Academic literature on the topic 'Anton Shammas'

This chapter turns to the Hebrew poetics of Palestinian Arab writers. It presents a close reading of poetry by Anton Shammas and his contemporaries Salman Masalha and Na'im 'Araidi. It argues that their poetry offers us a different window onto the question of Hebrew writing in a Palestinian hand. It reads their Hebrew verse as a poetics formed between languages, cultures, and national traditions, replacing the hermeneutics of antithesis (Palestinian or Israeli? Israeli or Jewish?) with one of “in-betweenness.” Furthermore, the chapter moves away from debating the identitarian definition of Hebrew to explore the nuanced relationship of Palestinian writers with Hebrew's cultural heritage and with the traditional Jewish modes of reading and interpretation embedded therein. Through an analysis of allusion and metalinguistic discourse in Palestinian Hebrew poetry, it illustrates the intertextual practice called “Palestinian midrash.”

This chapter studies the writing of Sasson Somekh, Anton Shammas and Sayed Kashua through the lens of their personal biographies, their background and their language choice. All three are native speakers of Arabic, albeit, from three different generations and three different faiths, but they all choose to write in Hebrew. The language choices of these authors help us understand the asymmetrical relationship between Israelis and Arabs, as well as the global linguistic homogenisation and perhaps the effects of collective traumas on the individual. The chapter concludes with a section on the ‘Arab Jew’, and the challenges of maintaining both constructs of this identity in Israel, in the case of the documentary of the ‘Ethnic Devil’ broadcast on Israeli television in summer 2013, and the case of the sociologist and poet, Sami Chetrit, an Arab Jew who does not speak Arabic.

“The promised land” looks at the Zionist movement at the end of the nineteenth century in its commitment to create a Jewish state that could not only normalize diaspora Jewish life but also establish a national literature. It meditates on the work of Theodor Herzl, Vladimir Jabotinsky, Chaim Nakhman Bialik, Sh. Y. Agnon, and Amos Oz as canonical voices in Israeli literature. It is worth reflecting on Palestinian literature written in Hebrew, as in Anton Shammas’s Arabesques, and ask the question: ought it to be considered part of Jewish literature? Israeli literature, despite argument to the contrary, is another facet of modern Jewish literature in the diaspora.

To live is to endure pain has been understood by almost everybody who is mature enough to gain some philosophical perspective on life. C’est la vie! as the French would say. Indeed, pain existed before the dawn of humanity—some research suggests that even plants respond to pain. According to ancient Greek myth, Prometheus stole fire from Olympus to give it to mortals. Zeus punished him by chaining him to a rock and having a great eagle feast on his liver daily, inflicting unbearable agony. Zeus also sent Pandora to Earth, unleashing pain (one of the items in Pandora’s box) and many evils as a vengeance to mankind. Without an understanding of pain, our ancestors resorted to many measures to ease pain; some were successful to some extent, and some were completely futile. Witches and shamans were sought out to exorcise pain from the body. From a psychological perspective, they might be effective for some believers. The hypnotizing technique reached its crescendo in the 18th century in France when Monsieur Anton Mesmer “mesmerized” many French citizens, liberating them from their pains. As civilization progressed, alcohol became more and more a universal painkiller after it was observed that drunkards were oblivious to pain. Chinese surgeon Hua Tuo (115–205 ad) gave his patients an effervescent powder (possibly cannabis) in wine that produced numbness and insensibility before surgical operations. Another ancient invention in Chinese medicine was the use of acupuncture to ease pain. Acupuncture, now an increasingly popular treatment for persistent as well as intermittent pain, is thought to work by increasing the release of endorphins, chemicals that block pain signals from reaching the brain. A recent survey by the National Institute of Health (NIH) indicated that acupuncture showed efficacy in adult postoperative pain, chemotherapy nausea and vomiting, and postoperative dental pain. There is no doubt that acupuncture works for some patients’ minor pain, through either physiological or psychological means, or both. or both. During the hype of the Great Culture Revolution (1966–1976), it was even claimed that major operations were carried out using acupuncture without any other anesthetics.