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.

Thesis (M.A.)--Carleton University, 2002. / Includes bibliographical references (p. 119-122). Also available in electronic format on the Internet.

[pt] Viver em Yiddish: embalo, infância, memória e narrativa, tem como tema central canções de ninar Yiddish, canções Yiddish que trazem o tema da infância e narrativas sobre o Yiddish e a vida. O estudo se debruçou sobre melodias e letras de nove canções de ninar Yiddish; 36 canções Yiddish que trazem o tema da infância; e memórias e narrativas com o Yiddish de quinze pessoas entrevistadas. O objetivo principal foi descobrir o que se canta nas canções de ninar Yiddish; quais infâncias comparecem no cancioneiro Yiddish; e o que contam pessoas conectadas com o Yiddish – na essência de suas vidas – sobre suas relações com a língua, a cultura, as canções. A tese teve a intenção de performar diferentes gestos: (a) fazer investigação teórico-crítica realizada a partir de levantamento bibliográfico sobre o Yiddish – história, língua e cultura; (b) realizar minuciosa análise de nove canções de ninar Yiddish e 36 canções Yiddish que trazem concepções de infâncias: laboração de escavação, seleção, arrumação meticulosa das canções escolhidas em duas coleções; (c) escutar narrativas de oito mulheres e sete homens pertencentes à faixa etária de 62 a 87 anos, falantes de Yiddish, pais, avós e bisavós, músicos, professores, pesquisadores e colecionadores conectados com a cultura Yiddish em memórias, trajetórias de vida, trajetórias docentes. A pesquisa teve como estratégia metodológica a busca por canções de ninar Yiddish e canções que trazem o tema da infância nos compêndios de partituras Mlotek reconhecidos internacionalmente (MLOTEK, 1998; s/ano; 2000), sem necessariamente estarem classificados nos álbuns como canções de infância ou de ninar; e realização de 9 entrevistas individuais e 3 em duplas (dois casais de cônjuges e um casal de irmãos). Foi escrita em pandemia: desafio. Possui como central aporte teórico-metodológico Martin Buber e Walter Benjamin: dois autores presentes no decorrer de toda a escrita em inspiração, interlocução e iluminação nos olhares para as canções, as infâncias, as narrativas ouvidas e os sentidos de ser aluno e professor com o Yiddish. Entretanto, muitos outros autores chegam com potência para o debate. As análises apontam que a canção Yiddish é diversa, amalgamada e, ao mesmo tempo, original, singular – uma música que traz o dia a dia da vida, criada pelo povo, transmitida na oralidade e também feita por poetas, letristas, músicos. Canções de ninar Yiddish e canções Yiddish que trazem o tema da infância cantam narrativas que sonham, embalam, ninam, rememoram, denunciam; revelam brincadeiras engraçadas e satíricas, histórias com aguçado humor, recheadas quase sempre de medo e esperança. Segredam histórias, deflagram contextos, guardam em si multiplicidade de sentimentos, impressões, dúvidas, certezas, crenças e cotidianos. As narrativas ouvidas das pessoas entrevistadas convidaram a olhar a vida em Yiddish de diversos ângulos, definições e sentidos. Não se constituíram objetos isolados de análise e interpretação, mas matéria integrante do corpo argumentativo: são vozes intercessoras com força de interpelação. / [en] Living in Yiddish: Lullabies, Childhood, Memory and Narrative, has as its central theme Yiddish lullabies, Yiddish songs that bring the theme of childhood and narratives about Yiddish and life. The study focused on the melodies and lyrics of nine Yiddish lullabies; 36 Yiddish songs that bring the theme of childhood; and memories and Yiddish narratives of fifteen people interviewed. The main objective was to find out what is sung in Yiddish lullabies; which childhoods appear in the Yiddish songbook; and what people connected with Yiddish tell – in the essence of their lives – about their relationship with the language, the culture, the songs. The thesis intended to perform different gestures: (a) to carry out a theoretical-critical investigation based on a bibliographical survey on Yiddish – history, language and culture; (b) carry out a thorough analysis of nine Yiddish lullabies and 36 Yiddish songs that bring conceptions of childhood: labor of excavation, selection, meticulous arrangement of the songs chosen in two collections; (c) listen to the narratives of eight women and seven men aged 62 to 87 years old, Yiddish speakers, parents, grandparents and great-grandparents, musicians, teachers, researchers and collectors connected with Yiddish culture in memories, life trajectories, teaching trajectories. The research had as a methodological strategy the search for Yiddish lullabies and songs that bring the theme of childhood in internationally recognized Mlotek music compendiums (MLOTEK, 1998; s/year; 2000), without necessarily being classified in the albums as childhood songs or to lull; and conducting 9 individual interviews and 3 in pairs (two couples of spouses and a couple of brothers). It was written during the pandemic: challenge. Its central theoretical-methodological contribution is Martin Buber and Walter Benjamin: two authors present throughout the entire writing in inspiration, interlocution and lighting in the eyes of the songs, childhoods, the narratives heard and the meanings of being a student and teacher with the Yiddish. However, many other authors come to the debate with power. The analyzes show that Yiddish song is diverse, amalgamated and, at the same time, original, singular – a music that brings everyday life, created by the people, transmitted orally and also made by poets, lyricists, musicians. Yiddish lullabies and Yiddish songs that bring the theme of childhood singing narratives that dream, rock, lull, remember, denounce; they reveal funny and satirical jokes, stories with sharp humor, often filled with fear and hope. They secrete stories, trigger contexts, keep within themselves a multiplicity of feelings, impressions, doubts, certainties, beliefs and daily life. The narratives heard from the people interviewed invited them to look at life in Yiddish from different angles, definitions and meanings. They were not isolated objects of analysis and interpretation, but an integral matter of the argumentative body: they are intercessory voices with the power of interpellation.

