RCAAP Repository

Olhos Tradução: Moacir Amâncio

This study is devoted to the analysis of some aspects of Sioma Breitman's autobiography and her contribution to the understanding of the Jewish immigration process to southern Brazil in the early 20th century. Breitman produced a sensitive record of her trajectory as a migrant from Ukraine to the state of Rio Grande do Sul, exploring different aspects of the emigration experience and the strategies of adaptation to stay in a new reality. In her writings are present many of the Jewish sensibilities of immigration, less portrayed by the official historiography on the subject. Migratory studies, more and more, deal with sources of a sensitive nature, such as the narrative produced by Breitman. Thus, through self-writing, this research seeks to identify new approaches and interpretations about the Jewish immigration process and its subjects.

The objective of the present paper is to investigate importance of the mythical language in Portnoy’s Complaint, by Philip Roth. The theoretical framework used is composed by Odo Marquard’s critique of the myth and Roland Barthes’ theory of myth. The hypothesis is that the impulsion to perversion that Alexander Portnoy suffers is related to the question of significant’s positioning inside the mythical language structure.

Our contribution aims at a brief presentation of the genesis of Anne Frank's Diary, one of the most read works since its first publication in the late 1940s. In addition to focusing on the life stages of Anne Frank and her family, since the escape from Germany in 1933, the life in Holland and the confinement in a hiding place from 1942, when Amsterdam was invaded by German army troops, until arrest and deportation to the Nazi concentration and death camps in August 1944, we will also discuss the specificities of the four versions of the diary, as well as some strategies adopted by Anne Frank to produce her intimate account of the hardships of confinement and a world that crumbled around her.

The Diary of a Young Girl (1947), also known as The Diary of Anne Frank, is one of the most interesting reports of the Shoah. Elaborated from the manuscripts of a German Jewish adolescent refugee in Holland, during a Nazi persecution, the book is a great reference for world literature, especially for the Literature of Testimony. Diário da queda (2011), the autobiographical novel by the Brazilian writer Michel Laub, revolves around three generations of a Jewish family: the narrator's grandfather, driven by the experience of having been arrested in Auschwitz; the narrator's father, who carries the bitter memories of his father's suicide when he was only fourteen years old; and the son, the narrator, who carries with him the guilt of having purposely caused an accident that injured a classmate and its consequences, when he was a teenager. The Literary Diary as a genre, here in debate, emerged from a monologue text whose creation was the only reader, and it has a bit of communicative and literary characters, elements that are not anymore considered. From this genre emerges the notion of Autofiction, or even self-writing (fictions about the self), such as memories, diaries, reports, autobiographies, fictions about the self, a true autobiographical constellation, a bivalent, ambiguous, androgynous genre in which the author questions reality and himself, that it is the full in its essence, but a construction that operates within and out of the fictional text in the same life. Two Diaries, Two Children, fictions about the Holocaust: from the comparison of the these two works in diary format and their positioning of their approaches and distances, we intend to observe the change of texts, the observation of the Shoah by the child: one who lived the persecutions and related hers daily events, and the one who receive the inheritance of destroy, of the shattered family.

This article deals with some aspects of the speech "The Meridian" (Der Meridian), of the Romanian poet Paul Celan, trying to emphasize, mainly, three central aspects of speech, namely: the debate on the situation of the poetry after Auschwitz; the presence and encounter of the poetic with the 'other', and finally the date (the Schibboleth) that (de)marks the poet in dealing with barbarism and, consequently, with poetry. The hypothesis is that "The meridian" not only constitutes the centerpiece of a supposed celanian poetic, but also highlights the composition of the counter-word (Gegenwort) as a poetic language that confronts the reality fractured by the negativity of the massacre committed at Auschwitz.

Ilse Losa was born in 1913 in Germany. Daniel Blaufuks, in Portugal, in 1963. With the rise of Nazism, Losa emigrated to Porto, the Blaufuks family to Lisbon. The works of both artists are marked by the reverberations of World War II. In fiction, artists print their personal memories, the experience of exile, the testimony and perspective of everyday life in Portugal. Losa writes in 1962, Sob céus estranhos, a broad overview of the various dimensions of the tragedy experienced by refugees who had to flee in haste from Germany or other Nazi-occupied countries between 1933 and 1945. In Sob céus estranhos: uma história de exílio, published in 2007, Blaufuks, including a 57min film, features an album of family photographs that, through a fictional and therefore open and multi-dimensional revisiting of memory, exposes the contemporary penchant for fiction from a poetics of collection and archive.

This  article  aims  at  an  investigation  into  the  incidences  of  the  mother language in the life of the writer Aharon Appelfeld (1932-2018), from his experience as  a  German –speaking  Jew  persecuted  by  the  Nazi  regime  in  Europe  and  a  war refugee in Israel. The point of mother tongue in Appelfeld's life is felt in a complex way, affected, mainly by the loss of its mother during the war and by the linguistic chaos  in  which was  found  until  its  arrival in Palestine  with  the  challenge  to incorporate for himself a new language.

This article inquires into the multiple variables that come into play in the construction and analysis of second and third generation narratives of Holocaust survivors. In this effort, the author presents an autobiographical text, which includes personal documents such as letters and pictures to discuss new criteria and categories among which controversies about the possibility of a post-memory among Holocaust second and third generations has a fundamental role.

