By Miryam Segal
With scrupulous realization 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 sleek Hebrew poetry have been composed till the Nineteen Twenties. Segal takes under consideration the large old, ideological, and political context of this shift, together with the development of a countrywide language, tradition, and literary canon; the an important position of colleges; the impact of Zionism; and the best function performed via girls poets in introducing the recent accessory. This meticulous and complicated but readable research offers astonishing 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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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 exchange the Ashkenazic or eu Hebrew accessory in which nearly all glossy Hebrew poetry have been composed till the Twenties.
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Additional info for A New Sound in Hebrew Poetry: Poetics, Politics, Accent (Jewish Literature and Culture)
If the schools enjoyed the advantage of a young and malleable population that dispersed daily to their families and for good when they entered the workforce and started their own families, the laboring settlements had their own advantages vis-à-vis language revival. These included ideological homogenk neity and relative isolation. Shlonsky’s accentual development, described in chapter 4, shows that the labor settlements served as a laboratory of Hebrew langk guage, albeit one far more limited in its audience and reach than the schools.
Despite the challenges of writing modern poetry in this not-so-modern language, there was at least a rich tradition to draw on. Poetry was the genre most consistently interrogated and evaluated with ress spect to nationalist criteria in Russian Jewish culture. 18 Hebrew lyric, like Hebrew speech, was a “nationos ometer”—both in the sense of an instrument sensitive to conflicting notions of proper nationalist politics and as a kind of dream of Hebrew sovereignty through literary art. The fundamental dependency of poetic effect on the way words are pronounced may have made this genre the overdetermined choice for nationalist expression.
Accentual-syllabic meter requires a poet to declare the accent or stress system she is using. The foot of accentual-syllabic poetry, unlike the syllabic unit of Wesselian poetry, depends on the regular appearance of the natural emphases of Hebrew speech. The location of these stressed syllables varies greatly bets tween Ashkenazic and Sephardic accents, so that what constitutes three feet in one accent may become an irregular arrangement of stressed and unstressed syllables in the other. One reason why it may have taken so long for poets to adopt the prosody that would have been so familiar to them from European lites erature was that they did not treat their own Hebrew accents as a vernacular; the Sephardic stress system represented not only high Hebrew but proper Hebs brew speech as well.
A New Sound in Hebrew Poetry: Poetics, Politics, Accent (Jewish Literature and Culture) by Miryam Segal