RCAAP Repository

Memorial

Noturno

História de enamorados

A raiz judaica

Resenha a: ROSENBAUM, Paulo. Céu subterrâneo. São Paulo: Perspectiva, 2016. 254p.

Resenha a: O FILHO de Saul. Direção: László Nemes. Hungria, 2015. 107 min, color., legendado.

Sonhos

This article analyzes the intricate relationships between food, family and writing in the work of Cíntia Moscovich. In frank dialogue with Jewish tradition, Moscovich approaches to other writers like Sholem Aleichem and Clarice Lispector, especially with regard to the autobiography, the tradition and the very act of writing.

This paper presents a brief anthology of the Yiddish poems kept in the secret archive of “Oyneg Shabes”. 70 years ago, on September 18th 1946, the testimonies buried under the Warsaw ghetto by this cultural organization, leaded by Emanuel Ringleblum, were rediscovered. This poem selection is introduced by a text that aims, in the first place, to explain this organization intervention under the violent circumstances of the National-Socialist occupation. In the second place, it suggests to understand the Yiddish literary creation with the notion of “transnational field”. Brief as it is, this paper intends, notwithstanding, to promote further researches on this topic.

According to the perspective of life‑writing studies, diaries may be conceived as borderland genres, whose boundaries shift between the private and the public selves. It may be stated that diaries function as transforming locations, in which a sort of negotiation is set between the public persona and the private desires of the one who writes. This article aims to analyze such phenomenon, more specifically, in Anne Frank’s diary writing, by making use of its three versions (a, b, and c).

This essay make questions for the poetic theory from Henri Meschonnic in front of his translational work, thus uniting linguistics and ethics from a part an unavoidable point on the translation of the first verse of Genesis/Bereshit book. The language found triggers textual options with strong poetic basis, a fact that leads him to look more closely at internal processes of assimilation of poetry in the life of their interpreters. Rhythm appears as an unprecedented creative element on the alleged truth of the longed for science and subjectivity that is shared by the revelation of vowel elements as te’amim present in the Hebrew language.

This article looks at art and religion in the work of Marc Chagall (1887-1985) from the exhibition “Chagall. Divino y Humano”, presented at the Canal Foundation, in Madrid, from February to April 2016. The show brought together over a hundred original works in lithography techniques, woodcut and engraving, including works on paper, created by the artist between the decades 1940 and 1980.

Man was created, according to the Hebrew Bible (Gn 1:27), with the Hebrew name ʼādām. This combination of letters not only refers to man, but it’s filled with other meanings. This article is a brief study of the possible meanings of the word ʼādām.

This paper intends to discuss the evidence of an intracode between Hebrew and Portuguese in the poetic transcriation of Ecclesiastes by the Brazilian poet Haroldo de Campos. The author published Qohélet/O-Que-Sabe Eclesiastes: poema sapiencial in 1991. The book is relevant for the timeline of Bible translations in Brazil for respecting the Hebrew prosody (stress and pace) and typography. It is indeed a product of creative translation, by means of anthropophagy as a cultural mechanism and recreation, an act of critical devouring of the other and assimilation of the foreign, a project for Brazilian literature enrichment. In addition, this paper will compare the transcriation of Haroldo de Campos to the Bible translation of João Ferreira de Almeida, the bestselling book in the country.

The novel Everything is Illuminated by Jonathan Safran Foer, was originally published in English in 2002 and Brazil with the title Tudo se ilumina in 2005. The narrative shows a contemporary form of fiction about the Shoah in which fiction and reality are mixed from the recreation of a search on a journey of the history of the writer's ancestors for a small shtetl in Ukraine. Marked by fragmentation, by the multiplicity of styles of expression and thought, the narrative presents is incomplete and polysemic form, which in the novel reaches its climax when the text part of configuration lists and entries.

This article analyzes O inferno de Treblinka by Vassili Grossman. The book, written from interviews that the author conducted with some prisoners who had managed to escape and hide after the August 1943 field revolt, and farmers and residents of the surrounding countryside. This is not trying to play the feelings of those who suffered and not to try to summarize the facts that have made the country one of the most horrific events of our time. The place of the writer is not even the testimony, direct or indirect, and not the scholar who seeks through facts and figures to address the issue of the Holocaust. It is to forge a look that conveys the experience the horror of the borders and bring it to the center of the human condition.

This work intends to examine and analyze excerpts from the translation of the tale “O duelo” by Guimarães Rosa, to Hebrew. This is done to highlight the most relevant issues on the activity of literary translation between Portuguese and Hebrew. The main theoretical background chosen are theories of literary translation, both of Hebrew and Brazilian origin.

Departing from a close reading of a classical text written by Walter Benjamin, “Die Aufgabe des Übersetzers [The task of the translator]”, Jacques Derrida – in his equally fundamental text, Des Tours de Babel [Towers of Babel] – advances a series of revolutionary ideas for a more conscious practice of translating. The dialogue between these two Jewish thinkers developed many important questions about translating and its dilemmas. My objective here is to offer a close reading of these texts – taking into account other readings – in order to untie some of their knots, patch up their contexture and explicit their more radical deployments.

This article analyzes, from the concept of “tactile values”, in work of Clarice Lispector. To Bernard Berenson, this critical operator articulates the interactions between literature, aesthetic and history. For the critic, the anomalous character of tactile explained in terms of the form be an internal radiance that reaches the outer form only when, in a given situation is fully realized.

The oral tradition of Jewish people was consolidated in the medieval period through the Talmud development. Legal issues and rituals hide philosophical concepts that need to be revealed. This article does not aims to discuss Talmud philosophical contents, much less the laws enshrined in it. The target is to analyze the most suitable method for studying Talmud hidden truths. Moving away from structuralist and historiographical methods, this paper seeks an alternative on hermeneutic paradigm.