Thesis (Ph. D.)--Ohio State University, 2008.

Note:

Les littératures yiddish et hébraïque modernes sont étroitement liées par une histoire commune et partagent également de multiples traits stylistiques et thématiques. Or, une différence importante peut être remarquée quant à l’usage des pseudonymes dans les deux langues. Dans la littérature yiddish moderne, la pseudonymie est très importante, aussi bien du point de vue quantitatif que qualitatif, et une grande partie des plus importants auteurs yiddish sont connus principalement sous leur pseudonyme, alors que dans la littérature hébraïque moderne les noms de plume restent un phénomène relativement marginal. La présente recherche analyse la pseudonymie dans les deux littératures, dans le but d’expliquer cet écart. Nous commençons par une analyse des modes de construction des pseudonymes pour en constituer une typologie générale. Par la suite, nous nous concentrons sur les pseudonymes « durables », c'est-à-dire ceux qui accompagnent les auteurs sur le long terme et façonnent leur image publique, pour décrire en détail dans quelles circonstances et de quelles manières ils sont utilisés. Enfin, nous utilisons les informations recueillies pour démontrer que la pseudonymie est un phénomène social, et pour isoler les facteurs sociaux et historiques qui ont conduit à l’adoption de la pseudonymie comme l’une des « traditions inventées » de la littérature yiddish moderne. / Modern Yiddish and Hebrew literatures are closely connected by a common long history, sharing many stylistic and thematic features. However, both literatures significantly differ in their use of pseudonyms. In Yiddish literature, authors’ pseudonyms appear rather frequently, and a significant number of the most important writers are known mainly in their pseudonyms, while in modern Hebrew literature pen names remained a relatively marginal occurrence. This research analyses pseudonymity in both literatures in order to explain this discrepancy. In the first chapter, the various patterns used in building pseudonyms are analysed, so to establish a general typology of the phenomenon. Subsequently, I focus on the "lasting" pseudonyms, namely those that accompany authors for a long time, shaping and determining their public image. In the second chapter I describe in detail under which circumstances and in what ways the "lasting" pseudonyms were created and used. Finally, in the last part the information analysed previously is utilised, clarifying that pseudonymity is actually a social phenomenon, and defining the social and historical factors that led to the adoption of pseudonymity as one of the "invented traditions" of modern Yiddish literature.

Cette thèse analyse les rapports culturels complexes entre le monde juif et le monde polonais en Pologne dans les années 1885-1939 à la lumière des traductions du polonais vers le yiddish et du yiddish vers le polonais. Les acteurs culturels concernés sont les Juifs polonais face à la société majoritaire, donc d’un point de vue linguistique les yiddishophones face aux polonophones, ainsi que les milieux juifs d’expression polonaise et yiddish. La thèse aborde divers aspects des contacts culturels : les représentations des Juifs dans la littérature polonaise et celle des Polonais dans la littérature yiddish, la traduction de la littérature mondiale en yiddish, ainsi que l’attitude envers cette langue en Pologne. Elle traite aussi, dans un large contexte socioculturel, de la traduction littéraire dans les deux sens, y compris dans la création théâtrale et l’édition pour enfants. Ce que l’on peut en conclure, c’est le grand intérêt du public yiddishophone pour la culture polonaise. Les traductions du yiddish en polonais attirent peu d’attention de la part des non-Juifs, mais constituent un important facteur identitaire pour des Juifs polonisés. / This thesis analyzes the complex cultural relations between the Jewish world and the Polish world in Poland in the years 1885-1939 as seen through translations from Polish to Yiddish and from Yiddish to Polish. The persons concerned in this process are the Polish Jews as opposed to the majority population or, from a linguistic point of view, Yiddish speakers in contrast with the Polish-speaking majority, as well Jewish circles in which Yiddish and Polish were spoken. The thesis touches on various aspects of these cultural contacts: the representation of Jews in Polish literature and of Poles in Yiddish literature, the translation of world literature into Yiddish, and the attitude toward the Yiddish language in Poland. It also deals with literary translation in both directions viewed in a broad socio-cultural context, including theatrical creation and children’s literature. The conclusion that can be drawn is that of a great interest in Polish culture on the part of the Yiddish-speaking public. As for translations from Yiddish to Polish, they attract little attention from non-Jews but constitute an important factor in the identity of assimilated Jews.

