Relevant bibliographies by topics / French Jewish poetry

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Academic literature on the topic 'French Jewish poetry'

Author: Grafiati
Published: 26 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "French Jewish poetry"

1

Edzard, Alexandra. "A Judeo-French Wedding Song from the Mid-13th Century: Literary Contacts between Jews and Christians." Journal of Jewish Languages 2, no. 1 (June 9, 2014): 78–98. http://dx.doi.org/10.1163/22134638-12340022.

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The subject of this article is a bilingual Judeo-French wedding song, edited by David Simon Blondheim in 1927. It is studied in its linguistic (Hebrew and French) and cultural (Jewish and Christian France) context. In the Jewish tradition, the song belongs to a widely used form of poetry in which two or more languages alternate. A similar bi- and multilingualism can also be found in medieval Christian poetry in France and in Muslim poetry in Moorish Spain. The present study concentrates on poems in which French can be found together with other languages. The article demonstrates influence from Christian multilingual poetry on the Judeo-French wedding song. In addition, it discusses how Jewish and Christian poets proceed when using more than one language and what reasons there are for the use of multiple languages within a single text.
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Shepkaru, Shmuel. "Susan L. Einbinder. Beautiful Death: Jewish Poetry and Martyrdom in Medieval France. Princeton and Oxford: Princeton University Press, 2002. x, 219 pp." AJS Review 28, no. 2 (November 2004): 371–73. http://dx.doi.org/10.1017/s0364009404290213.

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Can medieval Jewish poetry teach us history? Asked differently, can scholars draw on medieval poetry (piyyutim) to reconstruct historical events? In Beautiful Death, Einbinder narrows down this matter to the case of Ashkenazic martyrological poetry. To answer this question, Einbinder has analyzed over seventy Hebrew poems from northern France, England, and Germany; they span the period following the First Crusade (1096), ending with the Rindfleisch massacres of 1298 in Germany and King Philip IV's expulsion of the French Jews in 1306.
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Waldinger, Albert. "Survivors : Postholocaust Yiddish Poems in Non-Jewish Language." TTR : traduction, terminologie, rédaction 14, no. 1 (July 7, 2003): 183–209. http://dx.doi.org/10.7202/000533ar.

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Abstract This article, dealing with the translation of Postholocaust Yiddish poetry into non-Jewish languages like French, English and German, must necessarily sketch in a linguistic, literary and social background to prepare the ground for the complete understanding of the special task involved in the rendering of Jewish expression. (Conversion into Hebrew presents a far different challenge, described in a related study). Discussed here are literary movements like European Expressionism and Yiddish “Introspectivism” as practiced in the United States as well as the linguistic basis of these in Yiddish speech and poetic prosody and embodied in the translations of Cynthia Ozick (English), Charles Dobzynski (French) and Gabriele Kohlbauer-Fritz (German).
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Waldinger, Albert. "The Remnant Word." Babel. Revue internationale de la traduction / International Journal of Translation 47, no. 1 (December 31, 2001): 49–74. http://dx.doi.org/10.1075/babel.47.1.06wal.

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This article deals with the meaning of contemporary Yiddish poetry and its translation into several non-Jewish languages — French, German and English — stressing the perfected realization of this meaning through educated insight into a completely different culture and language. Also discussed are the contributions of Hasidism, Expressionism and Yiddish Introspectivism as well as the fact that both poetry and language are in the process of disappearing and thus require special care.
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Raizen, Esther. "Dreadful Noise: Jean-Claude Pecker on Loss, Remembrance, and Silence." Shofar: An Interdisciplinary Journal of Jewish Studies 41, no. 3 (2023): 188–221. http://dx.doi.org/10.1353/sho.2023.a918860.

