Journal articles: 'Jewish poetry'

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Perry, T. Anthony (Theodore Anthony). "Jewish Metaphysical Poetry?" Prooftexts 25, no. 1 (2005): 210–16. http://dx.doi.org/10.1353/ptx.2006.0013.

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Lieber, Laura S. "With One Voice: Elements of Acclamation in Early Jewish Liturgical Poetry." Harvard Theological Review 111, no. 3 (July 2018): 401–24. http://dx.doi.org/10.1017/s0017816018000172.

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AbstractIn this essay, the Rosh Hashanah Shofar service poems by the Jewish poet Yose ben Yose (fourth or fifth century CE, Land of Israel) are read through the lens of the Late Antique practice of acclamation. Yose's surviving body of works is limited, but he was influential within the Jewish tradition, and his poems have long been noted for their use of formal features such as fixed-word repetitions and refrains—features which align not only with poetic norms from the biblical period to Late Antiquity but also with the practice of acclamation. Jews attended (and performed in) the theater and games; they were familiar with rhetorical and oratorical training and related literary norms; and they were integrated socially, commercially, and politically into diverse and varied communities. The affinity of Jewish liturgical poetry from antiquity for other forms of poetic composition reflects Jews’ general embeddedness in Late Ancient culture. Reading Yose's poetry as shaped by the conventions of acclamation highlights how Yose and his congregants were not only distinctly Jewish but also thoroughly Roman.

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Sol, Adam, David S. Koffman, Gary Barwin, Michael Greenstein, Ruth Panofsky, Lisa Richter, Emily Robins Sharpe, and Rhea Tregebov. "Canadian Jewish Poetry: A Roundtable." Canadian Jewish Studies / Études juives canadiennes 34 (December 20, 2022): 142–71. http://dx.doi.org/10.25071/1916-0925.40296.

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Is Canadian Jewish Poetry a meaningful category of study? Are there particular traits that differentiate Canadian Jewish poets from poets of other countries, or from writers in other genres? How do contemporary poets confront the looming legacy of Irving Layton, Leonard Cohen, and A.M. Klein? Six prominent poets and scholars conduct a roundtable discussion to articulate recent developments in the field.

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Spinner, Samuel J. "“We Are All Endangered Species”: Jerome Rothenberg’s Jewish Primitivism." Comparative Literature 76, no. 2 (June 1, 2024): 220–39. http://dx.doi.org/10.1215/00104124-11060575.

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Abstract Jerome Rothenberg’s poetry brings together a group of major—seemingly disparate—topics: the Holocaust; ecological crisis; Yiddish culture; and what he terms ethnopoetics, a poetic primitivism centered largely on the culture of Indigenous Americans. This article shows how genocide, both of Native Americans and of European Jews, becomes in Rothenberg’s poetry the catalyst for a new purpose for primitivism—resisting ecological and cultural devastation. Rothenberg’s reactivation of Jewish primitivism follows two paths: first, an insistence on understanding the destruction of Jewish culture in conjunction with the destruction of Indigenous peoples and cultures globally. Second, he links these genocides to the scope and consequences of environmental destruction, which he recognizes as an integral part of the threat to minority cultures and to humanity in general. Rothenberg’s primitivist poetry seeks to resist extinction. This is a striking attempt to negate the association of primitivism with colonial domination and violence and create a poetry of survival in the face of genocide and environmental destruction.

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Malachi, Zvi. "Christian and Jewish Liturgical Poetry." Augustinianum 28, no. 1 (1988): 237–48. http://dx.doi.org/10.5840/agstm1988281/212.

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Nowicka, Daria. ""Słowa nawracające" – somantyczność w poezji Jerzego Ficowskiego. Pisane pożydowskim oksymoronem." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 11, 2017): 107–20. http://dx.doi.org/10.24917/20811853.16.8.

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Words returning ‒ soma and semantics in the poetry of Jerzy Ficowski. Writing in post-Jewish oxymoron The work of Jerzy Ficowski, the author of Odczytanie popiołów, Ptak poza ptakiem, Amulety i definicje, raises the problem of postmemory and re-tale. This is self-contained intimate poetry that witnessed historic and aesthetic changes after the Holocaust. This problem, in soma-semantic context, is presented through the interpretation of selected poems, which combines an aspect of body and meaning. The essence of Jerzy Ficowski’s poems is bordeland language which is visible in the poems concerning the memory of the Jews and Roma. It is in these poems that Ficowski expands the semantic and social limits of ‘post-Jewish’ category by using various memory formulas such as transformation and repetition.Key words: post-war poetry; memory; post-memory; borderland language; Extermination; testimony; empathy;

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Decter, Jonathan. "The Jewish Ahl al-Adab of al-Andalus." Journal of Arabic Literature 50, no. 3-4 (November 11, 2019): 325–41. http://dx.doi.org/10.1163/1570064x-12341390.

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Abstract This article studies the use of adab and related terminology among medieval Jewish authors with particular attention to shifts in cultural and religious sensibilities, matters of group cohesion and self-definition, and the contours of adab discourse across religious boundaries. The article demonstrates that, although Jews in the Islamic East in the tenth century internalized adab as a cultural concept, it was in al-Andalus that Jews first self-consciously presented themselves as udabā. The article focuses on works of Judeo-Arabic biblical exegesis, grammar, and poetics as well as Hebrew poetry composed after the style of Arabic poetry.

