By Miryam Segal
With scrupulous awareness to landmark poetic texts and to academic and severe discourse in early 20th-century Palestine, Miryam Segal strains the emergence of a brand new accessory to exchange the Ashkenazic or ecu Hebrew accessory in which just about all glossy Hebrew poetry were composed until eventually the Nineteen Twenties. Segal takes under consideration the huge ancient, ideological, and political context of this shift, together with the development of a countrywide language, tradition, and literary canon; the an important function of faculties; the effect of Zionism; and the major function performed by means of girls poets in introducing the hot accessory. This meticulous and complex but readable learn presents extraordinary new insights into the emergence of contemporary Hebrew poetry and the revival of the Hebrew language within the Land of Israel.
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Extra resources for A New Sound in Hebrew Poetry: Poetics, Politics, Accent (Jewish Literature and Culture)
One can hear his accent even in his supposedly new-accent, free-rhythmic compositions. 10 Individual poets do conform to Kagan’s model in which the trauma of migration is followed by a period of adjustment, which is followed in turn by the adoption of the new accent—but almost none compk plete the process by 1930. By the mid-1930s, an Ashkenazic poet arriving in Palestine would have perceived the new accent as de rigueur for poetry in his new homeland. But this was the end of a long process of the integration of the new accent into Hebrew speech through the schools.
There are three problematic tendencies apparent in this scholarship. All these biases are signs of the success of the nationalist revivalist project of the New Yishuv and the extent to which the ideas expressed by its leaders, the revivas alists, poets, and critics, have been integrated into scholarship. 56 The third problem is that scholars ignore questions of gender when analyzing the rise of new-accent poetry. 57 The gender bias also affects how women’s poetry has been repress sented in the history of the new accent.
The aesthetic of the lyric inherited from the Te¿iyah generation of the late nineteenth century was very much intertwined with the rhythms of speech and was hegemonic. Accent in the sense of stress pattern was therefore critics cal to poetic composition. The very rhythm of an accentual-syllabic poem composed in Ashkenazic was endangered by the terminal-stress system of Sephardic accents. 22 The polits tics of competing prosodic systems and the use of the new accent in lyric poetry ˘ a new sound in hebrew poetry that does not employ an accentual-syllabic meter are relevant to the question of the modes in which Hebrew literature adopted and integrated the New Hebrew.