Diss.--Germanistik--Trier--Universität Trier, 1998. / Bibliogr. p. [197]-205.

No description available.

Thesis (Ph. D.)--New York University, Graduate School of Arts and Science, 2003. / Includes bibliographical references (p. 527-541). Also available on the Internet.

Texte remanié de: Diss. Ph. D.--Jewish literature--New York--Jewish theological seminary. / Bibliogr. p. 203-217. Index.

Thesis (Ph. D.)--New York University, 1979. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 237-247).

Thesis (Ph. D.)--New York University, 1979. / Typescript. Includes bibliographical references (leaves 237-247). Also issued in print.

[pt] O cinema yiddish é brevemente mencionado na bibliografia sobre a história mundial do cinema. A partir da lacuna, a corrente pesquisa, realizada no contexto desta tese de doutorado, apresenta o cenário do surgimento do cinema falado em yiddish, proveniente do teatro yiddish, com o objetivo de incluir esta prática cultural e artistica no campo dos estudos históricos do cinema. O argumento é que o gesto de desenterramento do cinema yiddish, como parte do revigoramento contemporâneo da cultura yiddish, funciona como um passe para a transmissão e a resistência ao seu total apagamento. O cinema-passaporte atravessa diversas temporalidades e permite uma imersão na cultura, através da pesquisa nos arquivos de imagens do cotidiano das comunidades judaicas na Polônia no entreguerras. Para sustentar a questão da ausência do cinema yiddish na biografia da história mundial do cinema, são investigados quatro filmes: Mir Kumen On (Estamos Chegando, Aleksander Ford, 1936), Yidl mitn Fidl (Yidl e o Violino, Joseph Green e Jan Nowina-Przybylski, 1936), Der Dibuk (O Dibuk, Michał Waszyński, 1937) e Um dia em Varsóvia (A Day in Warsaw, Saul e Yitzhak Goskind, 1939). Além das narrativas, o objetivo é mostrar a história dos filmes e de seus diretores com o propósito, sempre necessário, de transmitir a importância da preservação da memória da cultura yiddish através do cinema, bem como dos fragmentos de filmes que sobreviveram ao genocídio da Shoah e dos aspectos centrais que emergem a partir das narrativas. / [en] Yiddish cinema is briefly mentioned in the bibliography on the world history of cinema. Starting from this gap, the current research, carried out in the context of this doctoral dissertation, presents the scenario of the emergence of cinema spoken in Yiddish, originated from Yiddish theater, with the aim of including this cultural and artistic practice in the field of historical film studies. The argument is that the gesture of unearthing the yiddish cinema, as part of a contemporary revival of yiddish culture, works as a pass for transmission and resistance to its total erasure. The Passport-cinema crosses different temporalities and allows an immersion in culture, through research in the archives of images of the daily life of the Jewish communities in Poland during the interwar period. To support the issue of the absence of Yiddish cinema in the biography of world cinemahistory, four films are investigated: Mir Kumen On (We are Coming, Aleksander Ford, 1936), Yidl mitn Fidl (Yidl and the Violin, Joseph Green e Jan Nowina- Przybylski, 1936), Der Dibuk (The Dibuk, Michał Waszyński, 1937) and Um dia em Varsóvia (A Day in Warsaw, Saul e Yitzhak Goskind, 1939). In addition to the narratives, we bring the history of the films and their directors, with the always necessary purpose of conveying the importance of preserving the memory of Yiddish culture through cinema, as well as the film fragments that survived the Shoah genocide, and the central aspects that emerge from these narratives.