Suchergebnisse

This article examines contemporary Hebrew dystopic novels
in which ecological issues play a critical role, reflecting an increasing
preoccupation of Israeli culture and society with the environment. The
literary turn to dystopia is not new, but whereas Israeli dystopias published
in the 1980s–1990s focused mainly on military apocalyptic visions,
current novels combine these national anxieties with ecological dangers,
following present-day trends in American literature and cinema. These
contemporary dystopias either conjoin a national crises with an ecological
disaster as the source of the catastrophe or represent environmental
recklessness as evidence of moral corruption, linking ecological and
social injustice to the emergence of a Jewish theocracy. Offering an ecocritical
reading of these novels, the article pinpoints the American cultural
influence on the narratives. This thematic shift in Hebrew fiction, I
argue, reflects a rising environmental awareness and positions literature
as a major arena in which these issues are raised.

Although the historiography of Hebrew literature has often retrospectively portrayed its development as an Israeli phenomenon, recent scholarship has shown the ways in which Hebrew literature's origins lie largely in the Diaspora. Two new books by Israeli writers written in English, Shani Boianjiu's The People of Forever Are Not Afraid and Ayelet Tsabari's The Best Place on Earth , return to the diasporic roots of Hebrew literature by deliberately placing themselves as a challenge to the Zionist narrative of literary historiography. This article elaborates the ways that these books use English to explore the transnational nature of Hebrew literature and participate in a larger literary conversation about globalization. Their linguistic experimentation is also tied to the thematic challenges they pose to foundational Israeli mythologies, like that of the New Hebrew Man, through an emphasis on marginal characters and themes. This literature, which I call "Hebrew in English," stands as a critique of hegemonic constructions of Israeli identity, nationalism, and culture.

The term "grammar" is ambiguous. This essay explores the meanings of the term in general and concentrates on its relevance to Modem Hebrew. The gap between the lexical meanings and the speakers' knowledge of grammaticality is demonstrated as being a result of the close linkage between Biblical Hebrew grammar and Modem Hebrew norms.

This article uses mostly ignored facts about Hebrew to propose a major addition to the theory of the Hebrew root (and root-morphemes generally), and a radical solution to the lexical problem in linguistics: the fact that native speakers of a language acquire and subsequently access tens of thousands of words (and that knowledge of a significant part of these words is required of foreign learners).
Initial single-consonant submorphemes are proposed as a new (quasi-) systematic structure within lexicon, most clearly seen in Hebrew. More specifically, it is proposed that 16 Hebrew initial consonants provide a semantic clue to the meaning of the root, in the form of a small set of basic meanings (one "original" one branching out to several basic ones). These clues help to learn and access a large vocabulary, whether for the native or non-native speaker.

Because it is based upon an uncompromising East/West binary, Edward Said's Orientalism falls a bit short when considering the figure of the Jew. Hebrew Melodies, a collaborative effort by the composer Isaac Nathan and the poet Lord Byron, provides an example through which to reconsider the middle ground of Jewish Orientalism. For Nathan, the project was a means to revisit the melodies "performed by the Antient Hebrews before the destruction of the temple." For Byron, although he was initially enthusiastic, it was a passing interest, allowing him to read the East yet again as a fetish object. "They will call me a Jew next," he quipped. The act of transcription marks a further complication to both the Hebrew Melodies and the 'this or the other' mentality of another binary, a metrical one. As "the theme of choral song," much of the Hebrew Melodies itself seems to search for its own space in which words and verse and music can not only coexist but also shape how the others are understood.

The purpose of this briefing note is to examine the escalation to violence of Violent Transnational Social Movements (VTSM), specifically the Black Hebrew Israelites (BHI). The BHI is a more than 100-year-old group that has arguably been in the political background for the past two decades and appears to have escalated from using soft violence tactics to kinetic violence after the Jersey City Deli Shooting. This briefing note primarily focuses on the BHI and their role as a VTSM that uses soft violence and symbolic power as a means to deliver their message. For further information on VTSMs, please visit the Canadian Centre for Identity-Based Conflict.

This article considers to be the characteristics of existed Hebrew corpora. Now there are two spoken corpora and one written, hebrewCorpus or Linguistic Corpus of Hebrew. All these corpora have been made by the professional linguists of University of Tel-Aviv and Haifa and by the language specialists of National Middle East Resource Centre of Brigham Yang in the USA. The article provides full description of each of the mentioned corpus. There is also a list of the research works in morphophonology, syntax, phonetics, prosody, and discourse of Modern Hebrew, both written and spoken which were carried out by the linguists on the basis of the material from CoSIH.