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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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Azarova, N. M. "ADVENTURES OF THE SOUL: TRANSMISSION OF THE SYSTEM OF MYSTICAL POETRY IN THE LANGUAGE OF VENIAMIN BLAZHENNY." VESTNIK IKBFU PHILOLOGY PEDAGOGY AND PSYCHOLOGY, no. 1 (2023): 50–60. http://dx.doi.org/10.5922/pikbfu-2023-1-5.

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The poetry of Veniamin Blazhenny (the Blessed) can be seen as a vivid example of the translation of the typological properties of the language of mysticism in late 20th century poetry. The artistic nature of the work of the Blessed during this time did not receive a fundamental analysis. The soul, a key concept of Blazhenny’s poetry, reveals undoubted similarities with the conceptualization of the soul and the idea of metempsychosis in Jewish and Judeo-Christian mysticism. This study focuses on grammatical elements, and in particular the system of pronouns and negative poetics, the way the subject is constructed and the strategy of anti-discursiveness. The key word and concept of Blazhenny’s poetry is the Soul which reveals an undoubted similarity with the conceptualization of the soul and the idea of metempsychosis in Jewish and Jewish-Christian mysticism.

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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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Snir, Reuven. "“These Hearts, Can They Reach Tranquility?”." Arquivo Maaravi: Revista Digital de Estudos Judaicos da UFMG 15, no. 28 (October 18, 2021): 205–32. http://dx.doi.org/10.35699/1982-3053.2021.36589.

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The article examines the Arabic literary poetry written by Iraqi Jews in Israel during the 1950s after their immigration from Iraq. This temporal revival of Arabic poetry by Jews was the swan song of the Arab-Jewish culture as we are currently witnessing its demise– a tradition that started more than fifteen hundred years ago is vanishing before our eyes. Until the twentieth century, the great majority of the Jews under the rule of Islam adopted Arabic as their language; now Arabic is gradually disappearing as a language mastered by Jews.

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Polliack, Meira, and Adele Berlin. "Biblical Poetry through Medieval Jewish Eyes." Vetus Testamentum 44, no. 3 (July 1994): 417. http://dx.doi.org/10.2307/1535224.

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TERMAN, PHILIP. "The Poetry of a Jewish Humanist:." Tikkun 30, no. 3 (2015): 56–58. http://dx.doi.org/10.1215/08879982-3140236.

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Selavan, Ida Cohen, and R. Barbara Gitenstein. "Gitenstein's "Messianism in Jewish-American Poetry"." Jewish Quarterly Review 77, no. 4 (April 1987): 332. http://dx.doi.org/10.2307/1454375.

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Joshua Schuster. "Jewish Counterfactualism in Recent American Poetry." Shofar: An Interdisciplinary Journal of Jewish Studies 27, no. 3 (2009): 52–71. http://dx.doi.org/10.1353/sho.0.0375.

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Guttman, Anna Michal. "“Our Brother’s Blood”: Interreligious Solidarity and Commensality in Indian Jewish Literature." Prooftexts 40, no. 2 (2023): 71–93. http://dx.doi.org/10.2979/prooftexts.40.2.03.

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Abstract: This article argues that contemporary Indian Jewish literature recovers a narrative of lost, Indigenous cosmopolitanism, which effectively reframes the history of the Indian subcontinent. More specifically, it contends that interreligious commensality, particularly between Jews and Muslims, forms the center of this cosmopolitan vision, thereby reimagining the home—rather than the public sphere—as the center of cosmopolitan experience. This gendered focus on food as a site for cultural syncretism and remembrance renders the home as a space that redefines Jewish identity and community, thereby challenging the patriarchal authority of both Jewish law and the Indian state. These texts (fiction, drama, poetry and creative nonfiction) preserve and transmit forms of Indian Jewish identity that are marginalized within India and little known by Jews outside the subcontinent. Despite the precipitous decline in the size of India’s Jewish communities, that loss is not defined primarily by externally imposed trauma. Indian Jewish literature therefore offers a distinctive model for remembrance that also challenges contemporary truisms about relationships between Jews and others. The memory of past commensality offers a note of both caution and hope as contemporary Indian Jewish writers wrestle with Jewish-Muslim conflict in the Middle East, where the majority of Jews of Indian descent now reside.

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Levinson, Julian. "On the Uses of Biblical Poetics: Protestant Hermeneutics and American Jewish Self-Fashioning." Prooftexts 40, no. 1 (2023): 190–226. http://dx.doi.org/10.2979/ptx.2023.a899253.

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Abstract: This article shows how new trends in Protestant biblical hermeneutics in nineteenth-century America helped to raise the cultural status of modern-day Jews, while inspiring bold new directions in American Jewish literary culture. The interpretive framework under discussion emerged in the work of Bishop Robert Lowth and Johann Gottfried Herder, whose studies of biblical poetry became highly influential in the United States when they were both published at the height of the Second Great Awakening. By reconceptualizing biblical poetry (especially in the works of the biblical prophets) as sublime art, their approach created the possibility for valorizing the biblical tradition for its aesthetic power alongside its religious teachings. Since Jews were commonly seen as continuous with biblical Israel, this approach meant that Jews could be seen as heirs to a glorious literary tradition, a point that American Jewish poets, such as Emma Lazarus, emphasized when they launched their own poetic experiments modeled on the biblical prophets.

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Feldman, Sara Miriam. "Jewish Simulations of Pushkin's Stylization of Folk Poetry." Slavic and East European Journal 59, no. 2 (2015): 229–45. http://dx.doi.org/10.30851/59.2.004.

