By Naomi Seidman
With remarkably unique formulations, Naomi Seidman examines the ways in which Hebrew, the Holy Tongue, and Yiddish, the vernacular language of Ashkenazic Jews, got here to symbolize the masculine and female faces, respectively, of Ashkenazic Jewish tradition. Her subtle background is the 1st book-length exploration of the sexual politics underlying the "marriage" of Hebrew and Yiddish, and it has profound implications for figuring out the centrality of language offerings and ideologies within the development of recent Jewish identity.Seidman quite examines this sexual-linguistic method because it formed the paintings of 2 bilingual authors, S.Y. Abramovitsh, the "grand-father" of recent Hebrew and Yiddish literature; and Dvora Baron, the 1st smooth lady author in Hebrew (and a author in Yiddish as well). She additionally offers an research of the jobs that Hebrew "masculinity" and Yiddish "femininity" performed within the Hebrew-Yiddish language wars, the divorce that finally ended the wedding among the languages.Theorists have lengthy debated the position of parents within the kid's dating to language. Seidman offers the Ashkenazic case as an illuminating instance of a society within which "mother tongue" and "father tongue" are essentially differentiated. Her paintings speaks to big matters in modern scholarship, together with the psychoanalysis of language acquisition, the feminist critique of Zionism, and the nexus of women's reports and Yiddish literary heritage.
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Additional resources for A Marriage Made in Heaven: The Sexual Politics of Hebrew and Yiddish (Contraversions, 7)
Torches! you are mine ... come! we will ride in the chariots of time ... we will spin gold and silver ... we will build palaces of marble- come! This cartoon shows Peretz moving from Hebrew to Yiddish, the reverse of Bialik's abandonment of Yiddish for Hebrew. " Peretz's turning to folk or popular motifs in his writing, the cartoonist implies, is equivalent to his turning from the elitism of Hebrew to a love for the Jewish folk. But while the previous cartoon was designed to elicit the reader's sympathy for the single mother, here our interest remains with the guilt-ridden older man drawn Copynghted matenal J4 A Marriage Made i11 Heaven to the "young blood" of Yiddish.
3 The cartoonist made his point through the graphic shorthand of caricature, drawing a suited male figure and labeling it " Hebrew writers in Eretz Israel" (see fig. 2). 34 The man holds a sign aloft that reads, " We protest the Soviet suppression of Hebrew," seemingly heedless of the barefoot and supine woman on whose back he stands. The cartoon's caption, "Strong complaints with a weak standpoint," works on two levels. First, it exposes the hypocrisy of the Hebraists who complain about the mistreatment of the language they hold dear while they themselves suppress Yiddish.
You've been raised as captives of the sword Since "Teach your daughter Torah, and she will learn folly 1"28 Gordon describes Jewish women as "captives of the sword," a term for Jews raised outside the Jewish community (forced child conscripts in the Czarist army, for example) and thus exempt from Jewish legaJ obligations. These women are not educated in religious texts in the Holy Tongue, as the poet notes, because of the talmudic injunction quoted in the last line of the citation. In "The Tip of the Yod," a poem that could well be called his feminist manifesto, Gordon aJso addresses '"the Hebrew woman" as reader, but Copynghted matenal I A Marriage Made in Heaven only to establish the fictionality of his address, for there is no woman who can hear his Hebrew words.
A Marriage Made in Heaven: The Sexual Politics of Hebrew and Yiddish (Contraversions, 7) by Naomi Seidman