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The aim of this article is to focus on the use of the metaphor of the Holocaust in the Sylvia Plath’s poetry (1932-1962), in order to examine both the functions as the limits of literary creation. Taking into consideration the autobiographical and poetic suicide of the American writer, will be on the horizon the reading and analysis of poems “Daddy”, “Lady Lazarus”, “Words” and “Edge”.

What stands out in the poetry of Lúcia Aizim is your unique and personal rhythm, and even thematic depictions in which Judaism transpires as larded with hybrid tropical Brazilian elements. This mix, drawn in different dimensions, erects a singular poetic, with differentiated resonances, who denounce abroad brought to the national body, the contemplative attitude focused on Jewish tradition, which nourishes, however, of everyday life.

Since World War II, much has been written about the Shoah, crime against humanity perpetrated by the nazis. Even if the word “much” suggests quantity, the experience lived collectively during the war is a handful of individual experiences that, inciting several stories, will never tire. The book O que os cegos estão sonhando?, with the Diary of Lili Jaffe (1944-1945) and the final text of Leda Cartum, written and organized by Noemi Jaffe, extrapolates the limits of classification. The traumatizing reminiscences of the Auschwitz survivor, of life after war, the rebuilding and the hope, surpasses the book. A testimony that retreats to the past to afirm life in the present of three generations of women. This article intends to analyze the book, in particular, the report of Noemi Jaffe, tracing observations about the models of narrative composition, of the multiplicity e and the fragmentation, reflecting on the Shoah, a complex subject that is indispensable to the literary studies of contemporaneity.

This essay theme emerged from the controversy of Jewish women who fought for the right to pray at the Wailing Wall, a right hitherto reserved for men only. This right was recently conquered by them. However many Orthodox Jews are against. Thus, the objective of this theme was to investigate the arguments for and against women have this right. Arguments have been raised against this right of women, based on beliefs of Orthodox Jews, and arguments in favor of women, based on the beliefs of non-Orthodox Jews. In conclusion, it was found that the orthodox foundations derive from custom and tradition, not a law.

Lavoura arcaica, by Raduan Nassar, is one of those Brazilian literature peaks that explicitly brings in its composition, in its textual issue, strong traces from “Code of the codes of the occidental literature”, which the Judaic culture left to us. In this article, we are interested in seeing how the proverbs, some very close to the biblical Kitab al-Amthal, have been appropriate considering the “toughened syntax” used by the strict Lavoura arcaica’s father and subverted from the same ones in the Luciferin language by his rebellious son, André. The conflict of voices increases the tension in this novel, making it, according to Mikhail Bakhtin, “a arena in which the discourses are confronted”.

This essay proposes a study of the book K.–Relato de uma busca, by Bernardo Kucinski, based on an approach of the Testimony Literature. Prioritizing this literary genre to perform a Reading between history and fiction helps understand the novel in the context of Brazilian Military Dictatorship and, as such, the limit situation of violence includes it in the Era of Catastrophes. The analysis of tensions between the presence and absence in the memory accounts and the threshold between being/not being is also part of the process of reading which highlights the issue of potency as a way of resizing the work according to its narrative possibilities.

Considering the importance of the familiar and cultural memory’s preservation to the Jewish community, this paper intends to analyze the novel Everything is Illuminated by Jonathan Safran Foer, from the search for family memory undertaken by the protagonist. The novel, which brings the authorial so as a character, reports Jonathan’s trip to Ukraine to rescue the history of his grandfather before he runs away to the US during World War II. Since the novel uses the biography and several discourses(reports) in its construction, the paper aims to deconstruct the binarism between fictional X nonfictional speeches. Besides, in view of these elements and the identity’s shifting borders that appear in the book, it is intended to analyze, through the concept of nomadism, the recovery of memory as one of the determining factors in the identity construction.

This article intends to discuss the translation of the first chapters of the Torah – the Hebrew Bible – made by Haroldo de Campos, considering his motivations and method in order to present the text in Brazilian Portuguese. We explore the literary value of the text by discussing concepts of translation studies, as we provide further details to the scope of Bere'shit: a cena da origem, its prosody and typographic layout. His poetic approach becomes evident as we read his translation with both rhythm and pacing that are similar to the poetry originally in Hebrew. We find modernist attributes in the reconfiguration (transcreation) of the biblical text: free verse, spatial arrangement of words, and the sound of the poem, word decomposition and neologisms. Lastly, we present a didactical comparison between the work of Campos and the bible of João Ferreira de Almeida, the first translation in Portuguese, and the most widespread variant in the country.

