By Miryam Segal
With scrupulous recognition to landmark poetic texts and to academic and serious discourse in early 20th-century Palestine, Miryam Segal lines the emergence of a brand new accessory to interchange the Ashkenazic or ecu Hebrew accessory in which just about all sleek Hebrew poetry have been composed until eventually the Twenties. Segal takes under consideration the large ancient, ideological, and political context of this shift, together with the development of a countrywide language, tradition, and literary canon; the an important function of faculties; the effect of Zionism; and the top function performed by way of ladies poets in introducing the recent accessory. This meticulous and complex but readable research presents awesome new insights into the emergence of recent Hebrew poetry and the revival of the Hebrew language within the Land of Israel.
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Additional info for A New Sound in Hebrew Poetry: Poetics, Politics, Accent (Jewish Literature and Culture)
Hebrew as the Language of Instruction, Hebrew as Universal Knowledge The synthesis of a national language and literature is not unique to Hebk brew. 12 Unlike English language and literatk ture in the eighteenth century, however, Hebrew suffered from a severe lack of literary and linguistic ingredients (such as mother-tongue dialects to choose from), which partially accounts for the alacrity with which pedagk gogues and revivalists tried to synthesize a spoken Hebrew for the schools. The language revivalists were self-consciously creating and collecting the ingk gredients for a national language and literature.
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. I also imagine the context their poems invoke or might have invoked for their contemporary readers so as to nuance my own description of the Labor, New Yishuv, and gender politics of the new accent and new-accent poetry.
51 For Herder, the “greatness” of a nation is to be found in its language—a kind of constant or soul of the nation—and is often associated in nationalist writing with that which is common and low. The upper classes are represented as corrupt, cosms mopolitan, exposed to and affiliated with foreign, international, and modern influences. The lower classes are conversely associated with the true national spirit. Hebrew literary and musical culture expressed these values. Wellknown poets of the period composed in low genres like the folk song, one manifestation of the importance of authentic (if simulated) cultural artifacts.