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This article examines the prosody and other features of Hebrew and Yiddish translations of Eugene Onegin , which were composed as a part of Ashkenazi Jewish cultural movements in Eastern Europe, Russia, and Palestine. Russian literature played an important role within the history of modern literature in both Hebrew and Yiddish. Translating Russian literature tested the limits of the literary Yiddish and Hebrew languages. Due to the novel’s status in the Russian canon and its poetic forms, translating it was a coveted literary challenge for high-culture artistic production in Jewish languages. I examine this phenomenon using Pushkin’s simulation of folk poetry in the “Song of the Girls.” Due to the different social and textual functions of Yiddish and Hebrew, as well as their linguistic features, translatability of even formal characteristics differed from one Jewish language to another. The changes in Hebrew pronunciation during this period were reflected clearly in the changing limits of the ability of writers to translate Onegin . Though motivated by an inward-facing drive to produce modern and Western literature in one Jewish language or another, these translations were also a manifestation of the cultural bond between secular, East European Jewish intellectuals and Russian literature.

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Yemini, Bat-Zion. "Sivan Baskin: Multilingual Israeli Poet in the Age of Globalization." Review of Rabbinic Judaism 24, no. 2 (October 4, 2021): 247–63. http://dx.doi.org/10.1163/15700704-12341385.

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Abstract Sivan Baskin, a poet and literary translator, started writing on the Internet in the early years of the millennium on the “New Stage” site and has published three books of poetry. Baskin’s writing is characterized by multilingualism, inserting words from various languages, written in their own alphabet, within a poem in Hebrew. Although these words or phrases are few and far between, they are conspicuous by their presence and foreignness, representing multiculturalism. Baskin is the first Hebrew poet in multicultural Israel to do this. This article cites four poems that reflect Baskin’s unique writing, which is derived from the combination of her two mother-countries in her life: Lithuania as a Jewish exile, her first homeland, and Israel as the Jewish State into which Jews from around the world were gathered. As an introduction to Baskin’s poetry, this article presents Israel as a multicultural and multilingual country.

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Joosten, Jan, Michael Sokoloff, and Joseph Yahalom. "Jewish Palestinian Aramaic Poetry from Late Antiquity." Journal of the American Oriental Society 121, no. 4 (October 2001): 689. http://dx.doi.org/10.2307/606531.

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Abramson, Glenda. "Apocalyptic Messianism and Contemporary Jewish-American Poetry." Journal of Jewish Studies 38, no. 1 (April 1, 1987): 138–39. http://dx.doi.org/10.18647/1335/jjs-1987.

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Goczał, Ewa. "Odnajdując „wspólny język ognia”: Jerzy Ficowski wobec mistycyzmu żydowskiego (prolegomena)." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 16 (December 11, 2017): 121–33. http://dx.doi.org/10.24917/20811853.16.9.

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Finding the “common language of fire”: Jerzy Ficowski on Jewish mysticism (prolegomena) This article is an attempt to outline the relationship between the work of Jerzy Ficowski and the Jewish mystical thought that was brought in this paper to a kabbalistic element – a synthesis of components considered basic for two great currents of the non-orthodox Judaism: Kabbalah and Hasidism. At the level of content they consist of the motifs of the Book, Word and Letter, Angels and Light, the messianic topos of the Just, cosmogonic and eschatological myths, as well as specific, non-linear recognition of time – which are strongly present in the poetry of the author of the Regions of the Great Heresy. At the level of structure there are noticeable the emanation model and the duality of language and imagination, of matter and spirituality – diametrically different elements, yet gravitating toward the ultimate unity. The text, containing references to translation and “Schulzian” output of Jerzy Ficowski, is focused on his poetry and is an introduction to its aspectual monograph.Key words: contemporary Polish poetry; Jerzy Ficowski; Jewish mysticism; Kabbalah; Hasidism;

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Gordley, Matthew E. "Psalms of Solomon as Resistance Poetry." Journal of Ancient Judaism 9, no. 3 (May 19, 2018): 366–85. http://dx.doi.org/10.30965/21967954-00903005.

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Two trends in recent scholarship provide a new set of lenses that enable contemporary readers to appreciate more fully the contents and genre of Psalms of Solomon. On the one hand, scholars such as Richard Horsley, Anathea Portier-Young, and Adela Yarbro Collins have now explored the ways in which early Jewish writers engaged in a kind of compositional resistance as they grappled with their traditions in light of the realities of oppressive empires. These approaches enable us to consider the extent to which Psalms of Solomon also may embody a kind of resistant counterdiscourse for the community in which it was edited and preserved. On the other hand, scholars within biblical studies (e. g., Hugh Page) and beyond have examined the dynamics of the poetry of resistance. Such poetry has existed in many times, places, and cultures, giving a voice to the oppressed, protecting the memory of victims, and creating a compelling vision of a possible future in which the oppression is overcome. In this article the poetry of Guatemalan poet Julia Esquivel is interwoven with Psalms of Solomon to illustrate these dynamics and to illuminate the kinds of concerns that scholars like Barbara Harlow and Caolyn Forché have highlighted within the poetry of witness. Since Psalms of Solomon has yet to be explored through these dual lenses of resistance and resistance poetry, this article examines these early Jewish psalms in light of these scholarly trends. I argue that Psalms of Solomon can be understood as a kind of resistance poetry that enabled a community of Jews in the first century B. C. E. to resist the dominant discourse of both the Roman Empire and its client king, Herod the Great. The themes of history, identity, and possibility that pervade resistance poetry in other times and places are central features of Psalms of Solomon.

