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 switch the Ashkenazic or eu Hebrew accessory in which just about all sleek Hebrew poetry were composed until eventually the Nineteen Twenties. Segal takes under consideration the large 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 effect of Zionism; and the major function performed by means of girls poets in introducing the recent accessory. This meticulous and complex but readable examine offers stunning 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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Additional resources for A New Sound in Hebrew Poetry: Poetics, Politics, Accent (Jewish Literature and Culture)
Hebrew as a lingua franca of the Old Yishuv was still not a standardized language. Like a hybridizatk tion of dialects that serves as a bridge between two communities, these makeshift Hebrews allowed people with different mother tongues as well as different Hebk brew accents to communicate minimally. “Make your school a nation-state” 27 A dialect must be imposed over a linguistically diverse population before there can be anything like an official language that will be used in interÂ� actions between speakers of different dialects in place of a more naturally produced linguistic compromise.
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. This book accounts for the timing of poetry’s adoption of the new accs cent, the lyric uses of that accent as a way of imagining the old-new Jewish nation, and the paradoxical association of women with a Hebrew sound that would come to symbolize a powerful masculine national identity.
Not unlike advanced nations who are among the first to industrialize or modes ernize or computerize their infrastructure, these poets soon found themselves outdated, lagging behind those teachers and revivalists who had begun the procs cess of adopting Hebrew a bit later and therefore had access to more updated technology in the form of the new accent. It is only with the institution of the new accent in Hebrew poetry, their second attempt at integrating accentualsyllabic meter, that poets satisfied both the need for a national vernacular lites erature and the desire for a pure Hebrew.