RCAAP Repository

This article aims to examine some literary aspects in the book of Jonah, as well to verify intertextual relations between the text of Jn 3: 7-4:2 and Ex 32-34, analyzing the ironic aspects present in the connections among these two narratives, mainly, in the connection between the prophets Jonah and Moses, where it stands out the ironic form that the author presents Jonah’s actions.

In the following work we will see how Borges revisits the historical role that the Jewish community adjudges itself as the Chosen People to configure many of its plots and main characters. The bloody offer becomes an interest to the author not only for its atavic and barbaric disposition but also for its mystical and ritualistic nature: Sacrifice allows, both for the tribute and for those who offer it, to strength and rekindle the ties with the Divinity.

Meus pés

This article aims to analyze a tension in the field of the Portuguese adage. As in a collective unconscious, popular sayings are a mark of what has been consolidated over the centuries as perception and representation. “Working like a Moor” or “doing Jewry” are two examples of how Portuguese popular culture has consigned keys to intolerance in the collective memory.

This article tries to analyze, in the work of Jorge Luis Borges, a kind of obsession the subject of man as demiurge, as well as other foundations of Jewish mysticism. Just by giving a brief look at some of his emblematic works, both poetry and narrative and essays, we find this constant concern. The stories “La biblioteca de Babel”, “Funes el memorioso”, “El Aleph” and “Las ruinas circulares”; the poems “La cifra”, “El hacedor”, “The Thing I Am” and “El Golem”; and of course, the essay written for one of the Siete noches on Kabbalah, gives a good clue to the way in which these themes permeate all the work of Borges.

The intention of this article understands the cultural resistance tools enabled by the Jewish minority throughout the centuries. The focus is on the religious daily life and, within it, the use of rituals and the normative precepts named mitzvot. The latter are religious commandments described in the Pentateuch ruling multiple details of religious life, from sacrifices in the Jerusalem Temple to social, conjugal, and other kinds of relationships. The analysis aims at presenting a complex web of behavioral control, which creates a minority-protecting “fence” that prevents the absorption by society and its non-Jewish majority. The analysis covers an extended time span in medieval Western Europe, using the Cultural History framework.

This article analyzes the Jewish presence in some poems of Jorge Luis Borges. This presence transpires not only in the explicit inspirations of several of his poems: “Spinoza”, “Paris, 1856”, dedicated to Heinrich Heine, in which Borges refers to the destiny of being a man and being Jewish, as in “Rafael Cansinos-Asséns”, but above all by the cosmogony reflected in the structure, by the thematic and the cut-off method of the Kabbalah.

By means of making use of elements of the Judaic tradition, this article aims to investigate to what extent a gap, like the one left by the non-pronounceable Name of God, can present itself as the basis of a narrative structure. It is intended to proceed as Jorge Luis Borges’s manner, deconstructing the tradition and relocating the fragments in the context of the Literature Theory.

The literary studies, which have indicated Jewish influences in the fictional production of Jorge Luis Borges, are not recent. However, few have devoted themselves to the poems organized in 1969 in the book entitled Praise of the Shadow, in which there are poems that dialogue with biblical passages and with the imaginary around Israel. This article aims to discuss the concepts of Judaism and of Jewish identity and to analyze the poems entitled Israel and the others which convey some biblical references, in order to ratify the already produced criticism which identified the admiration and the affinity of Borges towards the Jews and towards Jewish culture.

This article seeks to construct, in the form of a commentary, a Jewish genealogy, aesthetic and literary, by Jorge Luis Borges. The narration begins in the Iberian Peninsula and returns to the continent to remember the encounter of the Argentine writer with the Andalusian Rafael Cansinos-Asséns. From this encounter emerges, in Borges’ work, an aesthetic Judaism, which will structure his most important texts.

This article investigates possible demonstrations of a modus operandi in Samuel Rawet writing based on the analysis of the relation between Rawet’s notes and the composition of his literary text. The study presents, at first hand, a selection of items from Rawet’s archive, recently donated to the Archive Museum of Brazilian Literature, Casa de Rui Barbosa Foundation, located in Rio de Janeiro. Our purpose is to reflect upon and to consider some of the author ́s writing strategies and literary activities. The transcription of Paul Celan's poem The Sluice, handwritten by Rawet on a loose piece of paper, and its possible connection to the production of Kaddish: Prayer for the Living of the Olympics in Munich, as well as the notes left by him in a notebook reporting his perception on memory, comprise the corpus of this investigation.

The current study analyzes several medieval and modern works of art that portray mythological creatures who entered Noah's ark (Genesis 6:5-9) – flying dragon-like and imaginary creatures as well as unicorns. The artists assumedly chose to portray these animals for several reasons: a) in the ancient world the existence of creatures with unusual and exceptional qualities was a commonly held belief; b) mythological animals aroused the imagination of the ancients and sparked their curiosity.

Razão dos sonhos

No ventre, Jacó e Esaú

Depois de Auschwitz Tradução: Moacir Amâncio.

Resenha a: SACKS, Oliver. Gratidão. Trad. Laura Teixeira Motta. São Paulo: Companhia das Letras, 2015. 58p.    

The context in which he grew up made that the Argentine writer Jorge Luis Borges takes an early interest in religious and theological issues. His poetic is not exempt from reflections and valuations around the divinity, which adopts different forms and characteristics in his stories. In some cases, it approaches Judeo-Christian thought; in others, it is closer to the God proposed by the Gnostics; less frequent are the examples in which it appears demonized. In any of them, the divinity is a being that allows access to knowledge, just as Borges' texts stimulate the imagination and the formulation of lucid intuitions. Thus, the writer becomes for the fiction’s field a being analogous to God. In the following work we will analyze different ways in which Borges conceives the access to knowledge and its consequences or limitations.

Throughout the production of Maus, its author Art Spiegelman proclaims in Metamaus, that in addition to the testimony of his father, the photographs were an intrinsic base so that he could independently visualize the genocide by which his relatives have been through. In this article, we analyze the way in which Spiegelman reconstructs the Shoah, becoming active in the creation of new paradigms for the retransmission of the event, without leaving aside the historiographical bases.

Por uma sopa de beterraba

Resenha a: NASCIMENTO, Lyslei. Despertar para a noite e outros ensaios. Belo Horizonte: Quixote-Do, 2018. 178p.