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Fadhel Hammody ALKHAZAALY, Shaimaa. "REBELLION AND REJECTION OF HERITAGE IN MODERN HEBREW POETRY." RIMAK International Journal of Humanities and Social Sciences 05, no. 04 (July 1, 2023): 90–115. http://dx.doi.org/10.47832/2717-8293.24.6.

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This research deals with the image of rebellion and the rejection of heritage in modern Hebrew poetry. Poetry is considered a type of literature and one of its important basic forms. One of the literary genres, poetry has played an important role in shaping the cultural identity of nations throughout ancient and modern times. Where the Jewish writers distinguished themselves in this genre as one of the forms of social awareness, which occupies an important place and occupies an e ssential space in mobilizing societies and peoples and enlightening them to struggle for their liberation and crystallizing their revolutionary and civilizational awareness, in addition to the aesthetic function of poetry as an artistic value added to life. The phenomenon of rebellion and the rejection of the heritage emerged in Hebrew poetry in Israel and the departure from the official line of the ruling establishment in the wake of the wars that Israel waged with neighboring countries, the continuation of the occupation, the control of Jewish settlers over the Palestinian lands, and the increase in violence and injustice against the Palestinians. And the outbreak of the Palestinian uprisings since (1987-1993) and (2000) and Israel launched a war on Lebanon in 2006. All of this uttered cries of rebellion and rejection, and then expressed it in many poems. As a result, the phenomenon of rebellion and rejection poetry expanded in recent years. Hence, it can be said that the emergence of the literature of rebellion and rejection in Israel and the refusal of some Jewish writers to politicize literature and recruit it is tantamount to protesting and rebelling against the government and its institutions because they are trying to impose political dictates on their literary and intellectual writings... We will explain in this study the image of rebellion and the rejection of heritage by Jewish poets to the situation The ruling political and repressive practices in Israel and their impact on many poets as fertile material that poets derived and expressed in their poems

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Kubińska, Olga. "Fasetowany język: bilingwalna poezja Ireny Klepfisz w poetyckim dyskursie o Zagładzie." Poznańskie Studia Polonistyczne. Seria Literacka, no. 33 (October 26, 2018): 327–47. http://dx.doi.org/10.14746/pspsl.2018.33.19.

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The bilingual poetry of Irena Klepfisz, a Polish-born Jewish-American poet, seems to constitute a unique case of Holocaust poetry. The poet, an intellectual and activist engaged in lesbian, queer, feminist and gender movements, advocates the reading of Holocaust poetry within the ramifications of gender oriented cultural theories. Her bilingual poetry undermines the hypothesis of the postvernacularity of contemporary Yiddish. The paper substantiates the thesis that the choice of the target language in the translaton of bilingual Holocaust poetry has clear axiological underpinnings.

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Avsenik Nabergoj, Irena. "POSEBNOSTI JUDOVSKIH ŽALOSTINK IN ŽALNIH OBREDOV V PROTIJUDOVSKEM OKOLJUSPECIAL FEATURES OF JEWISH LAMENTS AND MOURNING RITUALS IN HONOR OF THE DEAD IN AN ANTI-SEMITIC ENVIRONMENT." Traditiones 48, no. 2 (June 28, 2019): 19–47. http://dx.doi.org/10.3986/traditio2019480202.

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Prispevek z metodama pozornega branja in intertekstualne primerjave med različnimi kulturami in religijami odkriva posebnosti judovskih žalostink za umrlimi in judovskih žalnih obredov, kot so izpričani v žalostinkah Svetega pisma in v posvetopisemskih judovskih virih, na antičnih judovskih nagrobnih napisih, v tradicionalnih judovskih verskih praksah žalovanja, v srednjeveških judovskih literarnih tradicijah spomina na mučence in v komemoracijah za žrtvami holokavsta v moderni judovski poeziji. Raziskuje tudi odnos do trpljenja in smrti Judov, izpričan v slovenskem ljudskem izročilu in v izbranih delih slovenske rokopisne tradicije.***This contribution discloses, by using the methods of close reading and intertextual comparison with various cultures and religions, peculiarities of Jewish laments in honour of the dead and of Jewish mourning rituals, as they are witnessed in laments of the Bible and in post-Biblical Jewish sources, in ancient Jewish epitaphs, in Jewish traditional religious mourning practices, in medieval Jewish literary traditions of commemorating martyrs and in commemorations of holocaust victims in modern Jewish poetry. It deals also with the relationship to suffering and the death of Jews, as they are witnessed in Slovenian literary folklore and in selected works of Slovenian manuscript tradition.

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СЕМЕРИН, ХРИСТИНА. "ҐЕНДЕРНІ ВИМІРИ ЄВРЕЙСЬКОЇ ТЕМИ У ПОЕЗІЇ ЛЕСІ УКРАЇНКИ." Studia Ukrainica Posnaniensia 8, no. 2 (December 31, 2020): 97–105. http://dx.doi.org/10.14746/sup.2020.8.2.07.

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In the article, Lesia Ukrainka’s poetry based on the Jewish cultural motifs and archetypal plots, mainly of biblical genesis, has been studied. Selected poems are being examined through the lens of imagology and gender theory. The author emphasizes gender nuancing of the Jewish theme developed in the poetry. In the study, the noticeable imagological, and gender aspects are being considered as follows: the legitimation of national identity by gender interactions; a detection of mothers’ competition under the patriarchal pressure; the discourse of a gender communicative abyss; the equalization, and the abolition of gender restrictions in order to create the idea of a person of integrity regardless gender values. In conclusion, it should be noted that the intricate social history of the Hebrew women is being transposed into Ukrainian modernity in Lesia Ukrainka’s poetry.

