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.

No description available.

De 1945 à 1956, les « personnes déplacées » (réfugiés volontaires ou exilés par les déportations, les persécutions et le projet d’extermination) ont vécu sous la garde des autorités internationales dans les centres initialement ouverts par l’UNRRA (United Nations Relief and Rehabilitation Administration). En attente d’un retour toujours plus hypothétique ou d’un visa d’émigration, la majorité de ces milliers de DPs, ainsi que les a baptisés la pudeur de l’administration internationale, se trouvait sur le sol allemand. Parmi eux se trouve une petite proportion de rescapés de la destruction des Juifs d’Europe bientôt rejointe par les « infiltrés », fuyant l’antisémitisme persistant à l’Est ou revenus d’exil. Privés de l’espoir d’un retour à la vie antérieure à la destruction et espérant une émigration prochaine qui se fait attendre, les DPs juifs vivent en Allemagne un temps suspendu tandis que se modifient les équilibres internationaux jusqu’à la guerre froide. Dans cet intervalle, voué à l’attente et à l’inactivité forcée, dans la promiscuité et la misère de la vie du camp DP, des hommes, des femmes et des enfants ont fondé une société singulière. La présente recherche s’intéresse à la représentation de cette communauté par elle-même. Autobaptisée She’erit Hapletah, ceux qui restent survivant, elle naît et se dévoile au travers de performances variées. Dernière expression d’une culture yiddish foisonnante en Europe, elle se concentre sur les zones britannique et américaine d’occupation de l’Allemagne. Cette étude s’attache aux performances DP entre 1945 et 1952, date du transfert de la responsabilité des réfugiés de l’autorité internationale vers la RFA. / Two weeks after the VE-Day, a group of survivors performed a show in the displaced persons camp of Belsen singing and playing the life they endured in the sadly famous concentration camp nearby and the life before it all happened just as the future they wanted up to now. This theatre was the first of dozens of Jewish theatre groups to perform shows all over Germany in DP camps where refugees from the non-enemy nations and victims of the Holocaust were waiting in the hope of a next emigration to Palestine or the United States. They lived in camps opened by the United Nations Relief and Rehabilitation Administration (UNRRA), behind gates or even barbed-wires of the “assembly centers”, controlled by military forces. Opened in 1945, the last assembly center closed down no less than eleven years later. While waiting on the “cursed soil” of Germany, the Jewish DPs, unable orunwilling to work for or even in Germany, dedicated their time to perform and represent themselves, not only on the theatre, but also in sport events, bals, ritual plays and every imaginable kind of performance. This research focuses on the Jewish DPs temporary settled in West Germany and the way they built up a new life by performing the past and the next future in Eretz Israel. This work interrogates the possible significances of the performances in Yiddish just after the Holocaust and the way survivors dealt with their past in the present of the new camp. After 1948, the rate of the DPs in Germany progressively decreased, the cultural, artistic and politic experiences disappeared at the same time, therefore, this work ends up in 1952 and focuses mainly on the years 1945-1949.

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.

This dissertation explores the history of the translation of world literature into Yiddish through a series of interconnected case studies, stretching from the “founding” decade of modern Yiddish literature through its interwar acme. It features diachronic studies of single translator-authors (Sh. Y. Abramovitsh; Der Nister; Isaac Bashevis Singer) which consider the relationship between translations and original writing; synchronic views of transformative moments in Yiddish literary (translational) history across its multiple centers (1903; 1910; New York, Warsaw, Moscow); and “distant” readings of periodicals and anthologies with an eye to their particular explicit and implicit translation theories and practices as well as to the role of editors and publishers (Sholem Aleichem; Avrom Reyzen) in shaping both real and imagined literary markets. Throughout, it mobilizes the chronically-neglected genre of homegrown Yiddish literary criticism and theory (I.L. Peretz, Chaim Zhitlowsky, Moyshe Litvakov) in the hopes of understanding the shifting stakes and meanings of translation on the terms of translators, authors, critics, and readers themselves. By attending to the ways in which translations functioned as both sources of livelihood and engines of literary growth, this dissertation examines the desired and intermittently realized modernization and “normalization” of Yiddish literature on the world stage.

No description available.

This dissertation argues that the richness and distinctiveness of modern Yiddish travel literature—with its emphasis on arriving rather than departing—reflects the complexity of such East European Jewish notions as home, homelessness, and wandering. It examines the ways in which the experience of travel affected the search for identity, home, and belonging by Yiddish writers from the first secularized and westernized generation of East European Jews. Yiddish travelogues written in the first four decades of the twentieth century show a curious trend with respect to the search for identity and the destinations that are their subject. These destinations fall into two categories: those with specific Jewish connotations and those without. For writers addressing the latter destination category, even though motivated by the search for a Jewish identity, locales beyond the Jewish map engender the greatest sense of empowerment. Even when their ostensible motivations and emphases are diametrically opposed, they arrive at the same conclusion, that Jews belong simultaneously nowhere and everywhere. Peretz Hirschbein and Melech Ravitch are exemplary illustrations of this tendency: the former laments the countless roads on which Jews have traveled and many borders that separate them; he longs for universal brotherhood and closeness to nature, and as such rejects the diversity of the Jewish experience; the latter, on the contrary, celebrates diversity. How can we explain this trend? It is born of the contradictory set of ideological and artistic aims and interests of a generation that rejected the traditional beliefs and lifestyle of their parents, and that aimed to create a body of modern literature in Yiddish that would equal major European literatures, and that internalized a number of European cultural (primarily literary) tropes. Moreover, this literature was the product of a generation of writers who yearned for an organic connection to Jewish past, present, and future and at the same time saw problems with every existing ideology. The Introduction situates the study within the context of Jewish cultural and literary history and addresses questions of scope and methodology. Chapter 1 analyzes Yiddish travel writers’ fascination with exotic destinations lacking specifically Jewish connotations and its role in these writers’ struggles to define their cultural identity. Chapter 2 analyzes the work of Peretz Hirschbein and argues that his longing for universal brotherhood and closeness to nature reflected both a reluctance to celebrate the diversity of the Jewish experience and an impulse to embrace its global proportions. Chapter 3 focuses on the life and work of Melech Ravitch and contrasts his passion for diversity with the opposite approach of Peretz Hirschbein. Chapter 4 explores Yiddish writers’ travel to Mandate Palestine and to Soviet Russia and focuses on the parallels between travelogues about these two politically charged destinations. Chapter 5 examines the development of Yiddish travel literature after World War II, focusing both on works that describe travel back to Eastern Europe and are dominated by the themes of mourning and preservation, and on later works, filled with the urge to affirm a worldwide Jewish presence. The Conclusion recapitulates the dissertation’s main points and stresses the uniqueness of the Yiddish travelogue and its importance in Jewish studies and beyond.

