Documents found
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182.More information
AbstractTranslation may be viewed in part as a transfer of cultural elements from one text to another and, under certain circumstances, this may occur between texts written in the same language. This is indeed the situation researchers find when analysing the early East German versions of the Brothers Grimm's fairy tales and comparing them with their (same language) originals. East Germany was a country with a mission to overcome capitalist thinking and to create a new kind of society. Motivated by this, the establishment permitted only certain kinds of texts to reach their audiences. One of the genres vehemently debated in the early days was fairy tales and particularly so the Grimms' tales due to their high standing in the Third Reich. This article explores the first ‘translations' of the Grimms' fairy tales in East Germany, investigating elements that were regarded as ideologically valuable and hence emphasized in the texts and those that were deemed harmful to a socialist education and hence modified.
Keywords: Brothers, Grimm, fairy tales, East Germany, socialist ideology
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184.More information
This article presents an overview of the geography of places of worship so called minority religions (Le., non Roman Catholic or Protestant) in Montréal and examines some elements of the spatial strategies used by ethno-religious groups in the choice of location of their places of worship. We then turn our attention to the regulatory framework for the siting and construction of places of worship at the municipal level. Drawing on recent fieldwork with (Jewish) Hasidic and Muslim communities, we conclude by discussing some of the main issues involved in the establishment of minority places of worship in Montréal's urban landscape.
Keywords: Immigration, religion, lieu de culte, aménagement, ville, Immigration, religion, worship, urban development, city
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186.More information
Between 1880 and 1930, a major wave of Jewish immigration, from Eastern Europe, transforms the social fabric of Quebec's largest city. These immigrants have a strong sense of identity, and are quick to set up private schools, with educational projects that reflect their cultural, religious, social and ideological backgrounds. This article aims to present the process of forming the Jewish school system in Montreal, between 1874 and 1939, examined both in terms of the political will of the community leaders and the social aspirations of the Jewish population. We show that this network of private schools participated in the creation of a Jewish identity in Montreal, ensuring the continuity of a Jewishness rooted in the "Old World" that immigrants had left behind while adapting to the situation in Montreal and North America.
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187.More information
Translations of Arabic literature into Hebrew have been marginally present in Israeli Jewish culture for the last 62 years. Their production and reception have been affected by the ongoing political Jewish-Arab conflict which depicts the Arab as a threatening enemy and inferior to the Jew. This depiction has often led to fear and apprehension of Arabic literary works. The present paper focuses on several cases where Hebrew translations of Arabic prose and poetry were publicly condemned as a potential threat to the stability of Israeli Jewish sociopolitical creeds and state security. The various sanctions imposed on the texts and their writers (though not on their translators!) by Israeli authorities, the Israeli Hebrew press and public opinion are described and explained. These sanctions were subsequently lifted after Israeli Jewish writers rose up against censure and censorship by raising their voices in protest.
Keywords: punitive censorship, censure, sanctions, Arabic-Hebrew literary translation, Israeli Jewish culture, censure punitive, critique, sanctions, traduction littéraire arabe-hébreu, culture israélienne juive
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188.More information
AbstractDer Proceß in Yiddish, or the Importance of being Humorous — The article argues for a "humorous" Franz Kafka rather than a kajkaesque one and criticizes the "Kafka myth" which cristallized after WWII and emphasized foremost Kafka's existential anguish. Even before the war Max Brod as well as Walter Benjamin recognized the humorous dimension in Kafka's texts, much of which lies in word plays and gesture; otherwise, the humour in Kafka was largely ignored, especially after WWII. The focus in this article is on English, German and Yiddish cultural contexts and ideologies which have determined different readings/ translations of Kafka's texts. In particular, the article compares the pre-war English translation of Der Proceß by Edwin and Willa Muir, which contributes to the "Kafka myth," with a post-war Yiddish translation by Melech Ravitch, which highlights the novel's humorous qualities. Not only does the Yiddish translation place Kafka's novel within a culturally specific literary genre and suggest an alternate "Jewish" reading of the text; by drawing on both the English translation and the German original, Ravitch also "corrects" the anguish laden "Kafka myth" and constitutes a challenge to the rather humourless genre of the kafkaesque so widespread still in contemporary English and German speaking cultures.
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189.More information
AbstractPoets of Bifurcated Tongues, or on the plurilingualism of Canadian-Hungarian Poets — This article aims at an analysis of the plurilingualism of four poets of Hungarian origin, living in Canada: Robert Zend, George Vitéz, László Kemenes Géfin and Endre Farkas. Before examining the poems themselves, the various concepts of plurilingualism and the aspects of grouping these poems, including the code-switching strategies used in them, are reviewed. The base language and the nature of code-switching is discussed with a special emphasis on the relationship of grammatical units, intra- and intersentential switches within contexts where plurilingualism occurs. The first three poets have become bilinguals as adults: they form part of Hungarian literature as well as of Canadian writing. The last one, however, has a childhood bilingualism and is considered an English-Canadian Poet. Since they have a twofold minority status (Hungarian origins, plus writing in English in Montréal), analysis of these poets requires a special approach. The main hypothesis of the article is that, when using more than one language within the same work, the author is able to reach special effects which would be otherwise impossible. These poems, plurilingual in nature, also show that, for these authors, language is of multiple use: not only is language a tool of communication, but also the theme of some of their poems: they are often self-reflexive, making formal and semantic experimentation possible.
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190.More information
This essay explores the complex issue of Romantic visual enthusiasm –the power to self-generate images – which was seen as both a danger and a necessity to the project of constructing a visual culture for the nation at the end of the eighteenth century. I look at a range of important texts on this issue, beginning with an analysis of the contradictory responses which emerge in John Ireland's 1798 discussion of Hogarth's 1760 Enthusiasm Delineated. Ireland's discussion is significant as it reflects the concerns of his publisher John Boydell, whose Shakespeare Gallery was beginning to falter by the end of the 1790s. The positions adopted by Henry Fuseli (a key artist in Boydell's project), George Cumberland (a harsh critic of Boydell) and William Blake (passed over by Boydell) provide a map of the debate over visual enthusiasm. Hogarth's satire represents the enthusiastic audience as inappropriately sexualised and includes an image of monstrous fertility in the figure of Mary Toft. Blake's phrase ‘happy copulation' from Visions of the Daughters of Albion reproduces the association of looking, sexuality, and the female gaze found in the satire. But Blake's positive image of enthusiastic looking is mirrored by the negative account of the power of transformative viewing in the repeated formula ‘He became what he beheld'. In Europe, Blake produces a version of Fuseli's Titania and Bottom as a critique of the power of the literary gallery to limit the scope of the political imagination. Blake's powerful response to the experience of the London galleries and his complicated account of the construction of the viewer within the gallery space is suggested in his poetry of the 1790s in which enthusiastic viewing is both celebrated and feared.