RCAAP Repository

The Babylonian exile has strongly influenced the prophetic literature language. Among the prophetic book where this language of trauma and violence can be seen in a vivid way, the book of Jeremiah deserves special attention. This paper will deal with the rhetoric of divine violence in Jeremiah’s laments, specifically Jr 20:7-13.

This article presents the analysis of the poem “The Little Mouse” and 4 drawings, made by 6children, ages between 7 and 13, who were confined in Terezín Nazi concentration camp, in Czech Republic, between 1941 and 1945, aiming to find elements that would enlarge our understanding of the perspective of the child in relation to concentration universe, investigating how they assimilated the historical, political, cultural and social context and which symbolic, narrative and discursive strategies they developed to express their ideas, emotions, impressions and perceptions about themselves and about the world. Our hypothesis is that these drawings and poems have testimonial content and value, being another testimony of the Holocaust, a poetic record founded on the child's perception of the events and in his very particular way of expressing them. The analysis of the corpus of the research indicated that the children were able to attribute poetically senses to different aspects of the context in very particular and personal ways, demonstrating great sensitivity and awareness of the context developed, which contributed to the construction of other narratives about the concentrationary universe.

When a parable has exaggerated details and talking animals, it is sometimes known as an apologist. While themes and justifications for parables / apologists have been practically unchanged for centuries, forms and artifices to address them tend to multiply and draw on innovations, as can be seen in Shelly Oria and Nelly Reifler’s “Ruben” which is where the narrative spills after extrapolating the limits of moral narrative. The complexity resulting from the games of themes, characters, roles justifies exploring the various categories of puzzles that end up giving shape to this story.

The work of Jacques Derrida offers an ongoing reflection upon the challenges and potentialities of writing in the contemporaneity. In his text “Circumfession”, the author unfolds his thought in order to touch–from a point of view explicitly autobiographical –one (im)possible Jewish textuality today. The aim of this article is to detach some points of this text – contextualizing them within Derrida’s corpus – in order to suggest new ways of understanding the traditional questions related to the experience of writing oneself as a Jewish writing(or also, of the Jewish writing as writing oneself).

This study analyzes the representations of the Jewish people in the pages of Rio de Janeiro press during the mid-nineteenth century, from the historical image of the Israelites as wandering and marginal people, whose stateless condition offers a challenge to the identity ideals of the nation. In line with the traditional anti-Semitic discourse in Western literature, artistic and literary manifestations widely reported in newspapers contribute to set up the stereotypes that restrict the imaginary about the Hebrews, among which stand out the feuilletonistic novel O judeu errante (1844)[The Wandering Jew], by Eugène Sue, and the historical novel As minas de prata (1865) [The Silver Mines], by José de Alencar, works of considerable circulation and expression in Rio de Janeiro press and among the literate people at the time. We aim to investigate the critical framework on the Jew, represented not only in literary tradition, but also n the debates that nourished the moment of his production and serve as readings keys to interpret the possible meanings of such a theme.

This article briefly examines the pertinence of the idea of the demonic covenant in the Hebrew Bible. Although widespread in Christian and pagan imagery, the notion of an evil force making pacts with human beings is far from being endorsed by this book. Rather, it is the divinity that establishes this covenant relationship with humans. The covenant between God and Abraham is thus analyzed as a classic example of agreement between a human being and a supernatural force, questioning the idea of a pact with Evil. Even the existence of an essentially malignant entity opposing God is not fully justified, in the Hebrew Bible; being much more a Christian creation than a Jewish one.

The article refers to a Cairo Genizah fragment related to Bavli, Eruvin tractate 54a, identified as Cambridge, UL T-S F1 (1) 85. FGP Nº C 96542. The article begins with a description of the Genizah fragment, and presents the text of the printed version and finally, reference is made to the content of the fragment and several comments are brought in an effort to characterize the fragment. A reproduction of the fragment presented at the end of the article.

Resenha a: KIGNEL, Luiz. A morte tudo resolve. São Paulo: Alameda, 2012. 358 p.

The perception of Hebrew not as a system of signs, but as ciphers, elements of a secret system available only partly for immediate comprehension, for there would be complex symbolic layers, addressed to other interpretive eyes, in the letters and other graphics of that language – this perception was developed by certain avant-garde authors and was central to the visionary and/or narrative configuration of this writers. For Hebrew, in the formulations of both Jorge Luis Borges and Xul Solar, appeared as a kind of twilight landscape, a mirage on the interpretive horizon, at the moment when the Word itself seems to be undone, in the threads of both the narrative construction and the linguistic formulation that makes a purely abstract, visionary landscape.

Manoel de Oliveira’s film of 2010 goes back to a project of 1952 and underlines the importance of memory in his art. Understanding memory as freedom in a “travelling outside of time”, O estranho caso de Angélica reflects on Oliveira’s dialogue with other visual arts, namely photography, and the notion of “aura” in Walter Benjamin’s writings, and with Marc Chagall’s work, namely his painting s representing a couple flying over town. We shall analyse the relation of the “travelling outside of time” in this film with the motif of suspension in the work of the Jewish Russian painter.

Antielegia aos pósteros

Jacob, Esaú e a sopa

Três Alephs para Jorge Luis Borges

Ó D-us

In the moral standards of the Jewish sages, sexual promiscuity is indicated by a foul repugnant smell, while sexual purity is manifested in a good smell. Stories about Rabbi Akiva and his student who had sexual experiences associated with various scents enhance the relationship between nature, culture and religion. They represent the outlook whereby the definition of a smell as good or bad does not follow natural standards rather has religious undertones and depends on one's moral powers.

Resenha a: ZIMLER, Richard. O evangelho segundo Lázaro. Trad. Daniela Garcia. São Paulo: Globo Livros, 2018. 528 p.

Shangrilá  

Jacob, o trambiqueiro

Tudo no mundo existe para terminar

In referring to psychology and psychoanalysis. Jorge Luis Borges adopted a skeptical and critical tone. Moreover, in his essays and lectures on topics which psychoanalysis has addressed, such as the analysis of dreams, Borges seems to reveal a disregard for or disagreement with, psychoanalysis, and this article addresses a possible reason for this approach.