Der Artikel setzt sich mit den Erzählungen des Maassebuches auseinander, welche der Universalgelehrte Johann Christian Schöttgen (1687-1751) in seiner Zeitschrift "Der Rabbiner" publiziert. In seiner Auseinandersetzung mit der jiddischen Literatur befindet sich Schöttgen in einer Reihe mit anderen christlichen Hebraisten, wie zum Beispiel Christoph Helwig (Helvicus, 1581-1617) und Johann Christian Wagenseil (1633-1705). / The article deals with the stories of the Maasebook, which printed in the journal "Der Rabbiner" by the scholar Johann Christian Schoettgen (1687-1751). In his work on the Yiddish literature Schoettgen ranks with other Christian Hebraists like Christoph Helwig (Helvicus, 1581-1617) and Johann Christian Wagenseil (1633-1705).

This thesis explores the limits of fictional language by studying the work of Jewish American writer-critics, novelists who significantly engaged with literary criticism, and critics who experimented with the novel or short fiction. These writer-critics all believed in Literature: they believed that literature could effect social change and educate the masses; or they believed in literature as an art-form, one that exposed the myths underlying American society, or that revealed something fundamental about the human condition. Yet it is because they believed so stridently in the concept of Literature that they turned to non-fiction. Writing fiction exposed problems that Literature could not resolve. They describe being haunted by “preoccupations” that they could not exhaust in fiction alone. They apologetically refer to their critical texts as “by-products” of their creative writing. Writer-critics were forced to decide what the limits of fiction were, and they adopted other types of writing to supplement these unexpected gaps in fiction's power. This dissertation contains four chapters and an introduction. The introduction establishes the methodological difficulties in writing about author-critics, and introduces a set of principles to guide the study. Chapter 1 approaches Abraham Cahan's The Rise of David Levinsky (1917). I argue that many of the novel's difficulties result from Cahan's desire to present the way that ideology shades our understanding of reality while minimizing direct narratorial intrusions. Chapter 2 studies how politics affected the work of Mike Gold, Moishe Nadir, and Isaac Bashevis Singer. In all three writers, literature emerges as a kind of ersatz-politics, a space for the dispossessed to imagine the political. In the end, the political novel only reinforces the fictionality. Chapter 3 is a study of Leslie Fiedler's problematic novel, The Second Stone. While critics have seen the novel as a kind of game, I propose reading the novel as an earnest expression of Fiedler's vision of literature as a conversation. Chapter 4 turns to Cynthia Ozick and Susan Sontag. A cumulative reading of their fiction and criticism shows the deep twinning of their fiction and critical thought. For both writers true knowledge comes only through the imagination. / Near Eastern Languages and Civilizations

This thesis discusses the role of the "false Messiah" in modern Yiddish Literature. / The figure of the Messiah in Jewish religious imagination signifies the prophetic yearning for redemption at the end of days, but it also provoked hopes in a strong leader who will bring about social and political redemption. Based on historical models, literature from the twelfth to the twentieth century addressed these "false Messiahs" and in the modern period used them to define and illustrate contemporary catastrophe. / Shlomo Molcho by American Yiddish poet Aaron Glanz-Leyeles and Prince Reuveni by Soviet Yiddish author David Bergelson are two twentieth century poetic historic dramas based on two messianic figures of the sixteenth century. These two modern works are compared in relation to the respective authors' life and times, political and aesthetic outlook, and dramatic powers. The comparison shows the usefulness of the "false Messiah" in dramatizing and expressing difficult contemporary issues.

