By Miryam Segal
With scrupulous cognizance to landmark poetic texts and to academic and severe discourse in early 20th-century Palestine, Miryam Segal strains the emergence of a brand new accessory to switch the Ashkenazic or ecu Hebrew accessory in which nearly all smooth Hebrew poetry have been composed till the Nineteen Twenties. Segal takes into consideration the extensive ancient, ideological, and political context of this shift, together with the development of a countrywide language, tradition, and literary canon; the an important position of colleges; the impact of Zionism; and the prime position performed through girls poets in introducing the hot accessory. This meticulous and complicated but readable research presents amazing 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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Additional info for A New Sound in Hebrew Poetry: Poetics, Politics, Accent (Jewish Literature and Culture)
By looking at the reception of these poets, I am able to reflect on the ways in which they shaped readers’ perceptions and accs count for the choices they made in presenting New Hebrew—how they formuls lated the new accent as the territorial, contemporary, authentic, and representative Hebrew, as the language of the laboring immigrant-native in Pales estine. I also imagine the context their poems invoke or might have invoked for their contemporary readers so as to nuance my own description of the Labor, New Yishuv, and gender politics of the new accent and new-accent poetry.
It was the pedagogues who, over the course of about thirty years, presided over Hebrew’s successive integration into the classroom at all levels, from the primary school and the kindergarten to the college and university. With this integration into ever-higher levels of education from the late nineteenth century through the 1920s, the status of the spoken Hebrew of the schools rose. This rise in status was responsible for poetry’s eventual adoption of the new accent. Baron’s narrator hints at the role of teachers, their classrooms, and the Hebrew schools more generally in the literary history of the new accent; my narrative of the rise of the new acck cent has a pedagogic subplot.
His presentation is nevertheless telling of a lack “Make your school a nation-state” 23 cuna in his reasoning. Accent is a given, an accident of geography rather than a phenomenon that is activated by or at least implicated in aliyah—by the idea of immigration as ascendance and return to the ancient Jewish land. On the one hand Kagan’s history emphasizes how difficult it was for the East European poets to transplant themselves from one linguistic environment to another. On the other hand, he provides no explanation for why the poet must adjust his Hebk brew usage—aliyah itself is the only explanation.