Durant l'entre-deux-guerres, la communauté juive de Montréal, forte d'une vague d'immigration importante qui s'est déroulée quelques années auparavant, s'est dotée de plusieurs institutions, dont un quotidien de langue yiddish, Der Keneder Odler (L'Aigle canadien). Ce journal, fondé en 1907, qui atteint son apogée durant les années 1930, devient une référence pour les Juifs immigrants de la ville qui cherchent à appréhender leur nouvelle société d'accueil. L'Odler joue en effet un rôle essentiel dans l'intégration socio-économique des yiddishophones de Montréal et il reflète aussi la structure organisationnelle juive dans la ville. Au même moment, des changements politiques importants se produisent au Québec, dont la fin de 39 ans de gouvernance sous le Parti libéral de la province au profit de l'Union nationale et de son chef, Maurice Duplessis, qui remporte l'élection provinciale du mois d'août 1936. Dans cette thèse, nous considérons la perception de l'équipe éditoriale de l'Odler envers ce changement politique de grande ampleur. Notre hypothèse de base est qu'en examinant les éditoriaux du Keneder Odler durant la première année de Duplessis à la tête de la province, nous serons en mesure de mettre en lumière les particularités idéologiques de la communauté juive immigrante, ainsi que sa perception unique de la politique au Québec et des relations entre Juifs et Canadiens français qui en découlent. Les Juifs de Montréal sont en effet confrontés à une situation politique et culturelle exceptionnelle en Amérique du Nord et au Canada, du fait de la présence dans la province de deux groupes majoritaires en situation de tension, soit les Canadiens français catholiques et les anglophones protestants. Les Juifs yiddishophones représentent la première minorité d'envergure à s'établir dans la métropole canadienne à n'être ni chrétiens ni anglophone ou francophone, et ils développent conséquemment une perspective vastement différente de leurs concitoyens et s'intéressent à des enjeux différents. Le changement politique dans la province, de pair avec la montée généralisée du fascisme, du nazisme et de l'antisémitisme dans le monde occidental durant les années 1930, représente un contexte pour analyser le discours éditorial du Keneder Odler, articulé par les membres d'une minorité culturelle et religieuse en voie d'intégration à la vie politique, sociale et culturelle de Montréal. La question se pose donc en ce qui concerne la perception de Duplessis de la part des éditorialistes du Keneder Odler. La position du journal envers Duplessis se caractérise-t-elle par un rejet ou une opposition, ou plutôt par une acceptation ou une perception positive? En procédant à une analyse en deux partie, soit statistique, sur quatorze mois de juillet 1936 à août 1937, et discursive pour ce qui est du contenu des éditoriaux portant sur Duplessis et la politique québécoise, nous pouvons soutenir que la perception que l'équipe éditoriale du Keneder Odler a du premier ministre unioniste est neutre, sinon positive à l'occasion. Les inquiétudes des éditorialistes se concentrent davantage sur les individus entourant le premier ministre que sur Duplessis lui-même. Il apparait donc que la position de l'Odler envers Duplessis est caractérisée par un processus de normalisation.

In light of often derogatory and unqualified assessments of Yiddish literature adapted from German narrative models, this thesis will propose a different approach to viewing these adaptations. Building on methodologies and frameworks of analyses developed in contemporary medieval scholarship, this thesis pushes for a re-assessment of this literature and suggests a flexible model of adaptation that views adaptation as a creative interaction between two texts. In response to unsatisfactory approaches to judaizing strategies found in Yiddish texts adapted from German literature, this thesis also suggests a different approach. Judaizing processes can either be part of overall processes of adaptation aimed at coding the text as Jewish within an overarching framework of renewed cultural specificity; or, they can function as translation principles by achieving equivalence with the original model. To illustrate both ends of this scale of adaptation, this thesis centres on two early modern Yiddish texts: the Kuhbukh (Verona, 1595) and the Siben weisen mainster bichel (Basel, 1602). The four chapters at the core of this thesis develop and apply extensive frameworks of literary analyses which enable us to rigorously assess the differing levels of adaptations (translation and Wiedererzählen) of both texts. This thesis pushes for a future reassessment of other popular Yiddish narratives adapted from German models. This could ideally be achieved by a positioning of each individual Yiddish text based on German narratives on the proposed scale of adaptation. This should be backed by verifiable methodologies and analyses devoid of unjustifiably dismissive opinions. This would consequently move scholarship towards structured, methodological analyses of early Yiddish secular literature.

