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This paper aims to read The Kindly Ones as a literary work, therefore submitting ethical questions to esthetic choices. The inversion of the narrative point-of-view – Nazi narrator-character, Jewish writer – is analyzed not as a device whose effect is to embody the voice of the one who perpetrated the acts of barbarism, but as the opposite, a reading that is mainly corroborated by the ironic tone of the work.

When the single goal of doctors and authorities is to develop science without regard to human beings, all paths are open to any deformation, all regressions and degradations of dehumanization become possible. And that was the fact that Jewish, Ludwik Fleck, physician, researcher and prisoner, came in the camps of Auschwitz (Poland) and Buchenwald (Germany)

The goal of this article is to analyze the theme of Shoah in Logocausto, the work of the poet, journalist, playwright and writer Jewish Leandro Sarmatz (1973-), published in 2009, which falls within the contemporary Brazilian literature of Jewish expression. This analysis will hold, more strongly in some poems that have connection with the Shoah, weaving reflections about the aesthetics of fracture in his relationship with the trauma, and the ethics of memory, in its relation to the witness.

The shadow of Shoah hovers over the vast works of the German author and poetess Nelly Sachs. The strong impressions about the great catastrophe and its unrepresentable monstrosity are the main topics of twelve poems called “Coros depois da meia-noite”. In these poems, various personages are voiced and receive a role to express its fears. Survivors, vagabonds, orphans, shadows, stones, trees, and even those who have not yet born cry out for a feeling of justice and moral, showing how the Death, as an entity, was present and ready to make flutes with their hollow bones and arcs with their tendons. The present article intends to study the elements of tragic in Sachs’ poetry with especial focus on those poems-choirs, and, then, open the discussion about the ethic responsibility and esthetic freedom within the processing of the extreme experience of Shoah.

Izhar Smilansky nacido en la época del inicio de la colonización judía de la Tierra de Israel, es uno de los más destacados escritores de la llamada “Generación de la Guerra de la Independencia”, educados y moldados en una cultura hebrea que valorizaba el trabajo agrícola, la justicia social y la ética. Izhar Smilansky o más conocido como S. Izhar, inaugura las obras literarias de esta generación de escritores al publicar en 1938 el cuento Efraim vuelve al heno, un ejemplo de abnegación y renuncia, en el cual Efraim mismo queriendo seguir una trayectoria propia, se dobla delante de la ideología de esa época. Izhar sigue en este camino con la publicación en mayo de 1949 del cuento Caravana de la media noche, donde en plena Guerra de la Independencia y con las incertezas en relación al futuro, hace una exaltación fervorosa de los jóvenes que estaban dispuestos a entregar la propia vida por la redención territorial de un pueblo.

By mentioning in its title the treatise Ethics of the Fathers, mishnaic collection of proverbs and jokes of the first rabbis of Israel, this text has as its main goal the analysis of the options, attitudes and ethical dilemmas of the first native speakers writers of the modern Israeli literature towards the ancient Jewish literary tradition from Diaspora, as well as their relations to the socio-political environment of Palestine during the British Mandate period and of the first years of the foundation of the State of Israel. In this sense, there is in this text the attempt to analyze how and to witch extent the political and literary activities of these writers, as intellectuals and artists, had an impact over the aesthetics traits of their fictional texts.

In the novel Anagramas de Varsóvia by Richard Zimler, a series of brutal murders of children, during the segregation of the Jews into ghettos in World War II, puts the reader in the face of this world without affection and nor compassion, mentioned by Jorge Luis Borges, as well as in reality transformed into stone, as the graves in Italo Calvino’s text.

Ethics and moral are defined in relative terms, based on the convention of each community, according to Bertrand Russell. But the Hebrew Bible believes in the existence of an absolute and universal model. There are several passages in the biblical literature that raise questions of an ethical nature, such as the discussion between God and Abraham about survival or not of the cities of Sodom and Gomorrah. The patriarch Abraham does not repeat this discussion when God tells him to execute his own son. Many other relevant issues can and should be raised, not only for better understanding of the biblical text, but also for the development of the human thinking in general.

