By Miryam Segal

With scrupulous cognizance 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 switch the Ashkenazic or ecu Hebrew accessory in which nearly all glossy Hebrew poetry were composed till the Nineteen Twenties. Segal takes under consideration the huge old, 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 impact of Zionism; and the best position performed through girls poets in introducing the hot accessory. This meticulous and complex but readable learn presents awesome 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 info for A New Sound in Hebrew Poetry: Poetics, Politics, Accent (Jewish Literature and Culture)

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By dispensing with the closest equivalent in Hebrew to a modern national lites erary tradition and acknowledging his use of the Ashkenazic Hebrew accent in his poetry, Bialik and a few of his contemporaries were able to create a poetic simulation of a vernacular. This use of Ashkenazic allowed them to write the kind of verse in Hebrew—trochaic, amphibrachic, iambic—that Europeans could write in their respective mother tongues. Whereas the prototypical Hasks kalah poet was trapped between his own penultimately stressed accent and the introduction 11 high Medieval Hebrew of the poets of Spain and Italy, Bialik used his Ashkens nazic Hebrew unabashedly.

The relatively early appearance of new-accent poetry for children and the popular reception of poetry by women in the 1920s are both telling of the nats tionalist narrative that the new accent encapsulates. 52 By the second decade of the twentieth century, the non-native-born adults were fascs cinated with their native-born offspring whose presumed mother tongue was Hebrew. 53 The Hebrew of juvenile speakers was perceived as more colloqs quial and less textual. Commonness and the idiom of the folk served as Herders rian signs of national authenticity, so that this low register was a source of pride.

It is the literary, the linguistic, and the expresss sion of the one through the other that is the concern of this book. €and the Rothstein girl (Brokhoh, her mother called her— while her father the former Hebrew teacher called her Brakhah, with a kamats under the khaf—and the stress on the final syllable) quickly gathered her hair . . —Devorah Baron, The Exiles A language is a dialect with an army and a navy. —Max Weinreich D evorah Baron’s fictional character Rothstein, father of Brakk khah, gives himself away as a former Hebrew teacher with his hypercorrect pronunciation of his daughter’s name.

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