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Koplowitz-Breier, Anat. "Déjà Vu: Shirley Kaufman’s Poetry on Biblical Women." Religions 10, no. 9 (August 21, 2019): 493. http://dx.doi.org/10.3390/rel10090493.

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This article explores Shirley Kaufman’s reading of the Bible as an elaboration on/of its feminine characters via three devices: (a) Dramatic monologues, in which the woman speaks for herself (“Rebecca” and “Leah”); (b) description of specific scenes that gives us a glimpse into the character’s point of view (“His Wife”, “Michal”, “Abishag”, “The Wife of Moses”, “Yael”, and “Job’s Wife”); and (c) interweaving of the biblical context into contemporary reality (“Déjà Vu” and “The Death of Rachel”). Fleshing these figures out, Kaufman portrays the biblical women through contemporary lenses as a way of “coming to terms with the past” and the historical exclusion of “women’s bodies” from Jewish tradition, thereby giving them a voice and “afterlife”. Her treatment of the biblical texts can thus be viewed as belonging to the new midrashic-poetry tradition by Jewish-American women that has emerged as part of the Jewish feminist wave. Herein, Kaufman follows Adrienne Rich and Alicia Ostriker’s “re-visioning” of the Bible and in particularly its women, empowering them by making use of her/their own words.

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Хаздан, Е. В. "“‘From Jewish Folk Poetry’ by Dmitri Shostakovich — in Yiddish”." Музыкальная академия, no. 4(784) (December 21, 2023): 208–17. http://dx.doi.org/10.34690/355.

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На компакт-диске «Akh, nit gut!», выпущенном компанией «Zefir Records», представлены шестнадцать еврейских народных песен в аранжировке Юлия Энгеля и цикл «Из еврейской народной поэзии» Дмитрия Шостаковича, также спетый на идише. Исполнители проделали неординарную работу, выявляя связи между сочинениями, принадлежащими разным эпохам, и обозначая пролегающую между ними дистанцию. Слушателям предоставляется возможность соотнести два разных подхода академических композиторов к фольклору и взглянуть на произведение Шостаковича в контексте русско-еврейской академической традиции. The CD “Akh, nit gut!” released by Zefir Records, features sixteen Jewish folk songs arranged by Joel Engel and the cycle “From Jewish Folk Poetry” by Dmitri Shostakovich, also sung in Yiddish. The performers have done an extraordinary job of identifying the links between compositions that belong to different times and marking the distance separating them. Listeners are allowed to relate two different approaches of academic composers to folklore and to look at the work of Shostakovich in the context of the Russian-Jewish academic tradition.

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Grossman, Eliav. "Three Aramaic Piyyutim for Purim: Text, Context, and Interpretation." Aramaic Studies 17, no. 2 (December 9, 2019): 198–255. http://dx.doi.org/10.1163/17455227-01702006.

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Abstract This article presents a critical edition of three Aramaic piyyutim for Purim. The piyyutim are unique in that they were not written in Hebrew, the overwhelmingly dominant language of classical piyyutim, but in a biblicizing register of Aramaic. This puts these piyyutim in conversation with other forms of Jewish Aramaic poetry, namely poems written in Jewish Palestinian Aramaic (JPA). The article includes a detailed analysis of the relation between the JPA poems for Purim and the piyyutim presented herein, and it argues that overt anti-Christian polemics are common to both. The Aramaic piyyutim presented here thus provide a unique nexus between JPA poetry and classical piyyut.

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Münz-Manor, Ophir. "Liturgical Poetry in the Late Antique Near East." Journal of Ancient Judaism 1, no. 3 (May 6, 2010): 336–61. http://dx.doi.org/10.30965/21967954-00103005.

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The article presents a contemporary view of the study of piyyut, demonstrating that Jewish poetry of late antiquity (in Hebrew and Aramaic) was closely related to Christian liturgical poetry (both Syriac and Greek) and Samaritan liturgy. These relations were expressed primarily by common poetic and prosodic characteristics, derived on the one hand from ancient Semitic poetry (mainly biblical poetry), and on the other from innovations of the period. The significant connections of content between the different genres of poetry reveal the importance of comparative study. Thus the poetry composed in late antiquity provides additional evidence for the lively cultural dialogue that took place at that time.

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Balík, Štěpán. "Yelling into the Silence and its Echos. Czech Shoah Poetry Written till 1960s and its Reception." Poznańskie Studia Slawistyczne, no. 12 (September 21, 2017): 29–45. http://dx.doi.org/10.14746/pss.2017.12.2.

