By Miryam Segal
With scrupulous realization to landmark poetic texts and to academic and severe discourse in early 20th-century Palestine, Miryam Segal lines the emergence of a brand new accessory to exchange the Ashkenazic or ecu Hebrew accessory in which just about all sleek Hebrew poetry have been composed until eventually the Nineteen Twenties. Segal takes under consideration the vast historic, ideological, and political context of this shift, together with the development of a countrywide language, tradition, and literary canon; the the most important function of colleges; the impression of Zionism; and the prime position performed via girls poets in introducing the recent accessory. This meticulous and complex but readable research offers unbelievable new insights into the emergence of contemporary Hebrew poetry and the revival of the Hebrew language within the Land of Israel.
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Extra resources for A New Sound in Hebrew Poetry: Poetics, Politics, Accent (Jewish Literature and Culture)
Defined by three diffs ferent parameters—readership, authorship, and genre—children’s poetry, womes en’s poetry, and the folk song were all able to perform this linguistic-cultural labor before canonical poetry had mastered it. Authenticity and the Mother Tongue Like other European peoples, Jews attempted to create for themselves a new language and a new literature consistent with their nationalist aspirats tions. 50 The Hebrew sound that was adopted in the New Yishuv and beyond was figured alternately as feminine, ancient and authentic, and as masculine and modes 14 a new sound in hebrew poetry ern.
A handful of others also published poems in new-accent Hebrew, but this practice became habitual only in the genre of children’s poetry. 41 The teens were the period of highest friction between poetry and pedags gogy. There was already a generation of new-accent Hebrew speakers in Pales estine and it was becoming clear that their Hebrew might very well be the language of the New Yishuv. Both ha-Safah (The Language) and ha-Tekufah (The Epoch) published pieces on the question of accent, poetry, and pedags gogy.
Poets and critics refashioned the new accent as a literary and political tool. I 18 a new sound in hebrew poetry show how these poets wrote implicit (and sometimes fantastic) histories of Hebrew language and literature in their poems and how they inscribed the new accent as an element in the proto-national identity of the New Yishuv. This section also reconfigures new-accent history by tracing the naturalizats tion of the New Hebrew in poetry. By looking at the reception of these poets, I am able to reflect on the ways in which they shaped readers’ perceptions and accs count for the choices they made in presenting New Hebrew—how they formuls lated the new accent as the territorial, contemporary, authentic, and representative Hebrew, as the language of the laboring immigrant-native in Pales estine.