Pri ha-Pardes (Früchte des Obstgartens) ist eine Reihe der Vereinigung für Jüdische Studien e.V., welche in Verbindung mit dem Zentrum für Jüdische Studien der Universität Potsdam publiziert wird. Pri ha-Pardes möchte kleineren wissenschaftlichen Studien, Forschungen am Rande der großen Disziplinen und exzellenten Masterarbeiten eine Publikationsplattform bieten. Im fünften Band der Reihe Pri ha-Pardes skizziert Rebekka Denz die Geschichte von Frauen im Allgemeinen Jüdischen Arbeiterbund („Bund“) seit seiner Gründung 1897 bis zum Jahr 1939. Durch das Prisma der gewählten Hauptquelle ─ die Frauenbiographien der „Doires Bundistn“, einer jiddischsprachigen Biographiensammlung verfasst von Mitgliedern des „Bund“ ─ werden das Mitwirken und die Bedeutung von Frauen in dieser sozialistischen, jiddischistischen Bewegung Ost(mittel)europas dargestellt. Zudem wird ein erster Versuch unternommen, diesen Teil der bundischen Parteigeschichtsschreibung hinsichtlich ihrer (Re-) Konstruktionsprinzipien zu lesen. Die Arbeit gliedert sich dabei analog zum bundischen Selbstverständnis und der geographischen Verschiebung seines Hauptwirkungsfeldes in zwei Teile: Frauen im „Russischen Bund“ (1897-1917) und Frauen im „Polnischen Bund“ (1918-1939). Die Auswirkungen der unterschiedlichen historischen Kontexte auf lebensweltliche Aspekte, Tätigkeiten in Bewegung und Partei sowie Tendenzen der Lebensgestaltung der Bundistinnen werden anhand von drei Vergleichskapiteln aufgezeigt; weitere Einzelkapitel behandeln zeitspezifische Aspekte. Die Instabilität der Lebensverhältnisse für die Mitglieder im illegalen „Russischen Bund“ bzw. die größere Stabilität in der Zeit des „Bund“ in Polen als legale Partei bilden wichtige, bislang vernachlässigte Faktoren bei der Betrachtung der weiblichen Lebensmuster. / In this publication the history of women active in the General Jewish Workers Bund (Bund) is outlined from its foundation 1897 up to 1939. The taken main sources are the women biographies of “Doires Bundistn”, a collection of biographies written in Yiddish by members of the Bund. Through the prism of these texts the work and importance of women in this socialist, Yiddishistic movement in Eastern and Middle Europe are presented. Furthermore a first attempt is made to read this part of Bundist party history concerning its principles of (re-)construction. The publication consists of two parts which are based on the Bundist self-concept and the geographical dislocation of its main field: Women in the “Russian Bund” (1897-1918) and women in the “Polish Bund” (1918-1939). The impact of the different historical contexts on lifestyle aspects, activities in the movement or rather in the party, the complex of themes concerning the way of living of female Bundists are pointed out in three comparative chapters. In other chapters it is dealt with themes specific for the different periods. The instability of the living conditions for the members of the illegal “Russian Bund” or the larger stability in the time of the “Polish Bund” as a legal party generates important, up to now neglected factors while examining the paradigms of female life styles.