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The literary reflection of the Shoah in Czech war and post-war poetry is very limited. Only a few non-Jewish poets have ever returned to thistheme (e.g. František Halas,Jiří Kolář,Jaroslav Seifert, Jan Skácel, Karel Křepelka, Radek Malý). Additionally, literary “testaments” of Jewish authors (Karel Fleischmann, Pavel Friedmann etc.) resulted in only two collections of poems entirely dedicated to the suffering of the Jews during the Nazi oppression (Ota Reich and Michal Flach). On the other hand, there are several books of poetry about Lidice and suffering of the Czech people during the World War II by Viktor Fischl, Karel Šiktanc, Libuše Hájková, Miloš Vacík and others. After the war there were only Jaroslav Seifert and Jiří Kolář among well-known poets who refered to the Shoah in a more significant way. Seifert created a figure of a Jewish girl, Hendele, in his collection of poems Koncert na ostrově (Concert on the Island), which develops the literary narration of the Shoah. Jiří Kolář referred to the Shoah repeatedly, however, he only had a limited chance to publish his work. As a result of this fact, the reception of Czech post-war poetry about the Shoah is almost absent. In my article, I concentrated on some reviewers’ remarks that have already been published since the war-time and other reflections of this kind such as editions of books by Jiří Orten, Hanuš Bonn, Jiří Daniel. A hypothetical reaction on the Shoah verses by Pick’s cabaret audience or Halas’s anonymous poetic obituary paying tribute to Jiří Orten are rather specific sorts of reception. The critical reflection of Kolář’s work in the context of the mass murder commited during the WW II is exceptional. However, the specific motifs of the Shoah were significantly focused on only in recent years by three foreign reviewers (Leszek Engelking, Hanna Marciniak and Anja Golebiowski). Czech Shoah poems printed or reprinted in Jewish periodicals (e.g. annual “Židovská ročenka”, published since 1954) represent a commemorative function, even though sometimes with informative commentaries. They miss any analytical aspect.

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Russell, Jesse. "Jewish Humanism in the Late Work of Geoffrey Hill." Religion and the Arts 25, no. 1-2 (March 24, 2021): 99–124. http://dx.doi.org/10.1163/15685292-02501015.

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Abstract Throughout much of his career, Geoffrey Hill has been pilloried for his alleged conservativism as well as his positive treatment of Christianity in his poetry. A careful reading of his works, however, reveals a complex thinker who was attentive to the moral fallout of the Holocaust and the Second World War as he was a lover of England and European culture. Moreover, Hill’s writings reflect the apparent influence of a host of personalist, existentialist and what could also be called “humanist” twentieth century Jewish thinkers such as Martin Buber and Emmanuel Levinas. Throughout his poetry—especially his later work—Hill attempts (whether successfully or not) to fuse together this Jewish humanism with his own Christian and English voice.

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Lieber, Laura S. "Call and Response: Antiphonal Elements in Jewish Palestinian Aramaic Poetry." Aramaic Studies 17, no. 2 (December 9, 2019): 127–44. http://dx.doi.org/10.1163/17455227-01702001.

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Abstract In this essay, the varieties of refrain structures used in the body of Jewish Palestinian Aramaic poetry from late antiquity provide a laboratory for examining the intersection of acclamation structures and piyyutim. The fact that these poems were written in the vernacular of the community rather than in Hebrew complicates our understanding of their performative setting but at the same time may make it easier to consider a variety of potential modes of community engagement, as we are not constrained by the potential norms of a fixed liturgical setting. The analysis offered here, tentative as it may be, helps us understand both the auditory world of Late Antiquity and the active participation of Jews in the shaping of their soundscape.

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Stern, Heidi. "Queer expectations: A genealogy of Jewish Women’s poetry." Journal of Modern Jewish Studies 18, no. 4 (September 19, 2019): 522. http://dx.doi.org/10.1080/14725886.2019.1667120.

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Crenshaw, James L. "Book Review: Biblical Poetry through Medieval Jewish Eyes." Christianity & Literature 41, no. 2 (March 1992): 206–8. http://dx.doi.org/10.1177/014833319204100213.

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Schneider, Steven P. "Jewish American Poetry: Poems, Commentary, and Reflections (review)." Shofar: An Interdisciplinary Journal of Jewish Studies 23, no. 2 (2005): 127–29. http://dx.doi.org/10.1353/sho.2005.0072.

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Thormann, Janet. "The Jewish Other in Old English Narrative Poetry." Partial Answers: Journal of Literature and the History of Ideas 2, no. 1 (2004): 1–19. http://dx.doi.org/10.1353/pan.0.0081.

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Alicia Ostriker. "American Jewish Poetry, Familiar and Strange: A Review." Shofar: An Interdisciplinary Journal of Jewish Studies 27, no. 3 (2009): 148–50. http://dx.doi.org/10.1353/sho.0.0370.

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Swartz, Michael D. "Singing in the Vernacular: Response." Aramaic Studies 17, no. 2 (December 9, 2019): 256–71. http://dx.doi.org/10.1163/17455227-01702004.

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Abstract One of the most significant themes shared by the studies in this issue is intertextuality. Several authors conduct systematic analyses of the relationship between Aramaic poems and their biblical antecedents, while one study argues that the repetition of refrains in Jewish Aramaic poetry has much in common with the practice of public acclamation in the Greco-Roman world. Each of these studies also advances the question of the Sitz im Leben of Jewish Aramaic poetry in Palestine in late antiquity, including the context of its performance. The historical context of these poems is reflected in the way the poets addressed the conditions of their times. This response ends by singling out a number of further questions.

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Szwarcman-Czarnota, Bella. "Kadia Mołodowska." Studia Judaica, no. 2 (46) (2021): 390–404. http://dx.doi.org/10.4467/10.4467/24500100stj.20.019.13662.