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Abstract: French astrophysicist Jean-Claude Pecker, who passed away in early 2020, left behind a rich body of work that reflects his active engagement with areas beyond the scientific, among them the visual arts, social activism, and poetry. This paper follows Pecker as he grapples with the loss of his parents in the Holocaust and articulates the impact of this loss on his life and work. My discussion draws primarily on Pecker’s poetry collections Galets poétiques and Lamento 1944–1994 , with occasional references to other writings, among them a provisional draft of the opening chapter from Pecker’s memoir and letters recounting his family history. Allusions to Pecker’s Jewish heritage are absent from the poetry collections yet are prominently present in other writings in the context of antisemitism as the core of his “feeling Jewish” on the one hand and the rejection of Judaism among all other religions on the other. Reflecting on the violence that afflicted his life during the war years and admitting his deep pessimism regarding the future of both humanity and the environment, the elderly Pecker conveys in his writings a sense of diminished agency both in his own life and in that of the sun, the celestial body broadly considered a mainstay of his scientific work. Contextualizing Pecker among his peers, I suggest that while the themes of deportation and death figure centrally in the poems, Pecker is less in conversation with Holocaust poetry or poets and more in dialogue with a group of French artist-friends, united in the knowledge of nature’s timeless beauty and in the recognition of the presence within humanity of love, friendship, and the unlimited capacity for inflicting harm and great pain.
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Szewczyk-Haake, Katarzyna. "The Works of Marc Chagall in Polish Poetry (from the 1950s to the 1980s)." Porównania 28, no. 1 (June 15, 2021): 71–99. http://dx.doi.org/10.14746/por.2021.1.4.

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The article presents a profound and artistically very successful phenomenon of the reception of Marc Chagall’s works in Polish poetry form the 1950s to the 1980s. Different from the reception of Chagall in other “Western” literatures (examples discussed in the article derive from French poetry), the Polish reception is marked first of all by the events of the Second World War and the Holocaust. As during the war almost all material and cultural traces of the Jewish presence in Poland were annihilated, the works of Chagall became a point of reference for many poets (e.g. Jerzy Ficowski, Joanna Kulmowa, Janusz S. Pasierb, Tadeusz Śliwiak), enabling them to express a part of Polish culture which was tragically deprived of its own forms of expression and existence.
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Janka, Claire, and Jan Stellmann. "Die Alexandreis als typologisches Epos." Literaturwissenschaftliches Jahrbuch 61, no. 1 (October 1, 2020): 53–92. http://dx.doi.org/10.3790/ljb.61.1.53.

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The paper deals with the Alexandreis, a successful 12th-century Alexander-epic by French poet and scholar Walter of Châtillon. It argues that the essential ambiguity of the text manifests itself as an analogy to biblical and exegetical typology. To reflect both the production and the reception of the typological epic, Walter modifies the ancient concept of poetry as an enduring monument. This is demonstrated by analysing three cases of authorial self-reflection: the prose prologue, Alexanders visit in Troy, and the Greek-Jewish sculptor-painter Apelles.
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Wilke, Carsten L. "Imaginary Controversists: Abraham Gómez Silveyra and the Theologians of the Huguenot Exile." Sefarad 81, no. 2 (December 20, 2021): 449–75. http://dx.doi.org/10.3989/sefarad.021-014.

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In the Huguenot refugee community in The Netherlands, known as a hotbed of the early Enlightenment, literary interest in Judaism was ubiquitous, yet actual Dutch Jews were relegated to a marginal position in the exchange of ideas. It is this paradoxical experience of cultural participation and social exclusion that a major unpublished source allows to depict. The ex-converso Abraham Gómez Silveyra (1651–1741), a merchant endowed with rabbinic education and proficiency in French, composed eight manuscript volumes of theological reflections in Spanish literary prose and poetry. This huge clandestine series, which survives in three copies, shows the author’s insatiable curiosity for Christian thought. While rebutting Isaac Jacquelot’s missionary activity, he fraternizes with Pierre Jurieu’s millenarianism, Jacques Basnage’s historiography, and Pierre Bayle’s plea for religious freedom. Gómez Silveyra, however, being painfully aware of his voicelessness in the public sphere, enacts Bayle’s utopian project as a closed performance for a Jewish audience.
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Balestrieri, Anna. "A „Polytropos" Zionist: The life and literary production of Zakharia Klyuchevich Mayani." Iudaica Russica, no. 2(9) (December 29, 2022): 1–43. http://dx.doi.org/10.31261/ir.2022.09.01.

