In-depth investigation of Hebrew verb morphology in light of cutting edge theories of morphology and lexical semantics An original theory about the semantic content of roots An account of how roots function in word-formation A wide empirical basis containing a complete corpus of verb-creating roots in Hebrew
Intensely readable and beautifully observed . . . full of wisdom, generosity, humor, and sharp insights." —Elif Batuman, author of Either/Or Three Israeli women, their lives altered by immigration to the United States, seek to overcome crises. Ilana is a veteran Hebrew instructor at a Midwestern college who has built her life around her career. When a young Hebrew literature professor joins the faculty, she finds his post-Zionist politics pose a threat to her life’s work. Miriam, whose son left Israel to make his fortune in Silicon Valley, pays an unwanted visit to meet her new grandson and discovers cracks in the family’s perfect façade. Efrat, another Israeli in California, is determined to help her daughter navigate the challenges of middle school, and crosses forbidden lines when she follows her into the minefield of social media. In these three stirring novellas—comedies of manners with an ambitious blend of irony and sensitivity—celebrated Israeli author Maya Arad probes the demise of idealism and the generation gap that her heroines must confront.
Through an inter-medial reading, linking film and literary theory, Maya van den Heuvel-Arad explores the potential of the post-dramatic performer in its corporeal presence to operate as a focalizer. Departing from the concept of focalization in literary narratology and transforming this concept into a visual device, the author introduces the notion of the body as a visual narrator and focalizer. With this she establishes an important tool to grasp the relationship between the performing body and the spectator's perception in post-dramatic theatre. With "Focalizing Bodies" the author provides a vocabulary to explore the potential of visual narratology, both in theory and in practice, of post-dramatic theatre.
In the American imagination, the Soviet Union was a drab cultural wasteland, a place where playful creative work and individualism was heavily regulated and censored. Yet despite state control, some cultural industries flourished in the Soviet era, including animation. Drawing the Iron Curtain tells the story of the golden age of Soviet animation and the Jewish artists who enabled it to thrive. Art historian Maya Balakirsky Katz reveals how the state-run animation studio Soyuzmultfilm brought together Jewish creative personnel from every corner of the Soviet Union and served as an unlikely haven for dissidents who were banned from working in other industries. Surveying a wide range of Soviet animation produced between 1919 and 1989, from cutting-edge art films like Tale of Tales to cartoons featuring “Soviet Mickey Mouse” Cheburashka, she finds that these works played a key role in articulating a cosmopolitan sensibility and a multicultural vision for the Soviet Union. Furthermore, she considers how Jewish filmmakers used animation to depict distinctive elements of their heritage and ethnic identity, whether producing films about the Holocaust or using fellow Jews as models for character drawings. Providing a copiously illustrated introduction to many of Soyuzmultfilm’s key artistic achievements, while revealing the tumultuous social and political conditions in which these films were produced, Drawing the Iron Curtain has something to offer animation fans and students of Cold War history alike.
Intensely readable and beautifully observed . . . full of wisdom, generosity, humor, and sharp insights." —Elif Batuman, author of Either/Or Three Israeli women, their lives altered by immigration to the United States, seek to overcome crises. Ilana is a veteran Hebrew instructor at a Midwestern college who has built her life around her career. When a young Hebrew literature professor joins the faculty, she finds his post-Zionist politics pose a threat to her life’s work. Miriam, whose son left Israel to make his fortune in Silicon Valley, pays an unwanted visit to meet her new grandson and discovers cracks in the family’s perfect façade. Efrat, another Israeli in California, is determined to help her daughter navigate the challenges of middle school, and crosses forbidden lines when she follows her into the minefield of social media. In these three stirring novellas—comedies of manners with an ambitious blend of irony and sensitivity—celebrated Israeli author Maya Arad probes the demise of idealism and the generation gap that her heroines must confront.
Through an inter-medial reading, linking film and literary theory, Maya van den Heuvel-Arad explores the potential of the post-dramatic performer in its corporeal presence to operate as a focalizer. Departing from the concept of focalization in literary narratology and transforming this concept into a visual device, the author introduces the notion of the body as a visual narrator and focalizer. With this she establishes an important tool to grasp the relationship between the performing body and the spectator's perception in post-dramatic theatre. With "Focalizing Bodies" the author provides a vocabulary to explore the potential of visual narratology, both in theory and in practice, of post-dramatic theatre.
This book is simultaneously a theoretical study in morphosyntax and an in-depth empirical study of Hebrew. Based on Hebrew data, the book defends the status of the root as a lexical and phonological unit and argues that roots, rather than verbs or nouns, are the primitives of word formation. A central claim made throughout the book is the role of locality in word formation, teasing apart word formation from roots and word formation from existing words syntactically, semantically and phonologically. The book focuses on Hebrew, a language with rich verb morphology, where both roots and noun- and verb-creating morphology are morphologically transparent. The study of Hebrew verbs is based on a corpus of all Hebrew verb-creating roots, offering, for the first time, a survey of the full array of morpho-syntactic forms seen in the Hebrew verb. While the focus of this study is on how roots function in word-formation, a central chapter studies the information encoded by the Hebrew root, arguing for a special kind of open-ended value, bounded within the classes of meaning analyzed by lexical semanticists. The book is of wide interest to students of many branches of linguistics, including morphology, syntax and lexical semantics, as well as of to students Semitic languages.
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