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The project “Canon of the Memoir Literature of Polish Jews”is currently being prepared at the Taube Department of Jewish Studies at the University of Wrocław in cooperation with the POLIN Museum of the History of Polish Jews and Polish Scientific Publishers PWN in Warsaw. Its purpose is to introduce 27 volumes of Jewish memoirs that make up the Jews. Poland. Autobiography series into Polish academic and literary circulation, and to integrate this corpus into the current scholarly discourse on Polish history and culture. This section presents excerpts from the autobiographies of two Jewish writers translated from Yiddish: Rachel (Rokhl) Feygenberg (1885–1972) and Kadia Molodowsky (1894–1975). Rachel Feygenberg depicts her childhood in the shtetl of Lubańin Minsk province, reminiscing about her education, her family’s religiosity, her work in a shop, and the first signs of her writing talent. Molodowsky describes her work teaching homeless children during World War I and the beginnings of her poetic career. She also portrays the Jewish literary milieu in Kiev centered around the Eygns almanac, and her meeting with the patron of Yiddish literature and publisher Boris Kletskin that resulted in the publication of her first volume of poetry Kheshvendike nekht [Nights of Cheshvan].

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Nalewajko-Kulikov, Joanna. "Rachela Fajgenberg." Studia Judaica, no. 2 (46) (2021): 380–89. http://dx.doi.org/10.4467/10.4467/24500100stj.20.018.13661.

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The project “Canon of the Memoir Literature of Polish Jews”is currently being prepared at the Taube Department of Jewish Studies at the University of Wrocław in cooperation with the POLIN Museum of the History of Polish Jews and Polish Scientific Publishers PWN in Warsaw. Its purpose is to introduce 27 volumes of Jewish memoirs that make up the Jews. Poland. Autobiography series into Polish academic and literary circulation, and to integrate this corpus into the current scholarly discourse on Polish history and culture. This section presents excerpts from the autobiographies of two Jewish writers translated from Yiddish: Rachel (Rokhl) Feygenberg (1885–1972) and Kadia Molodowsky (1894–1975). Rachel Feygenberg depicts her childhood in the shtetl of Lubańin Minsk province, reminiscing about her education, her family’s religiosity, her work in a shop, and the first signs of her writing talent. Molodowsky describes her work teaching homeless children during World War I and the beginnings of her poetic career. She also portrays the Jewish literary milieu in Kiev centered around the Eygns almanac, and her meeting with the patron of Yiddish literature and publisher Boris Kletskin that resulted in the publication of her first volume of poetry Kheshvendike nekht [Nights of Cheshvan].

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Tsolin, D. V. "Verb Syntax in Jewish Liturgical Poetry in Aramaic. Based on Targumim Poetry Material." Oriental Studies 2014, no. 67 (June 30, 2014): 138–70. http://dx.doi.org/10.15407/skhodoznavstvo2014.67.138.

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44

Gosfield, Avery. "I Sing it to an Italian Tune . . . Thoughts on Performing Sixteenth-Century Italian-Jewish Sung Poetry Today." European Journal of Jewish Studies 8, no. 1 (June 25, 2014): 9–52. http://dx.doi.org/10.1163/1872471x-12341256.

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Although we know that Jewish musicians and composers were active in Renaissance Italy, very few compositions by Jewish authors or music specifically destined for the Jewish community has survived. There are few exceptions: Salamone Rossi’s works, the tunes from Guglielmo Ebreo da Pesaro’s dance manuals, Ercole Bottrigari’s transcriptions of Jewish liturgy, a handful of fragments. If we limit the list to pieces with specifically Jewish content, it becomes shorter still: Rossi’s HaShirim asher liShlomo and Bottrigari’s fieldwork. However, next to these rare musical sources, there are hundreds of poems by Jewish authors that, although preserved in text-only form, were probably performed vocally. Written in Italian, Hebrew and Yiddish, they usually combine Italian form with Jewish content. The constant transposition and transformation of form, language and content found in works such as Josef Tzarfati’s Hebrew translation of Tu dormi, io veglio, Elye Bokher’s Bovo Bukh, or Moses of Rieti’s Miqdash Me’at (an artful reworking of Dante’s Divina Commedia) mirror the shared and separate spaces that defined Jewish life in sixteenth-century Italy. None of these poems have come down to us with musical notation. However, several have extant melodic models, while others have indications, or are written in meters—like the ottava or terza rima—that point to their being sung, probably often to orally transmitted melodies. Even if it is sometimes impossible to ascertain the exact tune used in performance, sung poetry’s predominance in Jewish musical life remains undeniable. HaShirim asher liShlomo, usually considered the most important collection of Jewish Renaissance music, might not have ever been performed during its composer’s lifetime, while Rieti’s Miqdash Me’at survives in over fifty manuscripts, including four Italian translations. In one of these, translator/author Lazzaro of Viterbo writes, tellingly, about looking forward to hearing his verses sung by his dedicatee, Donna Corcos.

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Dasgupta, Freya. "Crucified with the Brother from Galilee: Symbol of the Cross in Modernist Yiddish Imagination." Religions 13, no. 9 (August 30, 2022): 804. http://dx.doi.org/10.3390/rel13090804.

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The European Enlightenment witnessed a Jewish reclamation of Jesus. It led modernist Yiddish intellectuals to experiment with Christian motifs as they tried to contend with what it meant to be Jewish in the modern world. This article proposes to examine, with special focus on poetry, how the crucified Jesus not only became a space of hybridity for Yiddish literary artists to formulate modern Jewish identity and culture but also the medium through which to articulate Jewish suffering in a language that resonated with the oppressors. By doing so, the article seeks to understand the relevance that such literary depictions of Jesus by Jewish authors and poets can have for the Christian understanding of its own identity and its relationship with Judaism.

