New Release Books by Benjamin Harshav

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 1986.

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.

A vivid portrait of the Moscow Yiddish Theater and its innovations and contributions to the art of the theater in the modern age The Moscow Yiddish Theater (later called GOSET) was born in 1919 and almost immediately became one of the most remarkable avant-garde theaters in Europe. It flourished in the 1920s but under Bolshevik pressure soon lost much of the originality that had distinguished it. In 1948 Stalin''s henchmen slaughtered GOSET''s legendary actor and director Solomon Mikhoels, and the theater was liquidated. This book focuses not on how the theater was persecuted but on its ambitious beginnings as a revolutionary organization of passionate artistic exploration. The book brings to English readers for the first time selected writings that reflect the aesthetics and politics of the Yiddish revolutionary theater. The book also incorporates miraculously salvaged images of Marc Chagall''s famous theater murals, as well as paintings of costumes and stage sets created by the best artists of the day. These illustrations, discovered only after the fall of the Soviet Union, have never been published before. With emphasis on the theater''s early achievements and its centrality in Moscow''s burgeoning theater world, the book makes a major contribution to the understanding of modern Jewish culture and the art of theater.

This book is a collection of seminal essays on major aspects of Jewish culture: Yiddish and Hebrew literature, Europe, America and Israel, transformations of Jewish history, the Holocaust, and the formal traditions of Hebrew verse.

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. This anthology reveals both an amazing achievement of Jewish creative work and an important body of American poetry.

Renowned Israeli-American scholar 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.

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.

Focuses on Chagall''s Jewish roots. This book includes 200 illustrations, and also illustrates succinct interpretations of Chagall''s world and iconography, and the nature of his art in the midst of Modernism. It includes works from the Russian theater, and those that were done during his early and late career in France.

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." u0097Yosef 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." u0097Modernism/Modernity "A wise, original, and stimulating book on the shaping of modern Jewish culture. . . . Humane, deeply erudite, and very satisfying." u0097Steven Zipperstein, Stanford University "Israeli Hebrew, Angel Sáenz-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." u0097London 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." u0097Alan Mintz, Brandeis University

In Temporary Poem of My Time, the Israeli poet writes: "Hebrew writing and Arabic writing go from east to west, / Latin writing, from west to east. / Languages are like cats: / You must not stroke their hair the wrong way."