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The kaleidoscope of pseudonyms behind which he hid himself on the pages of the Russian- Jewish weekly Rassvet is a reflection of the multifaceted personality of Zakharia Klyuchevich. Historian, archaeologist, linguist, teacher, political activist, journalist, caricaturist, painter, poet, screenwriter, biologist, it is difficult to find an area into which he did not venture. The spectrum of languages he mastered, or tried ​​as an author, is equally colorful: from his native Russian to quasi-native French, through English, Hebrew, German, Yiddish, Polish, Ancient Greek, Turkish, up to Albanian and Etruscan, two languages he tried to link by identifying the latter as a protolanguage of the former. The amount of material left behind by this polyhedric author is voluminous. Correspondence in various languages (Italian, Russian, English, and French), diaries, theater screenplays (Hebrew, English), essays (French), poetry (French, Russian, and Hebrew), authored language textbooks (French-Hebrew, Russian-Hebrew), sketches, paintings, and newspaper clippings are preserved at the Jabotinsky Institute in Tel Aviv. Through a thorough analysis of this material, we will try to draw the portrait of this ish eshkolot, this Renaissance type of intellectual, who has been forgotten in their treatises by historians of literature, Zionism, art and archeology, perhaps precisely because of the difficulty in tracing his movements and activities, the excessive chameleon-like nature of his occupations and cryptonyms.
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Chetrit, Joseph. "Judeo-Arabic Dialects in North Africa as Communal Languages: Lects, Polylects, and Sociolects." Journal of Jewish Languages 2, no. 2 (November 10, 2014): 202–32. http://dx.doi.org/10.1163/22134638-12340029.

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The study aims to present a comprehensive analysis of the North African Judeo-Arabic dialects in their internal diversity and in their communal use in daily interaction as well as in specialized genres of oral and written discourse. Internal diversity pertains to the various daily and elaborated genres of discourse and types of texts that developed in Jewish communities from the sixteenth century, generating different lects, polylects, and archilects in poetry, in journalism, and in daily interaction; combinations of lects constitute the repertories of three distinct communal sociolects: rabbinic, males,’ and females’ sociolects. Internal diversity also includes the changing linguistic Arabic matrix and the external components it integrated and which hybridized the dialects: Hebrew-Aramaic, Berber, Turkish, and Romance (Castilian, Portuguese, Italian, French). Three oral texts illustrating various Judeo-Arabic lects are presented and discussed.
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Books on the topic "French Jewish poetry"

1

Jacques, Eladan, ed. Poètes juifs de langue française. Paris: N. Blandin, 1992.

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Berdah, David. Shirat Daṿid: Ḳovets shirim. Bene Beraḳ: Yeshivat Kise raḥamim, 2000.

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Jacques, Eladan, ed. Esperance poétique, chalom-salam: Anthologie de poètes pacifistes juifs et arabes de l'antiquité à nos jours. Paris: L'Harmattan, 1997.

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Adam, Wodnicki, and Kania Ireneusz, eds. Powrót do Księgi. Kraków: Wydawnictwo "Austeria", 2005.

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Daniel, Beauvois, ed. Poètes de l'apocalypse: Anthologie de poésie en polonais, hébreu et yiddish (1939-1945). [Lille]: Presses universitaires de Lille, 1992.

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Ertel, Rachel. Dans la langue de personne: Poésie yiddish de l'anéantissement. [Paris]: Editions du Seuil, 1993.

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Ben-Ḥasin, David. Tehilah le-Daṿid: Ḳovets shirato shel r. Daṿid Ben-Ḥasin, zatsal, payṭanah shel Yahadut Maroḳo ; mah. madaʻit be-tseruf mevoʾot, heʻarot u-viʾurim. Lod: Be-hotsaʾat Orot Yahadut ha-Magreb, 1999.

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8

Eladan, Jacques. Poètes de la Shoah. Paris: Caractères, 1989.

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9

Walther, Ingo F. Marc Chagall, 1887-1985: Painting as poetry. Cologne: Benedikt Taschen, 1993.

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Walther, Ingo F. Marc Chagall 1887-1985: Painting as poetry. Cologne: Benedikt Taschen, 1987.

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Book chapters on the topic "French Jewish poetry"

1

Malinovich, Nadia. "The Beginnings of a French Jewish Literature." In French and Jewish, 38–56. Liverpool University Press, 2007. http://dx.doi.org/10.3828/liverpool/9781904113409.003.0003.

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This chapter explores the tension between universalism and particularism as expressed in the pre-war poetry, novels, and essays of André Spire, Edmond Fleg, Henri Franck, and Jean-Richard Bloch. It examines the question of Jewish identity in the modern world through writers that paved the way for the much more widespread phenomenon of Jewish self-questioning in the post-war years. It also looks at André Spire's ground-breaking Poèmes juifs and Quelques Juifs that offered a scathing critique of both Jewish assimilation and French antisemitism. It discusses Henri Franck's prose poem La Danse devant l'arche, which describes a young man's quest for the meaning of life and reveals a similar tension between affirming the specificity of Jewish roots and embracing a larger French cultural heritage.
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Elsky, Julia. "A Jewish Poetics of Exile." In Writing Occupation, 29–62. Stanford University Press, 2020. http://dx.doi.org/10.11126/stanford/9781503613676.003.0002.