[pt] Personagem mítico-judaico, o golem é um ser antropomorfo construído a partir de material inanimado e trazido à vida por meio de procedimentos mágicos. Em sua forma mais consolidada, ele é um homem de barro com uma inscrição em hebraico na testa. São muitas as suas facetas nas diferentes leituras que lhe atribuíram ao longo dos séculos. Em todas as variações, no entanto, é sempre uma palavra mágica, escrita ou soprada, que concede vida ao golem. Esta dissertação revisita e reconta o mito, com maior interesse pela palavra que desperta o homem de barro. O trabalho propõe que o papel central da palavra na narrativa do golem faz ressoar a importância da palavra na tradição judaica. Partindo do pressuposto de que a tradição judaica é sedimentada pela transmissão intergeracional de palavras, este trabalho, buscando inserir-se nesse contexto, suplementa-se com um reconto da lenda do golem para crianças. Pensar o poder de criação da palavra nos impele a estabelecer paralelos com a invenção literária. As amostras de escrita poética inseridas e mencionadas no texto tanto exemplificam a questão quanto expõem sua complexidade. O trabalho lança um olhar para o mito do golem como metáfora para a escrita e percebe no próprio autor da dissertação um fazedor de golem. É nesse sentido que o texto se deixa contaminar por uma ideia de golem múltiplo e amorfo. O resultado é uma escrita constelar, composta a partir de fragmentos situados no limite entre a teoria, a prosa literária e a fabulação autobiográfica. Embora produza tensionamentos entre os fragmentos, este trabalho esforça-se por não os interpretar. / [en] A Jewish-mythical character, the golem is an anthropomorphic being which is built from inanimate material and brought to life through magical procedures. In his most consolidated form, he is a clay man with a Hebrew inscription on his forehead. There are many facets to him in the different readings that have been given to him over the centuries. In all the variations, however, it is always a magic word, written or blown, that grants life to the golem. This master s thesis revisits and retells the myth, with a greater interest in the word that awakens the clay man. This work proposes that the central role of the word in the golem narrative resonates with the importance of the word in Jewish tradition. Starting from the assumption that Jewish tradition is sedimented by the intergenerational transmission of words, this work, seeking to insert itself in this context, supplements itself with a retelling of the legend of the golem for children. Thinking about the creative power of words impels us to establish parallels with literary invention. The samples of poetic writing inserted and mentioned in the text both exemplify the question and expose its complexity. The work looks at the myth of the golem as a metaphor for writing and perceives in the author of the dissertation a golem-maker himself. It is in this sense that the text allows itself to be contaminated by an idea of the multiple and amorphous golem. The result is a constellar writing, composed of fragments situated on the boundary between theory, literary prose, and autobiographical fabrication. Although it produces tensions between the fragments, this work strives not to interpret them.

This dissertation delves into the portrayal of Sabbatai Zevi, the 17th-century Jewish messiah who converted to Islam, within 20th-century literary works. Specifically, it scrutinizes how this historical figure is woven into literature and delves into the significance of his portrayal in works written in Hebrew, Yiddish, and English. Utilizing Fred Davis’s insights on nostalgia’s correlation with historical disruptions and Svetlana Boym’s notions of nostalgia for both the past and future, this study interprets Sabbatai Zevi’s melancholic demeanor and his followers’ disillusionment with his conversion as manifestations of a concept termed here as “melancholic nostalgia,” denoting feelings of irretrievable loss. Given that these literary pieces emerged during pivotal moments in 20th-century Jewish history, this dissertation asserts that Sabbatai Zevi’s literary representation serves as a poignant symbol of melancholic nostalgia, resonating with the profound shifts in modern Jewish narrative.

La thèse constitue la première étude d’ensemble de l’œuvre poétique yiddish d’Élia Lévita (1469-1549) qui cherche à définir sa place dans la littérature de la Renaissance en analysant les transferts esthétiques et culturels ayant présidé à sa production. Elle situe l’œuvre vernaculaire de ce savant hébraïste, proche des humanistes chrétiens, dans les traditions poétiques juives hébraïques et yiddish et dans la logique d’une affirmation du rôle de l’écrivain et de la langue vernaculaire dans la société juive. Elle analyse également la portée des modèles extérieurs, chrétiens, en insistant sur l’inscription des romans de chevalerie de Lévita dans l’évolution générale du genre chevaleresque en Italie, et met en évidence le rôle fondamental qu’a joué l’Arioste, et en particulier le Roland furieux, dans le raffinement progressif du projet esthétique de l’auteur. Enfin, elle propose la première analyse d’un certain nombre de textes de la littérature yiddish ancienne, conservés dans des manuscrits, et fournit des arguments pour l’attribution de nouvelles œuvres à Lévita, dont un long poème satirique sur les femmes. Par son ampleur et par sa variété, l’œuvre vernaculaire d’Élia Lévita constitue non seulement la première œuvre moderne de la littérature yiddish mais aussi un cas particulièrement éclairant sur la diffusion des modèles esthétiques de la Renaissance dans des catégories ethniques (les juifs) et sociales (les classes populaires) que l’on aurait pu croire éloignées de ces mutations culturelles. / This PhD dissertation is the first study entirely dedicated to the poetical creation of Elia Levita in Yiddish (1469-1549) and aims at defining its place in Renaissance literature by proposing a detailed analysis of the esthetical and cultural transfers this work illustrates. It locates the vernacular production of this renowned Hebraist, who was acquainted with numerous Christian Humanists, inside the Yiddish and Hebrew poetical traditions and sheds light on the new functions endorsed by the writer and the vernacular language in Jewish society at the beginning of the modern era. It also discusses the influence of external – i.e. Christian – models on the poet and insists on the participation of Levita’s chivalric romances to the global evolution of this genre in Italian literature, by underlying, in particular, the essential role played by Ariost, and his Orlando Furioso, in the progressive refinement of the author poetical practice. Finally, it analyses, for the first time, some texts of Old Yiddish literature which were still buried in manuscripts, and argues for the attribution of new works to Elia Levita, among them, a long satire about women. Elia Levita’s vernacular work not only constitutes, by its size and variety, the first modern work of Yiddish literature but it is also a rich and enlightening example of the diffusion of Renaissance esthetical models inside ethnic and social groups (the Jews and popular classes) which one might have thought untouched by such cultural transformations.

