By Miryam Segal
With scrupulous recognition to landmark poetic texts and to academic and serious discourse in early 20th-century Palestine, Miryam Segal strains the emergence of a brand new accessory to switch the Ashkenazic or eu Hebrew accessory in which nearly all glossy Hebrew poetry have been composed till the Nineteen Twenties. Segal takes under consideration the huge historic, ideological, and political context of this shift, together with the development of a countrywide language, tradition, and literary canon; the an important function of colleges; the impression of Zionism; and the best position performed via girls poets in introducing the recent accessory. This meticulous and complicated but readable learn offers brilliant 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)
Kahan, for example, emigrated in 1934 and switched to the new accent in the same period. By contrast, Hillel Habavli, who wrote in the United States, only switched to the new accent after the founding of the State of Israel fifteen years later. In the 1920s, however, any compulsion to write in the new accent “Make your school a nation-state” 25 would have come from the poets’ own ideological sympathies or as a result of the rising status of new-accent Hebrew speech. The successes of the pedagk gogues and the expansion of Hebrew’s domain were the source of pressure on the poets to adopt the new accent at this earlier stage.
A number of historical factors no doubt underlie the hesitations of the Hasks kalah poets to compose in accentual-syllabic meters, despite the fact that some of them utilized that prosodic system in the poems they composed in other languages. 36 Over the course of the nineteenth century there was more and more support for this idea and growing dissatisfaction with the sound of Wesselian poetry as compared to the sound of Russian and German poetry. Yet in an Ashkenazic Hebrew context the full-fledged adoption of the spoken form of Hebrew would have conflicted with the principle of language purity that reigned during the Haskalah.
They also continued to employ Hebrew in a wide variety of written genres—in books of religious law; in official communication regarding ritual, legal, and community matters; as well as in personal letters between people who did not share a mother tongue or, indeed, any other written language. Written Hebrew did not develop at a constant rate, but there were periodic literary renaissances in poetry and prose. The piyut, a liturgical poem, dates back at least to sixth-century Palestine and remained a basic ingredient of religious poetic composition through modern times.
A New Sound in Hebrew Poetry: Poetics, Politics, Accent (Jewish Literature and Culture) by Miryam Segal