This article presents a reflection on the story of Amos Oz, narrated in Love and Darkness, a militant Jew who rebels against Judaism. In the quest for a new identity and in an attempt to explain the reasons for his rebellion, he recounts scenes from a past that had stiffened his heart but still left in his memory profound marks of the Jewish tradition which are present intensely in his writing. In the narrative echoes voices of childhood lived in Jerusalem that convey a verbal content, Jewish issue seen as a necessity for the children's tradition of writing for memory and posterity.

Família

This text results from a research on Yiddish language and music developed in Brazil. Its context is the recent revival of the Yiddish language in several countries, by young people both Jews and non-Jews. The first item summarizes the theoretical and methodological framework of the research based on language studies, critical theory of culture and philosophy of dialogue. It analyzes the concepts of language, childhood and remembrance, based on Walter Benjamin, Mikhail Bakhtin and Martin Buber. The second item deals with Yiddish and Yiddish music. Recognized as a language in 1750, the dense Yiddish literature crosses cultures and reaches in music: many songs are poems. And the lyrics documents the history of Jewish communities, from the nineteenth century to the present days. The third item talks about children and memories and analyzes lyrics and melody of four songs where emerge childhood memories and childhood conceptions; plays and humor; fear and hope. And resistance.

At the carnival balls of the early 1940s, you couldn't forget that there was a war. The climate of mobilization and the participation of public bodies in the financial support to the parades of the samba schools contributed so that the most throbbing subjects and bids of the conflicts could serve as a theme for the songs. General matters continued, but they were unable to cover the atmosphere of uncertainty and fear arising from the war. This article analyzes the references to the war in the music of the period.

In the novel Sobre os rios que vão, by Brazilian writer Maria José de Queiroz, published in 1990, the various musical terms such as harpsichord, harp, tuning, pianissimo stand out. The text that seeks various literary and biblical references deals with the story of a Sephardic Jewish family, its dilemmas and struggles, in a cultural environment full of the Sephardic popular sayings, the so-called refranes, and the wonderful world of classical music and the luthier workshops. Amid the names of the violin families like Amati, Guadagnini and the very precious Stradivarius, the Leite, formerly Levi, seeks in cultural tradition and music its place in the world, the understanding of its past and the unveiling of the present, amid Brazilianness. In this essay, we sought to observe in the text how the music, musicality and cultural tradition represented by the popular Jewish-Sephardic sayings of the refranes make up the plot that involves this family of immigrants in search of their Brazilianness, without leaving aside their cultural heritage. .

This paper aims to point out, in the comedy Guerras do Alecrim e Manjerona, by Antônio José da Silva, best known as the Jew, some references to Portuguese carnival, or entrudo, in the 18th century, such as music, dance and the rival "ranchos" of revellers. Our analyses and reflections will be centered mainly in the jester, or buffoon, Semicúpio, since he leads, by means of mockeries and satires, the carnavalized plot rhythm, dressing up as a woman, a physician and a judge.

This article deals with musical and poetic elements that, over the centuries, resulted in the Anthem of Israel, Hatikvah. Data on the Jewish musical tradition and on the genesis of the hymn's melody and its journey to its final address as the maximum melody of the Jewish people will be discussed, as well as the presentation of an arrangement of its melody in score for voice and piano, created especially for this study, plus analysis on musical aspects such as dynamic and text-music relationship.

Taken literally, the book Shemot [names, in Hebrew, which is the second word at the beginning of the text] or Exodus, as it is known in many languages, begins with a list of the names of those who went down to Egypt, and then presents a narrative of consecutive incidents and events. This article analyzes, between the two parts in which Shemot can be divided, liberation and the covenant with divine commandments, one of the most beautiful songs in the Bible, which brings some relief in the midst of these moments. It is the "Song of the Sea", present in chapter 15, 1-18, sung by Moses and the children of Israel.

That article aims to establish the different ways in which music was used by Jewish poets in the period of great creativity that characterized the Iberian Middle Ages, from the 10th to the 15th century. It is possible to say with certainty that this use went through poetry composed for synagogal use (piyyut), as well as secular poetry, in the Arab mold of the charja and Christian of Cantigas de Escárnio and Maldizer, as well as wedding parties and burials.

This article analyzes the mix of Yiddish, castídish, Buenos Aires standard Spanish, and lunfardo present in three songs by the comedian singer-songwriter Max Perlman (1909-1985). His repertoire has achieved popularity within the framework of the Argentine Yiddish theatre during the first half of the 20th century.

Several 16th-17th century Jewish medical and religious sources from Land of Israel mention a substance called “alicorno”. The current study discusses the identification of the substance, its origins and medical usages according to the Jewish literature. “Alicorno” which are the tusks of the narwhal were believed to be the horn of the unicorn. They were perceived as having magical properties and were believed to have the power to cure a wide variety of illnesses, particularly to neutralize poisons. Responsa and medical sources from Eretz Israel region mention the two main usages of the narwhal – as a goblet with supernatural qualities for drinking water or potions and as a medical powder originating from a shaved bone.