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Benjamin Fondane lived through two displacements: first when he immigrated from Romania to France in the 1920s; and then again when he went into semihiding in Paris under the Occupation. Although he had come to French in search of a literary community through language adoption, in his wartime poetry he questions the possibility of a monolingual language. This chapter focuses on Fondane’s revisions of his poetry during the war, and in particular on L’Exode, his literary representations of the June 1940 flight toward the Southern Zone. Fondane writes in many languages at once: he not only incorporates the names of Hebrew letters and transcriptions of prayer in his French text but he also states that even if only one word existed in the world there would still be no one language. In this chapter, Fondane’s texts are also put into dialogue with Jacques Derrida’s Monolingualism of the Other.
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Balbuena, Monique R. "Introduction." In Homeless Tongues, 1–18. Stanford University Press, 2016. http://dx.doi.org/10.11126/stanford/9780804760119.003.0001.

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This introduction first introduces poet Clarisse Nicoïdski as a Sephardic poet who shifts languages and genres when she moves from French to Ladino, and prose to poetry, when confronting the death of her mother, her people and her culture. Then the introduction briefly presents Deleuze and Guattari’s formula for “minor literatures” and the counter-arguments this book presents to it. The text then proceeds discussing basic concepts that are central to the book and to the poets here discussed: genres of Sephardic poetry, the Judeo-Spanish language, its development and its many names, multilingualism and Jewish langauges, and Diaspora.
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Goll, Yvan. "Preface to The Immortals (1920)." In Modern Theories of Drama, 171–73. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198711407.003.0026.

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Abstract Born in Alsace-Lorraine of Jewish parentage, lwan (or Yvan) Goll (1891-1950) was raised bilingually and wrote in German and French with equal facility. A poet of distinction in both languages (to which he added English during a wartime stay in the United States), he projected himself in the character of Landless John in his writings and borrowed much of the imagery of his late poetry from esoteric sources. His dramatic output was only a small part of his reuvre, but he represents a link between the French and the German avant-garde as well as a transition point between expressionism and surrealism in the theatre. Familiar with the work of Apollinaire in France-he wrote the latter’s obituary in a German paper in 1919-he was the first German author to use the word ‘surrealism’ (Überrealismus).
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Parfitt, Tudor. "The Black/Jew in the Racial State." In Hybrid Hate, 177–205. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190083335.003.0009.

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Extreme racist opinion in Germany, exemplified by Theodor Fritsch, asserted that Jews were a negroid mix. This continued in the works of, for instance, Louis-Ferdinand Céline. Each individual Jew, according to John Beddoe, the pigmentation expert, contained the negroid and Asiatic type. The Jew was a chameleon in this respect. Rudolf Virchow conducted a research project in which skin color was presented not as an objective fact but rather as something to be intuitively felt. The general consensus, even among Jews, was that Jews were dark, yet the research showed the contrary. Jews in the liberal arts and poetry of the Weimar period often constructed Jews as dark or black, as in the work of George Grosz. The Swiss-French race theorist and anti-Semite George-Alexis Montandon perceived the Jews as an ancient cross of Asiatic and negro and expressed this in his famous exhibition, “How to recognize a Jew.” The fear of cross-breeding became more intense in the Nazi period, along with sexual fear of blacks and Jews. Hitler attacked the “black disgrace” on the Rhine that was leading to a Jewish-inspired Vernegerung and would eventually produce in Germany something like the negrified French state to the south. Nazi polemical and propaganda literature habitually portrayed the Jews as black or dark. Nazis borrowed from American anti-black legislation. Fascist Italy had a similar fear of racial pollution by Jews and blacks, as can be seen in countless cartoons and illustrations in La Difesa della Razza. Cultural pollution by Jews and negroes was equally feared.
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Balbuena, Monique R. "Minor Literatures and Major Laments." In Homeless Tongues, 19–58. Stanford University Press, 2016. http://dx.doi.org/10.11126/stanford/9780804760119.003.0002.

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This chapter presents Sadia Lévy, an Algerian poet who attempted to inscribe himself in the gallery of French Symbolists while writing in a French enriched by infusions of Hebrew and Judeo-Spanish, activating biblical and Kabbalistic genres in his poems. Lévy allows us to look at the development of modernism from a different angle, and serves as an example that will prompt changes in Jewish historical narrative, destabilizing certain views of Jewish culture, more specifically about Sephardi and North African Jews. Writing in French in colonial Algeria, Lévy makes us rethink the boundaries that define a French and a Francophone author. Having written one of the first Maghrebi novels in French, his precedence has gone unrecognized because as a Jew, he is considered French—an ideological exclusionary act that misses his ambivalent position and does not recognize that the privilege of his French citizenship is more artificial than ever.
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Rudan, Eugenia Kelbert. "Roditi, Edouard (1910-1992)." In Routledge Encyclopedia of Modernism. London: Routledge, 2018. http://dx.doi.org/10.4324/9781135000356-rem2120-1.

