Marc Chagall (1887-1985) traversed a long route from a boy in the Jewish Pale of Settlement, to a commissar of art in revolutionary Russia, to the position of a world-famous French artist. This book presents for the first time a comprehensive collection of Chagall's public statements on art and culture. The documents and interviews shed light on his rich, versatile, and enigmatic art from within his own mental world. The book raises the problems of a multi-cultural artist with several intersecting identities and the tensions between modernist form and cultural representation in twentieth-century art. It reveals the travails and achievements of his life as a Jew in the twentieth century and his perennial concerns with Jewish identity and destiny, Yiddish literature, and the state of Israel. This collection includes annotations and introductions of the Chagall texts by the renowned scholar Benjamin Harshav that elucidate the texts and convey the changing cultural contexts of Chagall's life. Also featured is the translation by Benjamin and Barbara Harshav of the first book about Chagall's work, the 1918 Russian The Art of Marc Chagall.

This book on culture and consciousness in history concerns the worldwide transformations of Jewish culture and society and the revival of the ancient Hebrew language following the waves of pogroms in Russia in 1881, when large numbers of Jews in Eastern and Central Europe redefined their identity as Jews in a new and baffling world.
"Reviews"
"With his customary versatility and lucidity Harshav has given us . . . a host of new and provocative insights into modern Jewish history. . . . This book is an outstanding attempt to juxtapose the revolution in Jewish life with that of the Hebrew language in such a way that each informs our understanding of the other."
--Yosef Hayim Yerushalmi,
Columbia University
"It is no small component of Harshav's success in this altogether fascinating book to have made clear the family resemblance between what is still regularly called 'the almost miraculous revival of the Hebrew language' and the coterie movements of European high modernism in both politics and the arts."
--"Modernism/Modernity"
"A wise, original, and stimulating book on the shaping of modern Jewish culture. . . . Humane, deeply erudite, and very satisfying."
--Steven Zipperstein,
Stanford University
"Israeli Hebrew, Angel Saenz-Badillos has written, 'is not the result of natural evolution but of a process without parallel in the development of any other language.' The precise nature of the process is studied in illuminating detail in "Language in Time of Revolution.""
--"London Review of Books"
"The crisscrossing among the discourses of literature, ideology, history, and linguistics makes for a heady intellectual experience. . . . Harshav writes with great authority and verve. . . . His discussions are a model of clarity."
--Alan Mintz,
Brandeis University

With a rare combination of erudition and insight, the author investigates the major aspects of Yiddish language and culture, showing where Yiddish came from and what it has to offer, even as it ceases to be a "living" language.
"Reviews"
"Harshav's book is a first-class study of Yiddish as both language and culture, rich with linguistic detail and historical insight, expert in its literary analysis and judgments. I recommend it enthusiastically."
--Irving Howe,
Graduate School and University Center of the City University of New York
""The Meaning of Yiddish" is the most important contribution to the study of Yiddish language and literature in recent times."
--Chana Kronfeld,
University of California, Berkeley
""The Meaning of Yiddish" is explicitly intended for 'readers who bring to it no previous knowledge, only curiosity.' . . . 'My central question, ' Harshav writes in the preface, 'is: "Yiddish: what was it"? What kind of world was it? How can we read the intersections of meaning its texts seem to provide? How did it lead in and out of Jewish history, moving between the internal Jewish world and the cultures of Christian Europe and America?' I know of no other single book in any language which could respond to these questions by conveying to the uninitiated . . . such a richly textured profile of the nature and dynamics of both the Yiddish language and its literature. It is a remarkable feat of high popularization, written with great flair and without a hint of pedantry, its examples always to the point and often memorable in themselves. . . . The book should be read by all who are interested in language, in literature, and in the modern Jewish experience."
--"Times Literary Supplement"

This collection of essays, originally published at different times, presents a coherent, systematic, and comprehensive theory of the work of literature and its major aspects. The approach, which may be called "Constructive Poetics," does not assume that a work of literature is a text with fixed structures and meanings, but a text that invites the reader to evoke or project a network of interrelated constructs, complementary or contradictory as they may be. The work of literature is not just a narrative, as studies in narratology assume, but a text that projects a fictional world, or an Internal Field of Reference. Meanings in a text are presented through the evocation of "frames of reference" (scenes, characters, ideas, etc.). Language in literature is double-directed: it relates the Internal Field to External Fields and vice versa. The essays explore the problems of fictionality, presentation and representation, metaphor as interaction between several frames of reference, the theory of "Integrational Semantics" in literary and other texts, the meaning of sound patterns in poetry, and the question of "literariness." This theory and its specific aspects were developed by the author in Israel in the 1960s and 1970s and lay at the foundations of the Tel-Aviv School of Poetics. Revived now, it resonates with the current mood in literary criticism.