Dahlia Ravikovitch, one of the most representative poets of the contemporary Hebrew poetry, in her poem Hovering at a Low Altitude (2009) tell us that she discovered a social aesthetics method very simple to live, survive, and act in a pragmatic way in her personal and collective reality: which supposes, among others semantics layers, her impermanence too close to the ground, not even in a higher flight; that her heterogeneous mobility network was also built in a low altitude ambit. In this picture, we’ll accompany and reflect on a minimally representative set of her poems, which poetic theme and engineering remind us of the subjectivation currently happening in the Hebrew society, such as its multicultural condition and multiethnic conflicts, historic places of the female condition, the polyphonic mobility of the Jewish people, and above all the parameters of the human coexistence both the immediately possible and the utopic, in times of globalization.

Starting from the reading of Hans-Georg Gadamer on the poem “Wortaufschütung”,by Paul Celan, published in the cycle of poems Atemkristall, in 1965, this communication aims to analyze the hypotheses that suggest a redirection of the interpretation proposed by Gadamer toward a bias of theory historiographical whose matrix would be to Walter Benjamin, illuminating, this way, a further possibility of reading of Celan’s poem.

There are few academic studies about the intertextual dialogue between Machado de Assis’s poems and the Pentateuch. Although Machado published poetries of which central theme is based on biblical characters and episodes, there are not many literary critics that pay attention to this fact. Thus, in face of such few researches about this theme, we chose to analyze in this paper the poem titled “Soneto”, in which Machado de Assis adapts chapter 38 of the Book of Job, focusing mainly the discourse and omnipotent figure of Jehovah.

This article reflects on the dialogical encounter as a means through which man becomes human. With this purpose, we sought a dialogue with the thoughts of Martin Buber and Carl Rogers and the testimony of the Holocaust Nanette Blitz Konig. Some testimonies show reports of survivors after the war by emphasizing the fact of not being heard or ignored. But there are different reports. When were heard really in his sufferings, I could feel them more bearable, but also overcome the isolation and emptiness of meaning. The dialogical encounter began to feel again connected to each other while their differences and as part of the same creation: humankind.

This article analyzes the Jewish character and metonym of the hardships of left-wing militancy in early 1930. Unlike previous years, Caminho de pedras, by Rachel de Queiroz, establishes the conjunction political life and private life, in a process that marks the Communist Party’s internal ruptures, as well as its contradictions on several levels. The Jew appears as a prophet of a group divided into days of political repression.

Ese artículo hace algunas consideraciones sobre la hipótesis de que exista una literatura judeoconversa, abordando no tanto los temas como las categorías que el historiador Gershom Sholem consideró propias del pensamiento religioso judío, revelación y tradición. Desde esa perspectiva se analiza la obra literaria de intelectuales españoles del siglo 15 comparándolos, según propone Caro Baroja,  con la tendencia que se instala en la Europa central de inicios del siglo 20.

This article is a reading of "Layla" by Yehuda Amichai, a deceptively simple poem, which is built upon a systematic part with morphological qualities and possibilities of grammar of the Hebrew language. I say that, playing with suffixes in Hebrew and number and gender markers, and lead to estrangement and subverting the expectations of the average Hebrew reader/speaker, Amichai works in the sense that it provides as a "language of love".

The scholars of today hardly have knowledge of Yiddish and, anyway, need to unfold between the ancient authors, the modern and the contemporary in a cultural universe whose dimensions would be once no imagined. Some might even suspect that those works still offer. How is it possible, in this day and age, unfold and stick to what the ancient authors bequeathed us?

This article analyzes the poem “Anak”, by Shlomo Ibn Gabirol, in the context of the medieval Hebrew poetry from the Iberian peninsula in the XI century.

This article approaches the intertextual references from Machado de Assis with biblical texts, specially the Song of Songs, alluded to in the tale “O cônego ou Metafísica do estilo”, as an inspiration for Canon Matias to write a wedding sermon. The stages of creative process –sometimes arduous, other times fluent–are analyzed under the bias of the psycholexicological theory, presented by the narrator throughout the tale.

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