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In his unpublished autobiography, Edouard Roditi describes his life in terms of a triple curse of being Jewish, epileptic, and homosexual. Perhaps a fourth quality ought to be addedhere: that of being a polyglot, both through his complex heritage and personal inclination. Roditi lived a long life that would have been enough to fill in several biographies: Roditi the prodigy Surrealist and modernist poet writing in English and French, Roditi the art critic and historian, Roditi the Sephardic scholar, Roditi one of the pioneering generation of simultaneous interpreters at some of the most momentous conventions of the twentiethcentury, and Roditi the translator and ‘literary mediator’ (to use Sidney Rosenfeld’s apt term) between several generations, and nations, of artists and poets.
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McCann, Ben, and Ben McCann. "Sound, image, Gabin: Duvivier and the 1930s." In Julien Duvivier. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9780719091148.003.0004.

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This chapter will begin with an examination of Duvivier’s first ‘talkie’, David Golder (1930) and its central figure of the Jew. It will also discuss whether, consciously or not, Duvivier’s film – along with his two other 1930s so-called ‘Jewish’ films Golgotha (1935) and Le Golem (1935), are anti-Semitic. The chapter will place Duvivier’s work within the generic and aesthetic framework of poetic ealism, for three of his films in particular – La Bandera (1935), La Belle Equipe (1936) and Pépé le Moko (1937) – combine elements of populism and melodrama with an expressionistic mise en scène and a pessimistic narrative structure. The chapter will also look at the importance of the actor Jean Gabin, who starred in all three aforementioned films, and demonstrate how Duvivier uses Gabin’s star aura, as well as the defining traits that can be traced across many of his characters – alienation, helplessness, assertive masculinity, romanticism – to amplify the feelings of hopelessness and stalemate that afflicted large portions of French society after the collapse of the Popular Front in 1937. Duvivier is part of this landscape, and the chapter will explore the interactions between his favoured collaborators like Henri Jeanson, Jacques Krauss, Charles Spaak, and Maurice Jaubert on other technically accomplished and visually impeccable films.
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Goodman, Lenn E. "Revelation." In The Holy One of Israel, 204–28. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190698478.003.0008.

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Chapter 8 addresses the nexus of God’s perfection to the Torah’s charge. Since prophecy is inevitably poetic, it demands hearers who are intellectually alive and can see that God’s perfection invites emulation, through a union of moral strength with intellectual depth. Jewish sages find a key to such wisdom in God’s Anokhi, the “I” that opens the Decalogue, or even in the opening aleph of that word, read as a sign for God since aleph stands for singularity. One sage read that aleph as a kind of mandala, its form suggesting a face made up of two yods, a traditional marker of God’s name, the two letters facing each other like two eyes, as if to remind us that we find God when we find ourselves—and to suggest a thought as old as Socrates and as fresh as Levinas: that we find ourselves when we discover one another.
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Berry, Jason. "Sister Gertrude Morgan." In City of a Million Dreams, 235–56. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469647142.003.0012.

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By the 1930s, civic leaders were promoting New Orleans as a tourist destination while the city lurched toward bankruptcy. As the city continued to develop through the 20th century, it became a melting pot of diverse cultures and a mecca for bohemians and LGBTQ people. Gay bars prospered in the French Quarter, and jazz clubs hired integrated bands. Sister Gertrude Morgan was a self-appointed missionary and preacher, Bride of Christ, artist, musician, poet, and writer of profound religious faith. After a revelation in 1934, she decided to travel to New Orleans to evangelize. In the late 1950s, she began singing on French Quarter corners, playing the guitar and tambourine, and selling her paintings. Her work caught the attention of art dealer Larry Borenstein, who helped launch her career as an artist. Borenstein came from a family of Russian Jews in Milwaukee. He worked in a wide variety of jobs in his youth, eventually settling in New Orleans and expanding into real estate and art dealership. He made friends with members of the gay community, artists, and musicians, and helped found the Preservation Hall jazz club.
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Conference papers on the topic "French Jewish poetry"

1

Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.

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The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
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