Sing, Stranger is a comprehensive historical anthology of a century of American poetry written in Yiddish and now translated into English for the first time. Here are the Proletarian or "sweat-shop" poets, sympathizing with Socialist Anarchists, who were highly popular with Yiddish audiences at the end of the nineteenth century; the lyrical moods and ironies of the "Young Generation" at the beginning of the twentieth century; the sophisticated poetry of the modern world seen through the individualistic prism of the "Introspectivists" after World War I; samples of epic poetry; and, finally, the poetry of the Holocaust and the decline of the Yiddish language. This anthology reveals both an amazing achievement of Jewish creative work and an important body of American poetry, written in a minority language, practically unknown to most readers. The travails, joys, and intimate experiences of the individual in the big metropolis are intertwined with representations of American realities: architecture and alienation in the big city, the migration of the blacks, trade unions and underworld, the immigrant experience in this immense and strange land, and the destinies of Jewish history.

When Israeli Nobel Laureate S. Y. Agnon published the novel Only Yesterday in 1945, it quickly became recognized as a major work of world literature, not only for its vivid historical reconstruction of Israel's founding society. The book tells a seemingly simple tale about a man who immigrates to Palestine with the Second Aliya--the several hundred idealists who returned between 1904 and 1914 to work the Hebrew soil as in Biblical times and revive Hebrew culture. This epic novel also engages the reader in a fascinating network of meanings, contradictions, and paradoxes all leading to the question, what, if anything, controls human existence? Seduced by Zionist slogans, young Isaac Kumer imagines the Land of Israel filled with the financial, social, and erotic opportunities that were denied him, the son of an impoverished shopkeeper, in Poland. Once there, he cannot find the agricultural work he anticipated. Instead Isaac happens upon house-painting jobs as he moves from secular, Zionist Jaffa, where the ideological fervor and sexual freedom are alien to him, to ultra-orthodox, anti-Zionist Jerusalem. While some of his Zionist friends turn capitalist, becoming successful merchants, his own life remains adrift and impoverished in a land torn between idealism and practicality, a place that is at once homeland and diaspora. Eventually he marries a religious woman in Jerusalem, after his worldly girlfriend in Jaffa rejects him. Led astray by circumstances, Isaac always ends up in the place opposite of where he wants to be, but why? The text soars to Surrealist-Kafkaesque dimensions when, in a playful mode, Isaac drips paint on a stray dog, writing "Crazy Dog" on his back. Causing panic wherever he roams, the dog takes over the story, until, after enduring persecution for so long without "understanding" why, he really does go mad and bites Isaac. The dog has been interpreted as everything from the embodiment of Exile to a daemonic force, and becomes an unforgettable character in a book about the death of God, the deception of discourse, the power of suppressed eroticism, and the destiny of a people depicted in all its darkness and promise.

Marc Chagall (1887-1985) traversed a long route from a boy in the Jewish Pale of Settlement, to a commissar of art in revolutionary Russia, to the position of a world-famous French artist. This book presents for the first time a comprehensive collection of Chagall's public statements on art and culture. The documents and interviews shed light on his rich, versatile, and enigmatic art from within his own mental world. The book raises the problems of a multi-cultural artist with several intersecting identities and the tensions between modernist form and cultural representation in twentieth-century art. It reveals the travails and achievements of his life as a Jew in the twentieth century and his perennial concerns with Jewish identity and destiny, Yiddish literature, and the state of Israel. This collection includes annotations and introductions of the Chagall texts by the renowned scholar Benjamin Harshav that elucidate the texts and convey the changing cultural contexts of Chagall's life. Also featured is the translation by Benjamin and Barbara Harshav of the first book about Chagall's work, the 1918 Russian The Art of Marc Chagall.

