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The Translated Jew brings together an eclectic set of literary and visual texts to reimagine the transnational potential for German Jewish culture in the twenty-first century. Departing from scholarship that has located the German Jewish text as an object that can be defined geographically and historically, Leslie Morris challenges national literary historiography and redraws the maps by which transnational Jewish culture and identity must be read. Morris explores the myriad acts of translation, actual and metaphorical, through which Jewishness leaves its traces, taking as a given the always provisional nature of Jewish text and Jewish language. Although the focus is on contemporary German Jewish literary cultures, The Translated Jew also turns its attention to a number of key visual and architectural projects by American, British, and French artists and writers, including W. G. Sebald, Anne Blonstein, Hélène Cixous, Ulrike Mohr, Daniel Blaufuks, Paul Celan, Raymond Federman, and Rose Ausländer. In thus realigning German Jewish culture with European and American Jewish culture and post-Holocaust aesthetics, this book explores the circulation of Jewishness between the United States and Europe. The insistence on the polylingualism of any single language and the multidirectionality of Jewishness are at the very center of The Translated Jew.
This interdisciplinary volume looks at one of the central cultural practices within the Jewish experience: translation. With contributions from literary and cultural scholars, historians, and scholars of religion, the book considers different aspects of Jewish translation, starting from the early translations of the Torah, to the modern Jewish experience of migration, state-building and life in the Diaspora. The volume addresses the question of how Jews have used translation to pursue different cultural and political agendas, such as Jewish nationalism, the development of Yiddish as a literary language, and the collection of Holocaust testimonies. It also addresses how non-Jews have translated elements of the Judaic tradition to create an image of the Other. Covering a wide span of contexts, including religion, literature, photography, music and folk practices, and featuring an interview section with authors and translators, the volume will be of interest not only to scholars of Jewish studies, translation and cultural studies, but also a wider interested audience.
The Translated Jew brings together an eclectic set of literary and visual texts to reimagine the transnational potential for German Jewish culture in the twenty-first century. Departing from scholarship that has located the German Jewish text as an object that can be defined geographically and historically, Leslie Morris challenges national literary historiography and redraws the maps by which transnational Jewish culture and identity must be read. Morris explores the myriad acts of translation, actual and metaphorical, through which Jewishness leaves its traces, taking as a given the always provisional nature of Jewish text and Jewish language. Although the focus is on contemporary German Jewish literary cultures, The Translated Jew also turns its attention to a number of key visual and architectural projects by American, British, and French artists and writers, including W. G. Sebald, Anne Blonstein, Hélène Cixous, Ulrike Mohr, Daniel Blaufuks, Paul Celan, Raymond Federman, and Rose Ausländer. In thus realigning German Jewish culture with European and American Jewish culture and post-Holocaust aesthetics, this book explores the circulation of Jewishness between the United States and Europe. The insistence on the polylingualism of any single language and the multidirectionality of Jewishness are at the very center of The Translated Jew.
The translation of the Hebrew Bible into Greek was the first major translation in Western culture. Its significance was far-reaching. Without a Greek Bible, European history would have been entirely different - no Western Jewish diaspora and no Christianity. Translation and Survival is a literary and social study of the ancient creators and receivers of the translations, and about their impact. The Greek Bible served Jews who spoke Greek, and made the survival of the first Jewish diaspora possible; indeed, the translators invented the term 'diaspora'. It was a tool for the preservation of group identity and for the expression of resistance. It invented a new kind of language and many new terms. The Greek Bible translations ended up as the Christian Septuagint, taken over along with the entire heritage of Hellenistic Judaism, during the process of the Church's long-drawn-out parting from the Synagogue. Here, a brilliant creation is restored to its original context and to its first owners.
PaRDeS. Zeitschrift der Vereinigung für Jüdische Studien e.V., möchte die fruchtbare und facettenreiche Kultur des Judentums sowie seine Berührungspunkte zur Umwelt in den unterschiedlichen Bereichen dokumentieren. Daneben dient die Zeitschrift als Forum zur Positionierung der Fächer Jüdische Studien und Judaistik innerhalb des wissenschaftlichen Diskurses sowie zur Diskussion ihrer historischen und gesellschaftlichen Verantwortung. PaRDeS. Journal of the Association of Jewish Studies e. V. The journal aims at documenting the fruitful and multifarious culture of Judaism as well as its relations to its environment within diverse areas of research. In addition, the journal is meant to promote Jewish Studies within academic discourse and discuss its historic and social responsibility.
