By Miryam Segal
With scrupulous awareness to landmark poetic texts and to academic and important discourse in early 20th-century Palestine, Miryam Segal strains the emergence of a brand new accessory to switch the Ashkenazic or ecu Hebrew accessory during which just about all glossy Hebrew poetry have been composed till the Twenties. Segal takes into consideration the wide old, ideological, and political context of this shift, together with the development of a countrywide language, tradition, and literary canon; the the most important function of colleges; the impression of Zionism; and the prime position performed by means of girls poets in introducing the hot accessory. This meticulous and complex but readable research offers extraordinary new insights into the emergence of recent Hebrew poetry and the revival of the Hebrew language within the Land of Israel.
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Extra info for A New Sound in Hebrew Poetry: Poetics, Politics, Accent (Jewish Literature & Culture)
National identity echoed in the prosodic realm as well; lyric was obliged to produce the sound that would represent the nation. What would the modern Hebrew sound be? How would it distinguish itself from prenational or pre-territorial pronunciations of Hebrew? These questions were Â�answered differently at various moments and were resolved by separate mechans nisms for the standardization of speech and for poetry. At the turn of the century, linguists and teachers debated the minutiae of Hebs brew speech.
With one demographic stroke, territory, or the Jewish presence in Palestine, is meant to resolve the question of the relationship between spoken and poetic Hebrew and between land and language. Baron does not rely on such assumptions to explain why Brakhah’s parents pronounce her name differently. The narrator simply states that Brakhah’s father was a former Hebrew teacher. And it is here with the figure of the teacher that I choose to begin; his profk fession is the second reason Rothstein introduces my narrative of the rise of new-accent poetry.
33 This meant that the vast majority of the words the poets knew to be penultimately stressed in their own Hebrew dialect were off-limits in the final two syllables of each line. In the realm of sound and stress, Ashkenazic Hebrew was treated as derivative and Sephardic Hebrew was considered more correct— a classical Hebrew like that of the biblical texts. Wesselian prosody was a concs crete sign of the hierarchy between Sephardic and Ashkenazic pronunciations of Hebrew in an Ashkenazic context.