Para celebrar el quinto centenario del Descubrimiento, a la luz de la expulsión de los judíos de España, buscamos en la patria medieval Sefarad, la patria de los hebreos que se asentaron en la Península Ibérica, un origen sefaradita y un sangre que deseen testigo de la doble fidelidad: Hispania y su fe. Debemos al exilio la reunión de León Hebreo (65/1460-1521) con su traductor Garcilaso de la Vega, el Inca (1540-1615).

For the Israeli philosopher Avishai Margalit, who writes about the Shoah, there is an ethics of memory and obligation to remember people and events of the past. For whom the Shoah is, moreover, a personal reference, the duty of, at least, remembering, is more than obvious. There are no aesthetic or ethical barriers that prevent the confrontation with the theme that seems to defy our ability to cope with the past. Anashim Tovim [free translation: “Good Souls”], by Nir Baram [Am Oved, Tel Aviv, 2010], the novel which will be discussed in this communication is one of the most recent and daring literary models that has catastrophe as its background. Focused on Germany in World War II, behind the events of the Shoah, the book also covers in his fictional universe Soviet purges and persecutions, conjunction valid for dealing with moral dilemmas generated by almost simultaneous events. The drive of the novel indicates that over the characters of both universes hangs the recognition that each one is responsible for his actions and life, even when confronting circumstances for which there are no other ways out.

Much has been researched on the seven centuries when Muslims, Christians, and Jews inhabited the Iberian Peninsula. Much has been written about the Convivencia, about the Golden Age of Iberian Jewry, about cultural exchanges and mutual influences between the three ethnic groups. My goal here is to focus on the appreciation of the genre of satirical poetry by the ethnic groups. Among the Jews, satire has been practiced since biblical times. Among the Arabs, the maqama genre allowed the emergence of poets of the level of al-Hariri. Among Christians, one of the mainstreams of Galician--Portuguese poetry was represented by the Songs of Scorn and Cursing. In the presentation, I will try to make hypotheses about the occurrence of possible influences, especially by and about Jews. For this, I’ll detain myself on two Jewish poets who distinguished themselves by their satirical compositions, Yehuda al-Harizi and Todros Abulafia.

La vergüenza es un sentimiento universal, todos los seres humanos la conocen, − aunque tiene manifestaciones diferentes dependiendo de la cultura a la que se pertenece y según sí se es hombre o mujer. La vergüenza es un sentimiento “casero“ y torturador, que difícilmente se puede describir con palabras. Está íntimamente ligada a reacciones corporales como el sonrojo. Cuando nos avergonzamos nos sentimos como atropellados. Perdemos, por lo menos temporalmente, la serenidad y el autocontrol.

Adão

Hagar

Your soul will beginto sense its depth when you stoprunning from silence

Resenha a: KIRSCHBAUM, Saul; WALDMAN, Berta (Org.). Ensaios sobre literatura israelense contemporânea. São Paulo: Humanitas, 2011. 252p.

Antonio, o Judeu Série: Lembre-se  

Moacyr Scliar is short story writer, novelist and chronicler in line with his time, which uses the feature of humor in many of his works and in various situations. For the selection of corpus fictional, the short story will be the privileged genre, as this is considered the genre of contemporary for its synthesis and for being able to portray the reality of modern man, since it uses common themes, the small facts own the everyday average person. With this, the work proposed here aims to draw a parallel between the fictional art of Moacyr Scliar and its post-modern trends and the concept of humor. With this goal will be possible to observe the approach taken by the author in this feature types to be satirized and this may reflect the contemporary reality regarding the representativity of the humor in the postmodern movement, considering the first as having a critical part in such context.

It is not easy to treat the work of Moacyr Scliar (1937-2011) because he was a prolific writer, having published more than eighty books in various genres: novel, short story, essay, chronic, children's fiction. This article analyzes his work, his themes and repercussions.

The present article analyzed main works of Moacyr Scliar that approach themes of the History of the Medicine and of the Medical Science, as well as of the relationship between Medicine and Literature, besides aspects directly linked to the author's biography.