The psyche of an entire people underwent a paradigm shift during the Palestinian Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the 'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest of these pioneers was to rebuild their ancestral homeland. When the pioneering Halutzim encountered the ancestral soil of their Motherland, deep impulses were revealed. Their folksongs - an important component of folklore and mythology - reflected this inner dimension of their being and of their experiences in Eretz Israel by means of archetypal transformations. Initially, an idealistic devotion to reconstruction and intimate reverence for the Land was reflected. However, in the 1930s and 1940s, opposition to Jewish settlement transformed folksongs so they became increasingly militant, reflecting a movement towards extroversion in the Jewish psyche which was consolidated in 1948. / Music / Thesis (M.A.)--University of South Africa, 1997.

RESUMO Neste trabalho procurei retratar resumidamente a diáspora judaica, desde a destruição do Segundo Templo até a expulsão dos judeus da Europa cristã, culminando com o seu refúgio no leste europeu, especialmente na Polônia e Lituânia. Estes dois reinos, que foram unificados em 1569, passaram para o total domínio russo em 1815. Nesta ocasião os judeus ficaram sujeitos aos novos mandatários e foram confinados no assim chamado Distrito de Residência, em algumas cidades e em aldeias denominadas de shteitlach, na Europa Oriental. Em seguida, apresentei a biografia de alguns poetas populares que viveram nessa região onde houve um enorme desenvolvimento cultural e literário da língua ídiche. (século XIX e começo do século XX). Eles foram especialmente escolhidos por seus trabalhos, que resultaram em canções populares, as quais se espalharam pelo mundo judaico, levando as mensagens do judeu dos shteilach da Europa Oriental do seu modo de vida, de sua religiosidade, seus dramas, as perseguições sofridas e também suas alegrias e suas esperanças. Seguem-se quarenta e sete canções transliteradas e traduzidas para o português, bem como algumas delas devidamente comentadas. Depois, sete canções são analisadas com base na lingüística e semiótica, revelando fatos históricos do povo judeu. O capítulo 4, “O fim do shteitl e as canções do gueto", com sete canções, retrata o inferno vivido pelos judeus europeus durante a Segunda Guerra Mundial, que se encerra com o bárbaro assassinato de seis milhões de judeus pelos nazistas, marcando quase que em definitivo, o final da literatura poética em língua ídiche. Por fim, uma vasta bibliografia, os créditos relativos às ilustrações utilizadas, bem como um glossário, para melhor entendimento do texto. São apresentados também dois anexos: no Anexo A, um catálogo de seissentas músicas judaicas e, no Anexo B, um livreto com doze músicas, na lingua original,transliteradas e traduzidas para o português, alem das partituras e um CD com as respectivas canções. / ABSTRACT I tried to portray, concisely, the Jewish Diaspora from the destruction of the Second Temple till the expulsion of the Jews from Christian Europe, that obliged then to be refuge in the western Europe specially in Poland and Lithuania. Both Kingdoms were unified in 1569 and after annexed to the Russian Empire in 1815 that forcing the Jews to live in Pales and inside villages called shteitlach, in Oriental Europe. In the sequence I presented some popular poets biographies, specially chosen by their work, which resulted in popular songs that spread through out the jewish world and showed their way of life, their religiosity, their dilemmas, their persecutions, their happiness and their dreams. Forty-seven songs transliterated and translated to Portuguese (some of that properly commented) are presented. Also seven songs analyzed using linguistics and semiotics methods, from which emerge historical facts of the Jewish people. The Fourth Chapter: “The end of the Shteitl and the Ghetto’s Songs," containing seven songs, portrays the Holocaust of the Second World War, the murder of six million Jews, which led to the Yiddish poetic literature ending. Finally., there are a large bibliography, credits to the illustrations, and a Glossary, for a better understanding of the text. There are, also, two enclosures: In Enclosure A: A Six-hundred Jewish Songs Catalog. In Enclosure B: A song book and one CD containing Yiddish songs.

