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Israeli filmmaker Eytan Fox directs The Bubble/Ha-Buha (2006), a filmic textuality that deals with the Israeli-Palestinian conflict in the cartography of Tel Aviv-Yafo and the West Bank. The plot revolves around the impossible love between the Jew Noam and the Palestinian Ashraf. Both young men casually meet at a chekpoint between the West Bank and Israel. This meeting will draw them together in this multicultural and military context, in which they are arbitrarily placed. Within this complex and critical acional panorama, we will approach the psychosocial devices that move these boys in the systematic confrontations and salutary negotiations that aim at the inclusive disjunctive synthesis of the situations in which they are inserted/uncertain. From the physical boundaries of difficult transposition that constantly create the figures of “strangers”, we will reflect on this fruitful encounter, despite the inhospitable context, and on how the possibilities of coexistence are in the aspects of “being-beside”, of “being-with” and “existence-for”, which indicate us the fields of xenophilia (the friendship to the foreigner/different) and of the xenofobia (the fear to the foreigner/different) with the support of the reflections of Zygmunt Bauman (2013; 1998, 1995).We will also follow such psychosocial negotiations within the framework of the principles of molar and molecular actions and subjective, concepts reflected by Felix Guattari and Suely Rolnik (1986). As well as we will use, to historicize this study, data from B'TSELEN - The Israeli Information Center for Human Rights in the Occupied Territories - (2017a; 2017b; 2017c; 2017d). Finally, we will follow the senses of the diasporic character, by Stuart Hall (2001), which involves these multi-connections that are both the cause and the victims of this brutalizing sociopolitical and cultural conflict.

This article proposes that Between Friends, 2012, of Amos Oz, is an addendum to the Israeli literary production of the Land Generation. It is a novel constituted by several small histories that privilege complexes and ambivalent characters, in the attempt to reconcile them with their dilemmas that were repressed in the 1950s. “Between friends”, however, does not deprive itself of collective values. On the contrary, it is from them that the individual emerges.

The present article proposes a reflection about the dialectic of escape and word as forms of resistance adopted by the main character of the narrative To the end of the land (2011), by the Israeli writer David Grossman. Through an analytic-interpretive look, it is intended to think of the mother's departure movement not as pure escapism, in the sense of avoiding confrontation with her devastating reality, but as an unequivocal way of resisting. The role of language in the novel is also an object of study in this article, which, through the spoken word, also does not constitute a mere substitution of the physical presence of the child, but rather as an animus, that is, as the generating force of the life which does not exist.

This paper analyzes “A nova sinagoga” and “A prece”, which are likely to be the first short stories with a Jewish theme Samuel Rawet ever published. Focusing both on formal and thematic aspects of the short stories under study, the analysis developed highlights the use of certain narrative techniques distinct from each other in such texts that points, to some extent, to an enhancement of Rawet’s crafting in the beginning of his career as a storyteller.

This paper aims to analyze the impact in the relationship between author-text-readers caused by texts previously published through social network, such as Facebook, and posteriorly printed. By applying the concept of liquid modernity, created by Zygmunt Bauman, the microfiction by the Israeli author Alex Epstein will be examined in this paper.

The plot of the novel Scenes of the tiny life oscillates between two narrative axes: the past and the present. In evoking the familiar memory of the protagonist, the first axis addresses elements of the Jewish tradition. After the diaspora experienced by it, the second axis develops in an agonizing present time. Certain metaphors enhance the author's keen gaze to the complex relationships of otherness arising from this context. Present throughout the novel, past-present antagonism produces continuous dialogue between tradition and diasporic Judaism. Such poles project the prospect of an uncertain and reified future. The protagonist goes through a supposed amnesic effect, a scene that presents the reader in a disconcerting way. Such a scenario may call into question the verisimilitude constructed in the narrative.

This article discusses Eli Amir’s autobiographical novel Tarnegol Kaparot. This narrative bases on the counterpoint between the writer’s familiar world, which has been abandoned in Iraq, and his family’s sufferings after their emigration to Israel. The imperative of forgetfulness hovers above these immigrants, who are expected to abandon not only their original names and language but also their cultural references and systems of values, so as to be enabled to aspire at integration in Israeli society. This society, constructed around the values of the Labor Party and Zionism, understands itself as the only possible alternative for the future of the Jewish people and its opposition to the beliefs and values of the immigrants creates traumatic experiences which are the subject matter of this book.

Some numbers stand out in the Hebrew Bible for their meaning or symbology. The number one hundred and twenty is one of them. In addition to its mathematical qualities, the number one hundred and twenty has unique symbolic qualities. This number appears in the Book of Genesis as a measure of time, when a limit of one hundred and twenty years is decreed as man'shighest expectation of life (Gn 6:3). This number also corresponds to the years of the life of the prophet Moses (Dt 34:7). Moreover, the number one hundred and twenty relates to the hundred and twenty years in which Noah built the ark to survive the flood (Gn 6), the hundred and twenty days Moses was on Mount Sinai in three periods of forty days each, as well as the period of three conventional generations of forty years each, exemplified by God's covenant with the people of Israel: “[...]to keep all his statutes and his commandments, which I command thee, thou, and thy son, and thy son's son...” (Dt 6:2). The Hebrew Bible can then be understood as a contract between God and the people of Israel. Therefore, the symbolic content of the number one hundred and twenty relates to its subdivision into three cycles of forty years each, represented by a very important institution of the ancient world: the contract, which is celebrated for three conventional generations, for which the Hebrew Bible assigns the conventional extension of forty years. And three generations of forty years each represent exactly one hundred and twenty years. In addition, it is customary to use the modern Hebrew expression “‘aḏmê-’āh wə-‘eś-rîm”, wishing someone to live to the age of one hundred and twenty, which demonstrates that modern Hebrew is rooted in ancient traditions.

