For centuries, poets have turned to translation for creative inspiration. Through and in translation, poets have introduced new poetic styles, languages, and forms into their own writing, sometimes changing the course of literary history in the process. Strange Cocktail is the first comprehensive study of this phenomenon in modern Hebrew literature of the late nineteenth century to the present day. Its chapters on Esther Raab, Leah Goldberg, Avot Yeshurun, and Harold Schimmel offer close readings that examine the distinct poetics of translation that emerge from reciprocal practices of writing and translating. Working in a minor literary vernacular, the translation strategies that these poets employed allowed them to create and participate in transnational and multilingual poetic networks. Strange Cocktail thereby advances a comparative and multilingual reframing of modern Hebrew literature that considers how canons change and are undone when translation occupies a central position—how lines of influence and affiliation are redrawn and literary historiographies are revised when the work of translation occupies the same status as an original text, when translating and writing go hand in hand.
“A much-needed monograph on the role of Sephardic Jews in Argentina, and . . . an important contribution to the study of Jews in Latin America overall” (Choice). At the turn of the twentieth century, Jews from North Africa and the Middle East were called Turcos (“Turks”). Seen as distinct from Ashkenazim, Sephardi Jews weren’t even identified as Jews. Yet the story of Sephardi Jewish identity has been deeply impactful on Jewish history across the world. Adriana M. Brodsky follows the history of Sephardim as they arrived in Argentina, created immigrant organizations, founded synagogues and cemeteries, and built strong ties with coreligionists around the country. Brodsky demonstrates how fragmentation based on areas of origin gave way to the gradual construction of a single Sephardi identity. This unifying identity is predicated both on Zionist identification (with the State of Israel) and “national” feelings (for Argentina), and that Sephardi Jews assumed leadership roles in national Jewish organizations once they integrated into the much larger Askenazi community. Rather than assume that Sephardi identity was fixed and unchanging, Brodsky highlights the strategic nature of this identity, constructed both from within the various Sephardi groups and from the outside, and reveals that Jewish identity must be understood as part of the process of becoming Argentine.
For centuries, poets have turned to translation for creative inspiration. Through and in translation, poets have introduced new poetic styles, languages, and forms into their own writing, sometimes changing the course of literary history in the process. Strange Cocktail is the first comprehensive study of this phenomenon in modern Hebrew literature of the late nineteenth century to the present day. Its chapters on Esther Raab, Leah Goldberg, Avot Yeshurun, and Harold Schimmel offer close readings that examine the distinct poetics of translation that emerge from reciprocal practices of writing and translating. Working in a minor literary vernacular, the translation strategies that these poets employed allowed them to create and participate in transnational and multilingual poetic networks. Strange Cocktail thereby advances a comparative and multilingual reframing of modern Hebrew literature that considers how canons change and are undone when translation occupies a central position—how lines of influence and affiliation are redrawn and literary historiographies are revised when the work of translation occupies the same status as an original text, when translating and writing go hand in hand.
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