Faithful Renderings reads translation history through the lens of Jewish–Christian difference and, conversely, views Jewish–Christian difference as an effect of translation. Subjecting translation to a theological-political analysis, Seidman asks how the charged Jewish–Christian relationship—and more particularly the dependence of Christianity on the texts and translations of a rival religion—has haunted the theory and practice of translation in the West. Bringing together central issues in translation studies with episodes in Jewish–Christian history, Naomi Seidman considers a range of texts, from the Bible to Elie Wiesel’s Night, delving into such controversies as the accuracy of various Bible translations, the medieval use of converts from Judaism to Christianity as translators, the censorship of anti-Christian references in Jewish texts, and the translation of Holocaust testimony. Faithful Renderings ultimately reveals that translation is not a marginal phenomenon but rather a crucial issue for understanding the relations between Jews and Christians and indeed the development of each religious community.
How does one "think" in Jewish? What does it mean to speak in English of Yiddish as Jewish, as a certain intermediary generation of immigrants and children of immigrants from Jewish Eastern Europe has done? A fascination with this question prompted Jonathan Boyarin, one of America's most original thinkers in critical theory and Jewish ethnography, to offer the unexpected Jewish perspective on the vexed issue of identity politics presented here. Boyarin's essays explore the ways in which a Jewish—or, more particularly, Yiddish—idiom complicates the question of identity. Ranging from explorations of a Lower East Side synagogue to Fichte's and Derrida's contrasting notions of the relation between the Jews and the idea of Europe, from the Lubavitch Hasidim to accounts of self-making by Judith Butler and Charles Taylor, Thinking in Jewish will be indispensable reading for students of critical theory, cultural studies, and Jewish studies.
This is the second book in a three-volume series that will cover the entire book of Revelation in awe-inspiring detail, expounding and expanding on familiar verses in God's word that have been misunderstood and misconstrued for many years. In this volume, the authors explore the first half of Revelation from the perspective they established so clearly in Volume i - that of a Hebrew God speaking through a Hebrew believer to an audience that was intimately familiar with the Hebrew language, culture, customs, and concepts that form both the literal and the metaphorical foundation for vast portions of Revelation.
This book contains twelve essays, ten of which appeared in Mosaic magazine in 2015-2018. They introduce English readers to a number of major Hebrew authors of the nineteenth and early twentieth centuries whose work forms an important part of the literary response to the modern Jewish experience. These essays also explore the reciprocal relationship in this period between Hebrew literature, the evolution of the modern Hebrew language, and the emergence of Zionism as a historic force in Jewish life.
The Universal Jew analyzes literary images of the Jewish nation and the Jewish national subject at Zionism’s formative moment. In a series of original readings of late nineteenth-century texts—from George Eliot’s Daniel Deronda to Theodor Herzl’s Altneuland to the bildungsromane of Russian Hebrew and Yiddish writers—Mikhal Dekel demonstrates the aesthetic and political function of literary works in the making of early Zionist consciousness. More than half a century before the foundation of the State of Israel and prior to the establishment of the Zionist political movement, Zionism emerges as an imaginary concept in literary texts that create, facilitate, and naturalize the transition from Jewish-minority to Jewish-majority culture. The transition occurs, Dekel argues, mainly through the invention of male literary characters and narrators who come to represent "exemplary" persons or "man in general" for the emergent, still unformed national community. Such prototypical characters transform the symbol of the Jew from a racially or religiously defined minority subject to a "post-Jewish," particularuniversal, and fundamentally liberal majority subject. The Universal Jew situates the "Zionist moment" horizontally, within the various intellectual currents that make up the turn of the twentieth century: the discourse on modernity, the crisis in liberalism, Nietzsche’s critique of the Enlightenment, psychoanalysis, early feminism, and fin de siècle interrogation of sexual identities. The book examines the symbolic roles that Jews are assigned within these discourses and traces the ways in which Jewish literary citizens are shaped, both out of and in response to them. Beginning with an analysis of George Eliot’s construction of the character Deronda and its reception in Zionist circles, the Universal Jew ends with the self-fashioning of male citizens in fin de siècle and post-statehood Hebrew works, through the aesthetics oftragedy. Throughout her readings, Dekel analyzes the political meaning of these nascent images of citizens, uncovering in particular the gendered arrangements out of which they are born.