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The Animation Art displays, as the basis of the constitution, the radical styling of the universe that serves as a reference. This stylization, however, does not occur disconnected from material reference of reality, the referential, as in cartoons, is still present and its deformation denounces an ideologically formative process. Modern animation, globalized and democratized in the stream of technological progress, is not free of these ideological aspects. Thus modern animation produced in Israel, crowned by the various international awards granted to the animated film "Waltz with Bashir" (Vals im Bashir, 2008) directed by Ari Folman, play the crucial problem of styling in representation of the historic catastrophe compounded by guilt complex; its generates a need for ideological realism complaint that ultimately cancel the symbolic value of animation as aesthetic art, converted to a partial chronicle about a much more complex reality.

In reference to Israel’s history, I stand out the work presented in the book published in name of Gilad Schalit, an Israeli soldier, still missing after being kidnapped in 2006 by the Palestine group Hamas. The book brings a tale written by Schalit when he was eleven years old, in which, by a metaphoric way, he approaches the matter of understanding between the odds, between the strongest and the weakest. The book has illustrations created by Israeli illustrators, and has been useful as an instrument for the debate and artistic creation among children about the theme it carries. Both creations, from Itzhak Belfer and Gilad Schalit, although they seem to handle distinct matters, complete themselves, and have the educational transforming function of alerting society of the dangers of intolerance and conduct society to search alternative ways towards tolerance and understanding among mankind.

The novel Mr. Mani, by A. B. Yehoshua, is evaluated because of its experimental content, the audacity with which it treats some themes swept under the rug by the previous generation, and most importantly, because it addresses the participation of Sephardim in the formation of the State of Israel.

The objective of this article is the demystification of the idea that, during the Holocaust, the Jewish people marched towards death “like lambs to sacrifice”, without offering any resistance to its own extermination. Result of a superficial analysis, this equivocated and prejudiced notion does not consider the multifaceted context of that moment. Beyond that, the intention here is to identify “other places” where the resistance was effectively possible, places where men and women carried on actions of resistance in the face of the attempts of the system in transforming them in non-humans.

Based on the semiotic analysis of an episode of the documentary Shoah (Lanzmann, 1985), the present text deals with a problem related to the indexical action of signs in it. What is the nature of a film which attempts to reconstruct meticulously the time of unimaginable horror based on the testimonies of survivors, but which sometimes uses staged, fictional indexes? This is precisely what takes place in one of the most evoked and moving moments in the over nine hour-long documentary Shoah. The aim of this article is to reflect systematically on the semiotic characteristics of a film genre which has a historical calling but which differs overtly from the traditional historical discourse.

This article aims to analyze critically the book of José Lins do Rego, Roteiro de Israel, 1955. It seeks to detach two supplemental aspects: a poetic view and ethical-political concerns took by the writer about the construction of the new State of Israel. It is also observed, there, the relation between the signs of modernity and archaic Jewish stories. For this, the concept of palimpsest, Gerard Genette, and flâneur, Walter Benjamin is used.

Este texto aborda por médio de la ficción, la cuestión del enfrentamiento entre judíos sefaradies y orientales y la élite ashkenazi hegemónica por la definición de la identidad nacional del Estado de Israel. Este enfrentamiento es representado por los personajes de Michael Sommo, un judío argelino y Alex Guideon, hijo de pioneros de Europa Oriental, dos de las figuras centrales en la tramadel romance A caixa preta (La caja negra), publicado por Amós Oz en 1987.

Between 1963 and 1964, the Brazilian intellectual Guilherme Figueiredo – playwright, novelist and critic – traveled to Israel, the new-born nation of fifteen years. The book Deus sobre as pedras: Israel, published in 1965, is the result of that travel. The report contains many subjects relating to Israel, provided explanations on the formation of the state, the dramatic criticism of Israeli authors, explaining how they formed the kibbutzim. The purpose of this communication is to discuss and analyze this report, based on: the descriptions of historical sites visited by the author, criticism and interpretation of Israeli national culture in training and dialogues and workshops that the author has with Brazilians who have lived in Israel – conversations in which the main subject was the comparison between the Brazilian culture and Israeli culture in training.

The Brazilian writer Erico Verissimo traveled to Israel with his wife in April 1966, invited by Israeli Ministry of Foreign Affairs. The notes made by Verissimo during the route through the major israeli cities were turned into the book Israel in April, written and published three years after the trip. The writer sent to his publisher, along with the handwriting of the opus, a letter in which he showed that his intention when he began writing the book “was ‘to paint’ Israel with the playful carefree joy of an artist on vacation”. However, during the work, he realized that he was making “dangerous questions” like “Who are the Jews? A race? A people? An entirety of tribes connected by a common religion?” Then Verissimo let the common sense prevail and went back to his “painting”. In this paper we intend to study the book Israel in April, analyzing how the writer’s carefree view mixes together with the critical eye of the intellectual when reporting his impressions in Israel.

In the Hebrew Bible, the phenomenon of war is portrayed as having a direct connection to God. The divine protection of the people of Israel is at the root of biblical theology. In David Grossman’s A Woman Flees (Isha borachat min ha-bessora), as in Homeric poetry, the realities of war and warriors are contrasted with the realities of common people, and the narrative creates a vast abyss, separating these two spheres. But, as opposed to what happens in the Bible as well as in the Iliad, the war depicted in this novel is not subject to any kind of divine interference or belief, be it pagan or retributive as in biblical theology.

The main difficulty faced by immigrants in Israel, especially in the 1950s, and particularly by those coming from Morocco, was the concept of melting pot, the forced conception of forging the average Israeli by imposing that they gave up the symbols and traditional values they brought along in order to absorb the values and symbols of the society in which they started living and with which they were to be merged.

This article catalogs some contemporary Israeli artists and their artwork in Israel.

Este artículo pretende ofrecer unaidea panorámica de la obra Israel Ba-Golá”del historiador Ben Zion Dinur, a partir de los diferentes períodos existentes en la historia judía. Para Dinur, el grande idealizador del Museu del Holocausto Iad Vashem, em Jerusalém; los diversos tiempos de la historia judía precisan ser analizados por intermedio de dos grandes grupos o categorías: épocas de estabilidad, creatividad y desarrollo socio-cultural y económico; y épocas de disminución del proceso creativo del Pueblo Judío.

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Resenha a: GROSSMAN, David. Alguém para correr comigo. Trad. George Schlesinger. São Paulo: Companhia das Letras, 2005. 440p.

Resenha a: GROSSMAN, David. Desvario. Trad. George Schlesinger. São Paulo: Companhia das Letras, 2003. 328p.  

Resenha a: ÊXODO. Trad. Ludovico Garmus. Introdução de David Grossman. Tradução da introdução de José Antônio Arantes. Rio de Janeiro: Objetiva, 1999. 120p.    

Resenha a: GROSSMAN, David. Mel de leão: o mito de Sansão. Trad. Tova Sender. São Paulo: Companhia das Letras, 2006. 136p.

Resenha a: GROSSMAN, David. Duelo. Trad. George Schlensinger. São Paulo: Companhia das Letras, 2010. 136p.