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The controversial and polemic Canadian Jewish poet from Romenian ascent, Irving Layton, strived a battle related to his artistic and personal identity that resembles the one faced by Portuguese Poet Fernando Pessoa. Not only religious and family features play important parts in his writings but also intimate and personal experiences give the hybrid tone as well as unique to his modern and defying poetry. The doubt that comes up to readers is who at last is this multifaced author, this group of voices who brings to the surface trivial, pretty and disturbing things. The way he can in some verses deal with so different elements while in other parts can create a mass of ideas who seem to be fossilized by centuries. From his staring full of lust to one of his literature students to the suffering due to his ethnical-cultural and religious connection to the victims of the Shoah, everything that comes up in the poems is a result of his heteronyms, personas or just masks to hide the man behind the poet or both at the same time. This is what I present here.

This article approaches two poetics presented in the literary work Guerra em surdina, by Boris Schnaiderman: fear and silence. It is not about an isolated condition, but, specially, declared experience, amongst others, by the character Joao Afonso, during his time fighting in the Second World War in Italy.

This paper discusses the writing of me in Clarice Lispector’s Água viva from reading operators of the prophetic Kabbalah. To do so, we take some passages of the work which were cut and analyzed through the prism of the metaphors mivtá, michtav and machschavin order to discuss the possibility of this book being constructed as a kind of self-fiction, in which Lispector investigates in and through the scripture, just like the Kabbalists, the nameless face in search of herself.

The article describes the nazi persecution and the attempts to escape by the most tragic of all tragic painters: Felix Nussbaum, who personified in his life and in his work an unnamed tragedy, which we call, inappropriately, Holocaust (or Shoah), without being able to define precisely its size, a tragedy that was not produced by nature, or by the general conditions of life but by the most powerful State in Europe against a minority then stateless, persecuted everywhere.

The Hebrew Bible preserves, in Genesis 6:1-4, a narrative extremely short, poor in details and difficult to understand about mysterious pre-flood beings that have relationship to women, giving rise to offspring supposedly giants or heroes. Were these pre-flood beings angels or just important men such as tyrant rulers? This paper discusses the identities of these beings and their descendants, their relationships with women and the potential consequences of these relationships.

The Jew in Jorge Amado’s Suor (1934), Rachel de Queiroz’s Caminho de pedras (1937), Graciliano Ramos’ Angústia (1936), and Dyonélio Machado’s Os ratos (1935), appear in broad strokes, especially in Ramos and Machado. Yet this representation points concepts around that people in the Brazilian imaginary. In Amado and Queiroz, the Jew is showed as a foreign communist agitator. In Ramos and Machado, as a capitalist dealer. Though, according the complexity of the novel in perspective, the Jew also shows different forms of representation which goes beyond the mere reduction of the stereotype.

Moacyr Scliar was a important contemporary Brazilian writer who built a vast repertoire in literary short stories, chronic, novels and essays – all marked by the uniqueness of its themes. In his works the themes involve medicine, the sacred literature, the Jewish condition, the tradition and the historical review of our training, were treated in a unique way in Brazilian literature. This article seeks to show some of the most relevant aspects of the trajectory of this author from his essays and interviews at different times. With that seek to provide a biographical and literary profile of the writer.

This paper constructs a synthesis of Arnold Schoenberg’s biography as a Jewish man, having his own statements as main source of information. In these writings, the composer deals with the period of his birth in Germany, his poor childhood, the rising of his own geniality, his expulsion from Germany, his life on the United States and his struggle for the creation of the state of Israel.

The present article analyzes the confessional rhetoric characteristic of the novel Por que sou gorda, mamãe?, by Cíntia Moscovich. First, this study aims to identify the narrative strategies used by the gaúchan author to leave marks of the rhetoric of confession in all the interstices of the text, in a cyclical dynamics. To this end, it draws on the reflections of Philippe Lejeune about writing in first person as well as on those of Jacques Derrida about the autoimmune nature of the autobiographical text. Second, this article focuses on the origins and the different facets of guilt that the narrator suffers from, leaning on her relationship with the female body and the notion of guilt in Judaism. Moacyr Scliar’s essay Enigmas of guilt contributes with essential elements to understand the specificity of the feeling of guilt in the Jewish tradition.

Cabeças obstinadas

Adão 1

Adão 2

Passagem

Raquel e Lea

Resenha a: DANZIGER, Leila (Org.). Diários públicos: sobre memória e mídia. Rio de Janeiro: Contracapa / FAPERJ, 2013.

Distância de um sussurro 3

Selos do Golem

The art of Leila Danziger is oriented by negotiations between memory and history, constantly making references to Judaism, the Shoah and literature. The artist uses mainly personal and public files for mentioning the unspeakable of large and small disasters. From the paper archives, words and images become artistic material, sometimes in association, sometimes alone, sometimes just as traces. Here we will analyze some works that allude to the memory of the Shoah, as the series Nomes próprios, and the presentification of this memory in the daily Brazilian disasters in the series Diários públicos.

Among the poems of Carlos Drummond de Andrade published in As impurezas do branco (1973), interestxin this article the ode entitled “Entre Noel e os índios”. In this poem, Drummond produces a tribute to Jewish doctor and Sanitarian, Noel Nutels, who along with Villas-Boas brothers, was an idealizing construction of the Parque Nacional do Xingu. Drummond also focuses on Noel's dedication to patients Indians and persecuted. These thoughts are anchored in studies of Moacyr Scliar, Orígenes Lessa, Affonso Romano de Sant'Anna, Antonio Candido, Antônio Risério, Darcy Ribeiro, among others.

The objective of this essay is to analyze the relationship between the character Jew and the legend of the dolphin, in this tale “The dance of the Jew”, inserted in the work Contos Amazônicos of author Inglês de Sousa. At first are brought information about your life and work, besides a search of specialized reception about his literary career. Then attention is focused on the main elements of the analysis, the Jew, which consists of the presentation of the history of the Jewish people from its origin, through the period of migration to the Amazon, to the present day, approach about anti-Semitism, custom and imaginary built about these immigrants. Next witha brief overview about Amazonian imaginary facing the legend of the dolphin. As the last stage of this work brings the analyze the tale “O baile do judeu”, to focus on Amazonian imaginary, imaginary about Jews and anti-Semitism present in the narrative.