A partir dos contos da literatura ídiche clássica que foram traduzidos para o português, Sabá de Shólem Yákov Abramóvitsh, A leitora de Itzhok Leibusch Peretz e O relógio de Scholem Rabinovitch, este trabalho pretende investigar a representação do Shabat no contexto de uma literatura característica do alvorecer da modernidade judaica. O estudo individual de cada conto aprofundar-se-á na análise dos modos de representação de um evento religioso que cada conto apresenta. Para tanto, o conhecimento da biografia de seus autores foi de vital importância para o exame das obras, pois estes imprimiram em seus textos literários os ideais da Haskalá, por meio de seus narradores fidedignos, termo proposto por Wayne C. Booth, na obra A retórica da Ficção (1980), o qual revela a posição ideológica de seus autores implícitos nos contos. Esses autores implícitos uniram com maestria o dicotômico conceito tradição versus modernidade com o propósito de iluminar, a partir de dentro da comunidade do shtetl, o pensamento do judeu simples, visando transformá-lo em um homem moderno. Cientes de sua função social, Abramóvitsh, Peretz e Rabinovitch utilizaram a língua ídiche e a cultura do judeu do Leste europeu para instaurar um novo momento da literatura e cultura ídiche. / Departing from three Classical Yiddish short stories that have been translated to Portuguese - Mendele Moikher Seforim\'s Sabbath, Itzhok Leibusch Peretz\'s The Reader and Scholem Aleichem\'s The clock - this dissertation aims to investigate the impact of modernity on literary representations of the Sabbath. The analysis of these writings will be conducted by comparing them to each other, highlight the differences in modes of representation on a same religious event. The biographies of these authors were extremely relevant to understand their work, since they expressed the ideals of Haskalah in their literary texts, through their reliable narrators. These authors have masterfully included in their production the dichotomized concept of tradition versus modernity in their texts, in order to illuminate the life of the shtetl community from within, and to portray the ways of thought of the simple Jew, while aiming at turning him into a modern man. Aware of their social roles, Abramóvitsh, Rabinovitch and Peretz have used Yiddish language and the culture of the Eastern European Jewish to establish a new era for the Yiddish culture and literature.

A partir dos contos da literatura ídiche clássica que foram traduzidos para o português, Sabá de Shólem Yákov Abramóvitsh, A leitora de Itzhok Leibusch Peretz e O relógio de Scholem Rabinovitch, este trabalho pretende investigar a representação do Shabat no contexto de uma literatura característica do alvorecer da modernidade judaica. O estudo individual de cada conto aprofundar-se-á na análise dos modos de representação de um evento religioso que cada conto apresenta. Para tanto, o conhecimento da biografia de seus autores foi de vital importância para o exame das obras, pois estes imprimiram em seus textos literários os ideais da Haskalá, por meio de seus narradores fidedignos, termo proposto por Wayne C. Booth, na obra A retórica da Ficção (1980), o qual revela a posição ideológica de seus autores implícitos nos contos. Esses autores implícitos uniram com maestria o dicotômico conceito tradição versus modernidade com o propósito de iluminar, a partir de dentro da comunidade do shtetl, o pensamento do judeu simples, visando transformá-lo em um homem moderno. Cientes de sua função social, Abramóvitsh, Peretz e Rabinovitch utilizaram a língua ídiche e a cultura do judeu do Leste europeu para instaurar um novo momento da literatura e cultura ídiche. / Departing from three Classical Yiddish short stories that have been translated to Portuguese - Mendele Moikher Seforim\'s Sabbath, Itzhok Leibusch Peretz\'s The Reader and Scholem Aleichem\'s The clock - this dissertation aims to investigate the impact of modernity on literary representations of the Sabbath. The analysis of these writings will be conducted by comparing them to each other, highlight the differences in modes of representation on a same religious event. The biographies of these authors were extremely relevant to understand their work, since they expressed the ideals of Haskalah in their literary texts, through their reliable narrators. These authors have masterfully included in their production the dichotomized concept of tradition versus modernity in their texts, in order to illuminate the life of the shtetl community from within, and to portray the ways of thought of the simple Jew, while aiming at turning him into a modern man. Aware of their social roles, Abramóvitsh, Rabinovitch and Peretz have used Yiddish language and the culture of the Eastern European Jewish to establish a new era for the Yiddish culture and literature.