“Disenchantment is a fundamental part of Etgar Kéret’s work because it accounts for the lack of meaning of the facts and for what the Israeli critics call a return to the ordinary meaning of everyday life” (BERCITO, 2014, 4), said the journalist Brazilian Diogo Bercito about the tales of one of the most popular Israeli authors he interviewed. Kéret’s mini-narratives are compact stories, postmodern texts in video clip form, describing an episode, portraying a particular situation, thus opening a window to a surreal world and strange inner lives. The unexpected often arises from what appears to be ordinary and everyday. Kéret’s short stories leave much unexplained, flirt with magical realism, with surrealism, end with a gesture or an unfinished idea. In the spirit of postmodernism, there is no dichotomy between low and high, pop and classical culture, real and imaginary; Comic moments merge with those of melancholy, sentimental episodes are preceded by serious and grotesque reflections. Kéret’s short stories are part of a wide range of cultural creation based on his fiction and extrapolation, an activity in which he collaborates with his wife, illustrators, filmmakers, in Israel and in several countries with which he has edited books , Published HQ, dealt with cinematography, made presentations on radio and public stations, created a ballet. In this communication I intend to approach the literary work of Keter and its great scope that extends through the varied fields of cinema, theater, ballet and HQ.

Jews and words, by the novelist Amos Oz and his daughter, historian Fania Oz-Salzberger, presents features that call attention to: a) Although the writer is the most prolific author in Hebrew, this book was written in English; b) Apart from a large fictional work, Amos has already published five books of essays, dealing with the Palestinian question, the difficulties of relations between Jews and Arabs, obstacles to peacemaking, problems between different groups of Jews in Israel; this book, which the authors refer to as an “essay,” is perhaps best referred to as a work of dissemination; c) If Amos had already published about thirty books, Fania had only two copyrighted works; d) Finally, the experience of co-authorship has provided them with a complex relationship, in which can be found “some residues of a dialogue” but also “intergenerational conflict, differing gender perspectives, or the subtle skirmishes of fiction and non-fiction.” This paper reflects on the work in focus, emphasizing the issues raised by co-authorship, seen as a duet, two voices that usually sound in unison, but sometimes dissociate and at other times converge. These outbursts appear in passages such as “The Web, as the historian among us keeps trying to persuade the novelist among us, [...]” or “For a long time, the historian among us thought that the novelist among us had invented this text-turning trick, this subversive little yod.” In this approach, we think that the authors describe the Jewish people as a kind of orchestra, with different voices, different timbres, different tunings, and one which does not have a conductor. Also worthy of attention is the relative weight of the authors’ contribution: the complexity of each voice’s score and the possibility of one voice stifling the other. In the simultaneity of several pairs, father-and-daughter, writer-and-historian, man-and-woman, what importance each relationship acquires vis-à-vis the others.

In this article, the textual structure of the narratives of Jewish Holocaust survivors is analyzed from the perspective of the psychological comprehension of how hard it is to work through traumatic experiences. Considering the psychic disintegration resulting from the successive traumas they suffered, we observed an apperceptive capacity deficit during the shock resulting from situations of violence and trauma. In our opinion, it is necessary to re-stimulate this apperceptive capacity in order to assist in the restructuring of the psyche. Based on literature reviews and case studies with survivors, which involved interviews conducted in the field, we present some marks in the narratives of Holocaust survivors that are characteristic of the traumas recalled. Textual structuring and punctuation are some of the resources that indicate these marks and the gradual progress in enunciating the pain recalled.

The present article is a study of the Genizah fragment containing parts of various sugyot from tractate Eruvin in the Babylonian Talmud. The principal focus is on the peculiarities of the Aramaic sections seen in contrast with the Hebrew parts of the text. The article introduces the ancient Aramaic wording in the fragment, emphasizing the consistent use of Aramaic, the elements of Aramaic grammar, the clarity of the usage and the precision of the linguistic specification. Proceeding along the same lines, the article also considers the relatively rare use of terminology in connection with the name of one of the Tannaim, as well as the use of Hebrew and a particular problem arising in connection with the fragment’s content – an issue which also arises in other versions of the same text.

Ezra e os escribas bíblicos

Vou fazer da palavra

Concavidade

Mãe e filha

Urros de Jerusalém

Resenha a: WEINTRAUB, Fabio. Falso trajeto. São Paulo: Editora Patuá, 2016. 80 p.

Resenha a: LERNER, Silvia Rosa. Liberdade de escolher como morrer: resistência armada de judeus no Holocausto. Rio de Janeiro: Imprimatur, 2015. 160p.

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