This book is a coat of many colors. It is a collection of essays written in English by the distinguished Israeli literary and cultural critic, Benjamin Harshav, covering the whole span of Jewish culture. The essays combine a wide historical scope with meticulously detailed close analyses of the art of poetry. They discuss general aspects of Jewish history, such as the demographic situation of the Jews in Eastern Europe and the phenomenon of exuberant multilingualism, Nobel laureate S.Y. Agnon's Only Yesterday, the religious/secular nexus in modern Israel, and Herman Kruk's diaries of the last days of the Jerusalem of Lithuania. We find here condensed yet subtle interpretations of modern Hebrew poems and a comprehensive essay on American poetry in the Yiddish language. Of special importance is the study of the changing formal systems of Hebrew verse from the Bible to the present.
This book is a companion volume to Harshav's Explorations in Poetics, representing his contributions to Israeli literary theory.

This collection of essays, originally published at different times, presents a coherent, systematic, and comprehensive theory of the work of literature and its major aspects. The approach, which may be called "Constructive Poetics," does not assume that a work of literature is a text with fixed structures and meanings, but a text that invites the reader to evoke or project a network of interrelated constructs, complementary or contradictory as they may be. The work of literature is not just a narrative, as studies in narratology assume, but a text that projects a fictional world, or an Internal Field of Reference. Meanings in a text are presented through the evocation of "frames of reference" (scenes, characters, ideas, etc.). Language in literature is double-directed: it relates the Internal Field to External Fields and vice versa. The essays explore the problems of fictionality, presentation and representation, metaphor as interaction between several frames of reference, the theory of "Integrational Semantics" in literary and other texts, the meaning of sound patterns in poetry, and the question of "literariness." This theory and its specific aspects were developed by the author in Israel in the 1960s and 1970s and lay at the foundations of the Tel-Aviv School of Poetics. Revived now, it resonates with the current mood in literary criticism.

This remarkable volume introduces to the large English-speaking audience what is probably the most coherent segment of twentieth-century American literature not written in English. The range of American Yiddish Poetry runs the gamut from individualistic verse of alienation in the modern metropolis, responses to Western culture and ideologies, and experiments with poetic form and the resources of the Yiddish language, to the vitriolic associative chains of a politically engaged anarchist existentialist; from hymns to urban architecture and landscapes and the plight of African Americans to confrontations with the experiences of Jewish history and the loss of the Yiddish language. The bilingual facing-page format, the notes and the biographies of poets, the selections from Yiddish theory and criticism, and a comprehensive introduction to the cultural background and concerns of the poetry enhance the poems themselves.

A journey into a time of astounding innovation on the stage Shortly after the Bolshevik Revolution, Soviet Jewish theaters became catalysts for modernist experimentation. Working with avant-garde playwrights, actors, and producers in a new political environment, artists such as Marc Chagall, Natan Altman, Robert Falk, and Aleksandr Tyshler combined Russian folk art with elements of Cubo-Futurism and Constructivism into a bold new style. This collaboration gave rise to extraordinary productions with highly original stage designs that redefined the concept of theater itself. From the Jewish mythical and folkloric plays produced at Habima to the daring, expressionistic Yiddish dramas presented at the Moscow State Yiddish Theater (GOSET), this beautifully illustrated book chronicles the flourishing of Soviet Jewish theater in the 1920s and 1930s. Spanning such topics as Jewish culture and history in the Soviet Union, the volume includes stunning reproductions of Chagall's celebrated theater murals; fascinating archival materials such as posters, prints, and playbills; designs for costumes and sets; and many other breathtaking works. Published in association with The Jewish Museum, New York Exhibition Schedule: The Jewish Museum, New York (November 9, 2008 - March 22, 2009) Contemporary Jewish Museum, San Francisco (April 25 - September 7, 2009)

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1990.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1990.

This book deals with two remarkable events - the worldwide transformations of the Jews in the modern age and the revival of the ancient Hebrew language. It is a book about social and cultural history addressed not only to the professional historian, and a book about Jews addressed not only to Jewish readers. It tries to rethink a wide field of cultural phenomena and present the main ideas to the intelligent reader, or, better, present a "family picture" of related and contiguous ideas. Many names and details are mentioned, which may not all be familiar to the uninitiated; their function is to provide some concrete texture for this dramatic story, but the focus is on the story itself.