The psyche of an entire people underwent a paradigm shift during the Palestinian Period (1920-1948). Jews took a spiritual quantum leap; they left the despair of the 'wastelands' of the Diaspora and journeyed towards the Promised Land. The quest of these pioneers was to rebuild their ancestral homeland. When the pioneering Halutzim encountered the ancestral soil of their Motherland, deep impulses were revealed. Their folksongs - an important component of folklore and mythology - reflected this inner dimension of their being and of their experiences in Eretz Israel by means of archetypal transformations. Initially, an idealistic devotion to reconstruction and intimate reverence for the Land was reflected. However, in the 1930s and 1940s, opposition to Jewish settlement transformed folksongs so they became increasingly militant, reflecting a movement towards extroversion in the Jewish psyche which was consolidated in 1948. / Music / Thesis (M.A.)--University of South Africa, 1997.

RESUMO Neste trabalho procurei retratar resumidamente a diáspora judaica, desde a destruição do Segundo Templo até a expulsão dos judeus da Europa cristã, culminando com o seu refúgio no leste europeu, especialmente na Polônia e Lituânia. Estes dois reinos, que foram unificados em 1569, passaram para o total domínio russo em 1815. Nesta ocasião os judeus ficaram sujeitos aos novos mandatários e foram confinados no assim chamado Distrito de Residência, em algumas cidades e em aldeias denominadas de shteitlach, na Europa Oriental. Em seguida, apresentei a biografia de alguns poetas populares que viveram nessa região onde houve um enorme desenvolvimento cultural e literário da língua ídiche. (século XIX e começo do século XX). Eles foram especialmente escolhidos por seus trabalhos, que resultaram em canções populares, as quais se espalharam pelo mundo judaico, levando as mensagens do judeu dos shteilach da Europa Oriental do seu modo de vida, de sua religiosidade, seus dramas, as perseguições sofridas e também suas alegrias e suas esperanças. Seguem-se quarenta e sete canções transliteradas e traduzidas para o português, bem como algumas delas devidamente comentadas. Depois, sete canções são analisadas com base na lingüística e semiótica, revelando fatos históricos do povo judeu. O capítulo 4, “O fim do shteitl e as canções do gueto”, com sete canções, retrata o inferno vivido pelos judeus europeus durante a Segunda Guerra Mundial, que se encerra com o bárbaro assassinato de seis milhões de judeus pelos nazistas, marcando quase que em definitivo, o final da literatura poética em língua ídiche. Por fim, uma vasta bibliografia, os créditos relativos às ilustrações utilizadas, bem como um glossário, para melhor entendimento do texto. São apresentados também dois anexos: no Anexo A, um catálogo de seissentas músicas judaicas e, no Anexo B, um livreto com doze músicas, na lingua original,transliteradas e traduzidas para o português, alem das partituras e um CD com as respectivas canções. / ABSTRACT I tried to portray, concisely, the Jewish Diaspora from the destruction of the Second Temple till the expulsion of the Jews from Christian Europe, that obliged then to be refuge in the western Europe specially in Poland and Lithuania. Both Kingdoms were unified in 1569 and after annexed to the Russian Empire in 1815 that forcing the Jews to live in Pales and inside villages called shteitlach, in Oriental Europe. In the sequence I presented some popular poets biographies, specially chosen by their work, which resulted in popular songs that spread through out the jewish world and showed their way of life, their religiosity, their dilemmas, their persecutions, their happiness and their dreams. Forty-seven songs transliterated and translated to Portuguese (some of that properly commented) are presented. Also seven songs analyzed using linguistics and semiotics methods, from which emerge historical facts of the Jewish people. The Fourth Chapter: “The end of the Shteitl and the Ghetto’s Songs,” containing seven songs, portrays the Holocaust of the Second World War, the murder of six million Jews, which led to the Yiddish poetic literature ending. Finally., there are a large bibliography, credits to the illustrations, and a Glossary, for a better understanding of the text. There are, also, two enclosures: In Enclosure A: A Six-hundred Jewish Songs Catalog. In Enclosure B: A song book and one CD containing Yiddish songs.