Les littératures yiddish et hébraïque modernes sont étroitement liées par une histoire commune et partagent également de multiples traits stylistiques et thématiques. Or, une différence importante peut être remarquée quant à l’usage des pseudonymes dans les deux langues. Dans la littérature yiddish moderne, la pseudonymie est très importante, aussi bien du point de vue quantitatif que qualitatif, et une grande partie des plus importants auteurs yiddish sont connus principalement sous leur pseudonyme, alors que dans la littérature hébraïque moderne les noms de plume restent un phénomène relativement marginal. La présente recherche analyse la pseudonymie dans les deux littératures, dans le but d’expliquer cet écart. Nous commençons par une analyse des modes de construction des pseudonymes pour en constituer une typologie générale. Par la suite, nous nous concentrons sur les pseudonymes « durables », c'est-à-dire ceux qui accompagnent les auteurs sur le long terme et façonnent leur image publique, pour décrire en détail dans quelles circonstances et de quelles manières ils sont utilisés. Enfin, nous utilisons les informations recueillies pour démontrer que la pseudonymie est un phénomène social, et pour isoler les facteurs sociaux et historiques qui ont conduit à l’adoption de la pseudonymie comme l’une des « traditions inventées » de la littérature yiddish moderne. / Modern Yiddish and Hebrew literatures are closely connected by a common long history, sharing many stylistic and thematic features. However, both literatures significantly differ in their use of pseudonyms. In Yiddish literature, authors’ pseudonyms appear rather frequently, and a significant number of the most important writers are known mainly in their pseudonyms, while in modern Hebrew literature pen names remained a relatively marginal occurrence. This research analyses pseudonymity in both literatures in order to explain this discrepancy. In the first chapter, the various patterns used in building pseudonyms are analysed, so to establish a general typology of the phenomenon. Subsequently, I focus on the "lasting" pseudonyms, namely those that accompany authors for a long time, shaping and determining their public image. In the second chapter I describe in detail under which circumstances and in what ways the "lasting" pseudonyms were created and used. Finally, in the last part the information analysed previously is utilised, clarifying that pseudonymity is actually a social phenomenon, and defining the social and historical factors that led to the adoption of pseudonymity as one of the "invented traditions" of modern Yiddish literature.

No description available.

A presente tese aborda o primeiro livro escrito em ídiche por Mêndele Môikher1 Sfórim, Dos Kleine Mêntshele (O Pequeno Homenzinho) através de várias leituras do mesmo, em mais de uma versão, às quais sucedeu-se uma traduçãocuidadosa para o português. Faz considerações e referências sobre vida e obra do autor, cognominado jocosamente, por Shólem Aleikhem, de o avô da moderna literatura ídiche. Ele foi também um dos precursores do ressurgimento da língua hebraica. Shólem Yákov Abramovitsh, seu verdadeiro nome, foi um dos importantes intelectuais conscientes do momento histórico e do processo linguístico de seu povo, no final do século XIX, no leste europeu, ao qual propunha auto respeito, profissionalização e não renegação do judaísmo. A escolha de seu pseudônimo, Mêndele, o vendedor de livros, serve de pretexto para a sua participação como personagem das histórias, dada a importância e atuação de tal profissional na sociedade retratada. O texto ídiche é permeado de frases e citações em hebraico que foram trazidas para o português no mesmo padrão de linguagem do texto original. / This dissertation studies Dos Kleine Mentshele The Little Man the first book ever written in yiddish by the writer Mendele Moikher Sforim through many readings of it in more that one version, followed by careful translation into Portuguese. It makes considerations and references about Mendeles life and work. He was nicknamed by Sholem Aleikhem the grandfather of the Modern Yiddish Literature. He was one of the precursors of the revival of the Hebrew language. Sholem Yakov Abramovitch, his real name, was one of the most important intellectuals aware of the historical moment and of the linguistic process of his people at the end of the 19th century in Eastern Europe, and suggested self respect, professionalization and no Jewish denial for the historical moment and the linguistic process. The choice of his pen name, Mendele, the book peddler, allows his participation as personage of his stories because the significance and acting od such professional in the described society. The Yiddish text is permeated by Hebrew sentences and quotations brought to Portuguese at the same linguistic level.