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Koplowitz-Breier, Anat. "A Nameless Bride of Death: Jephthah’s Daughter in American Jewish Women’s Poetry." Open Theology 6, no. 1 (January 25, 2020): 1–14. http://dx.doi.org/10.1515/opth-2020-0001.

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AbstractIn the Hebrew Bible, Jephthah’s daughter has neither name nor heir. The biblical account (Judg. 11:30–40) is somber—a daughter due to be sacrificed because of her father’s rash vow. The theme has inspired numerous midrashim and over five hundred artistic works since the Renaissance. Traditionally barred from studying the Jewish canon as women, many Jewish feminists are now adopting the midrashicpoetry tradition as a way of vivifying the female characters in the Hebrew Bible. The five on which this article centers focus on Jephthah’s daughter, letting her tell her (side of the) story and imputing feelings and emotions to her. Although not giving her a name, they hereby commemorate her existence—and stake a claim for their own presence, autonomy, and active participation in tradition and society as Jewish women.

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Wolpe, Rebecca. "From Slavery to Freedom: Abolitionist Expressions in Maskilic Sea Adventures." AJS Review 36, no. 1 (April 2012): 43–70. http://dx.doi.org/10.1017/s0364009412000025.

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“Black” themes held a substantial place in twentieth-century American Yiddish poetry and prose, as well as in Yiddish journalism. As Hasia Diner notes in her work on Jews and blacks in the United States in the twentieth century, Jews sympathized with the plight of American blacks and their fight for civil rights. However, this had not always been the case, as evidenced by the many staunch Jewish supporters of slavery and Jewish slave owners and traders. Jonathan Schorsch claims that “under the sign of theHaskala…little changed” in this respect. In discussing a reference by Isaac Satanov to black slavery, Schorsch notes:One cannot gauge from this brief comment whether Satanov knew about the abolitionist movements beginning to agitate in England and France at the time. Satanov's reportage was remarkably non-committal, betraying little, if any, sympathy for these developments.

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Koplowitz-Breier, Anat. "Commemorating the Nameless Wives of the Bible: Midrashic Poems by Contemporary American-Jewish Women." Religions 11, no. 7 (July 17, 2020): 365. http://dx.doi.org/10.3390/rel11070365.

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A proper name individualizes a person, the lack of it making him or her less noticeable. This insight is apt in regard to the nameless women in the Hebrew Bible, a resolutely androcentric work. As Judaism traditionally barred women from studying, many Jewish feminists have sought access to the Jewish canon. Much of American-Jewish women’s poetry can thus be viewed as belonging to the midrashic-poetry tradition, attempting to vivify the biblical women by “revisioning” the Bible. This article examines two nameless wives who, although barely noted in the biblical text, play a significant role in their husbands’ stories—Mrs. Noah and Mrs. Job. Although numerous exegetes have noted them across history, few have delved into their emotions and characters. Exploration of the way in which contemporary Jewish-American poets treat these women and connect them to their own world(s) is thus of great interest to both modern and biblical scholars. Herein I focus on five poets: Elaine Rose Glickman (“Parashat Noach”), Barbara D. Holender (“Noah’s Wife,” and “Job’s Wife”), Oriana Ivy (“Mrs. Noah,” and “Job’s Wife”), Shirley Kaufman (“Job’s Wife”), and Sherri Waas Shunfenthal (“Noah’s Wife Speaks,” “The Animals are our Friends,” “Time,” and “Arc of Peace”).

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Wittenberg, F., and H. Wittenberg. "The trace of Jewish suffering in Johannes Bobrowski’s poetry." Literator 30, no. 3 (July 16, 2009): 49–76. http://dx.doi.org/10.4102/lit.v30i3.87.

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Johannes Bobrowski (1917-1965) is a significant German modernist poet and novelist whose work directly engages the problematic question of German “Schuld” (guilt) in respect of the Holocaust. Although Bobrowski’s poetry not only deals with the German-Jewish question, but with universal themes of history, memory and trauma, he is largely unknown in the Anglophone world, partly because of his isolation in communist East Germany at the time. This article seeks to trace Bobrowski’s nuanced and complex engagement with German history and his own personal implication in the genocide through a detailed analysis of his most significant “Jewish” poems. A key idea for Bobrowski was the need for memory and direct engagement with the traumatic past, as this offered the only hope for redemption. The article presents a number of original English translations of these symbolist and hermetic poems, and thereby makes Bobrowski’s writing available to a wider range of readers.

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Masor, Alyssa. "Ghost Cities: Aaron Zeitlin’s Post-Holocaust Poetry." Zutot 12, no. 1 (April 1, 2015): 53–78. http://dx.doi.org/10.1163/18750214-12341272.

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There are two cities that are featured in Zeitlin’s poetry composed in America during and after the Holocaust, one real and one remembered. Zeitlin is physically in New York and often refers to the city of his real time; however, the author and his poems are possessed by the ghosts of Jewish Warsaw. The-Warsaw-that-is-no-more is often transposed on the geography of New York. Warsaw becomes New York’s ghostly twin, and Zeitlin, a walking shadow whose body is in New York, but whose spirit has gone up in flames with the murdered Jews of Warsaw. In this paper, I demonstrate how Zeitlin creates a paranormal rhetoric of ghosts, astrals, phantoms, and shadows in order to navigate an eradicated world. Various landmarks in New York become portals to this lost world, and crossing the street can become a metaphor for connecting with the deceased.

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Journal articles on the topic 'Jewish poetry'

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