

PART III. AFTERLIVES OF LANGUAGE
Chapter 5. “Along Came the Knife of Hebrew and Cut Us in Two”: Language in Mizrahi Fiction, 1964-2010 189
Chapter 6. “So You Won’t Understand a Word”: Secret Languages, Pseudo-languages, and the Presence of Absence 238
Conclusion. Bloody Hope: The Intertextual Afterword of Salman Masalha and Saul Tchernichowsky 285

Bibliography 299
Index 329

 

 –

 –

 –

 –

 –

ToC: Israel Affairs 20,2 (2014): Special Issue, Politics and Poetry

Israel Affairs 20,2 (2014)

Special Issue: Politics and Poetry in Israel

http://www.tandfonline.com/toc/fisa20/20/2

 

Articles

Poetry and poets in the public sphere

Assaf Meydani & Nadir Tsur; pages 141-160

• DOI:10.1080/13537121.2014.889889
• Published online: 01 Apr 2014

The leader as a poet: the political and ideological poetry of Ze’ev Jabotinsky

Arye Naor; pages 161-181

• DOI:10.1080/13537121.2014.889890
• Published online: 22 May 2014

The image of the ‘living-dead’ in Nathan Alterman’s poetry: from archetype to national symbol

Ortsion Bartana; pages 182-194

• DOI:10.1080/13537121.2014.889886
• Published online: 29 May 2014

The art of politics and poetry: the political poetry of Jacques Prevert and Aryeh Sivan

Samuel (Muli) Peleg; pages 195-213

• DOI:10.1080/13537121.2014.889892
• Published online: 07 May 2014

Hegemony inside and out: Nathan Alterman and the Israeli Arabs

Yochai Oppenheimer; pages 214-225

• DOI:10.1080/13537121.2014.889891
• Published online: 04 Apr 2014

‘Silent in white ink’: the motif of silence in Israeli-Palestinian women’s poetry translated from Arabic to Hebrew

Leah Baratz & Roni Reingold; pages 226-239

• DOI:10.1080/13537121.2014.889885
• Published online: 16 Apr 2014

Politics and poetry in the works of Shalom Shabazī

Yosef Tobi; pages 240-255

• DOI:10.1080/13537121.2014.889893
• Published online: 14 Apr 2014

Why did poetry and piyut disappear from the religious-Zionist High Holy Day prayer book, and what prompted their return?

Shimon Fogel; pages 256-270

• DOI:10.1080/13537121.2014.889887
• Published online: 04 Apr 2014

An Israeli Bob Dylan is yet to be born: the politics of Israeli protest music

Yitzhak Katz; pages 271-279

• DOI:10.1080/13537121.2014.889888
• Published online: 26 Mar 2014

New Article: Maher, Journeys into the Western Galilee, in Khouri and Yehoshua

Maher, John. “Blue, Half-Forgotten Hills: Journeys into the Western Galilee, in Ilyas Khouri’s Gate of the Sun and A.B. Yehoshua’s The Liberated Bride.” Comparative Critical Studies 10, supplement (2013): 107-121.

URL: http://www.euppublishing.com/doi/abs/10.3366/ccs.2013.0116

Excerpt

At the end of the day, Rivlin will come no closer to finding the so-called ‘secret’ of the Algerian civil war than he will to finding the ‘secret’ of his son’s failed marriage, a tale, literally and metaphorically, of subterranean incest which mirrors his own ignorance of the lives of the minority in Haifa and Acre and Jerusalem and the Galilee. As with Naim, the young Palestinian boy in The Lover, the servant always know more about the master than the master knows about the servant.