In this unparalleled study of the forms of Hebrew poetry, preeminent authority Benjamin Harshav examines Hebrew verse during three millennia of changing historical and cultural contexts. He takes us around the world of the Jewish Diaspora, comparing the changes in Hebrew verse as it came into contact with the Canaanite, Greek, Arabic, Italian, German, Russian, Yiddish, and English poetic forms. Harshav explores the types and constraints of free rhythms, the meanings of sound patterns, the historical and linguistic frameworks that produced the first accentual iambs in English, German, Russian, and Hebrew, and the discovery of these iambs in a Yiddish romance written in Venice in 1508/09. In each chapter, the author presents an innovative analytical theory on a particular poetic domain, drawing on his close study of thousands of Hebrew poems.

For five horrifying years in Vilna, the Vilna ghetto, and concentration camps in Estonia, Herman Kruk recorded his own experiences as well as the life and death of the Jewish community of the city symbolically called "The Jerusalem of Lithuania." This unique chronicle includes many recovered pages of Kruk's diaries and provides a powerful eyewitness account of the annihilation of the Jewish communities of Eastern Europe. This volume includes the Yiddish edition of Kruk's diaries, published in 1961 and translated here for the first time, as well as many widely scattered pages of the chronicles, collected here for the first time and meticulously deciphered, translated, and annotated. Kruk describes vividly the collapse of Poland in September, 1939, life as a refugee in Vilna, the manhunt that destroyed most of Vilna Jewry in the summer of 1941, the creation of a ghetto and the persecution and self-rule of the remnants of the "Jerusalem of Lithuania," the internment of the last survivors in concentration camps in Estonia, and their brutal deaths. Kruk scribbled his final diary entry on September 17, 1944, managing to bury the small, loose pages of his manuscript just hours before he and other camp inmates were shot to death and their bodies burnt on a pyre. Kruk's writings illuminate the tragedy of the Vilna Jews and their courageous efforts to maintain an ideological, social, and cultural life even as their world was being destroyed. To read Kruk's day-by-day account of the unfolding of the Holocaust is to discern the possibilities for human courage and perseverance even in the face of profound fear. Co-published with the YIVO Institute for Jewish Research

The work of A. Sutzkever, one of the major twentieth-century masters of verse and the last of the great Yiddish poets, is presented to the English reader in this banquet of poetry, narrative verse, and poetic fiction. Sutzkever's imposing body of work links images from Israel's present and past with the extinction of the Jews of Europe and with deeply personal reflection on human existence. In Sutzkever's poetry the Yiddish language attains a refinement, richness of sound, and complexity of meaning unknown before. His poetry has been translated into many languages, but this is the most comprehensive presentation of his work in English. Benjamin Harshav provides a biography of the poet and a critical assessment of his writings in the context of his times. The illustrations were originally created for Sutzkever's work by such artists as Marc Chagall, Yosl Bergner, Mane-Katz, Yankl Adler, and Reuven Rubin.

This book presents a new and comprehensive biography of one of the most prominent artists of the twentieth century in dialogue with the events and ideologies of his time. It encompasses the 98 years of Chagall’s life (1887-1985) in Russia, France, the US, as well as Germany and Israel, his deep roots in folk culture, his personal relationships and loves, his involvement with the art of the Russian Revolution, with Surrealism, Communism, Zionism, Yiddish literature and the state of Israel. The book exposes the complex relationships between Chagall’s three cultural identities: Jewish-Russian-French. Indeed, it is a biography of the turbulent times of the twentieth century and the transformations of a Jew in it, his meteoric rise from the “ghetto” of the Russian Pale of Settlement to the centers of modern culture. The book reveals Chagall’s endless curiosity, his forays in many directions beyond painting and drawing: public art, theater and ballet, stained glass windows in churches and synagogues, lithographs, etchings, and illustrations of literature and the Bible. We observe the intricate relations between Chagall’s life and consciousness and the impact of his life on the iconography of his art. Thus, the book provides an indispensable key to the understanding of Chagall’s often enigmatic art. Indeed, it is a contribution to the understanding of some of the central problems of Modern art, such as the question of originality, the interaction between the formal discoveries of the avant-garde and cultural or multi-cultural representation, and the relations between an artist’s art and his personal biography. Renowned Israeli-American scholar Benjamin Harshav presents the first comprehensive investigation of Marc Chagall’s life and consciousness after the classic 1961 biography by Chagall’s son-in-law Franz Meyer. Harshav’s narrative includes hundreds of private letters and documents written by Chagall and his contemporaries in Russian, Yiddish, French, English and other languages, translated by Benjamin and Barbara Harshav into English, and placed in their personal and historical context.