By Miryam Segal
With scrupulous awareness 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 nearly all glossy 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 position of colleges; the effect of Zionism; and the top position performed by means of girls poets in introducing the recent accessory. This meticulous and complicated but readable learn offers striking 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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Extra info for A New Sound in Hebrew Poetry: Poetics, Politics, Accent (Jewish Literature and Culture)
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. These works were inspired by a variety of cultures—some were simply translats tions of Russian, Yiddish, and Arabic songs—and were sung in a variety of Hebrew accents, but prior to its appearance in the canonical genres, the new accent served poets and their public through the folk song, the genre consides ered most in tune with the national spirit.
43 Of these, Bi¿ovski, Bluvshtain, and Shekhtman composed their accentual-syllabic poetry in the new accent. Bi¿ovski, in parts ticular, was known for her “pure” Hebrew for using a Sephardic stress system in her poetry and speaking new-accent Hebrew. Neither she nor Bluvshtain published any poems composed in an Ashkenazic accent. In the 1920s BatMiryam was composing in Ashkenazic, and Rab used the new accent but composed in free rhythm. That is, with the exception of Bat-Miryam, the popular female poets of the 1920s were composing almost exclusively in the new accent.
The philosophic and legal works of the period also became important sources for Hebrew prose—the writings of Maimonides and Saadia Gaon, for example—which were read by European Jews in the Ibn-Tibbon translations of the Judeo-Arabic originals. Arabic also continued to be important for Hebrew in Western Eurs rope, mostly through the Spanish Jewish influence; German and French influes enced proto-Ashkenazic and Ashkenazic Hebrew. By the eleventh century a new mixed form of the language, sometimes called rabbinic Hebrew, appeared in Ashkenazic communities.