By Miryam Segal
With scrupulous realization 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 exchange the Ashkenazic or ecu Hebrew accessory in which nearly all sleek Hebrew poetry have been 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 position of faculties; the impact of Zionism; and the major function performed by means of girls poets in introducing the recent accessory. This meticulous and complicated but readable research presents miraculous 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)
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. The Hebrew pedagogic project in Palestine was motivated by, among other things, the goal of creating “natives,” and the demand for new-accent children’s poetry was an expression of the wish to create a completely authentic Hebrew speaker. The historical and literary reasons why women were responsible for so much of the new-accent poetry of the twenties are some of the same reasons that women’s poetry appeared in Hebrew at all in this period.
Both ha-Safah (The Language) and ha-Tekufah (The Epoch) published pieces on the question of accent, poetry, and pedags gogy. The publication of new-accent poems also began in the teens, albeit at a slow rate. 42 The Teachers’ Union published Moledet for young Hebrew readers in Palestine. This too indicates the pedagogic youth orientation of new-accent poetry. In addition to ha-Tekufah and Moledet, Hedim (Echoes), Davar (The Word), and ha-Shiloa¿ (The Siloam) also introduced their audies ences to new-accent poems relatively early in the twenties—often with a note that they be read in the “correct” accent.
It is a testament either to the success of the rhetoric of Shats and his fellow critics, or to their predictive powers, that new-accent poes etry did come to signify and allude to that narrative. Indeed Labor poetry— including the work of Bluvshtain and Shlonsky—took up Shats’s challenge to write the working Jewish body into literature in the new accent. Scholarship also seems to have absorbed Shats’s rhetoric, and takes for granted the territors rialization of Hebrew that was a necessary step in the rise of new-accent poes etry as the literature of the nation.